VA - The Emo Diaries Chapter Eleven: Taking Back What's Ours

[Scott Irvine]

VA - The Emo Diaries Chapter 11: Taking Back What's Ours
October 2007
Deep Elm Records


What the fuck happened Deep Elm?

If you would’ve asked me a week ago what the last safe haven for showcasing emerging artists was – I probably would have jokingly said VH1’s “You Heard It First” before seriously answering Deep Elm Records’ The Emo Diaries series. Chapter 2: A Million Miles Away remains to be one of the greatest compilations ever assembled. Greats like The Appleseed Cast, Jazz June, and the relatively unknown My Favorite Citizen contributed unreleased songs that remain unforgettable to this day. Not only that, but they were themselves – no trends, no bullshit. Fast forward to Chapter 11: Taking Back What’s Ours where it seems that bands no longer resemble what went into previous chapters to make them so great. Back then, The Cast had their keenly melodious Midwestern influence of sorts – The Jazz June perhaps more so punk. Though Citizen’s “Kayla Learns to Dance” more closely resembles what has found its way on to the compilation’s newest release, I challenge any of you to stand behind these new songs in place of the aforementioned. I challenge you because you just fucking can’t – and that pisses me off.

This cute, little pink package was so alluring too. Deep Elm’s signature move to put black-and-white promo pictures of the bands surrounding the tracklisting gave me a hard-on and waiting more than a minute to put it into my computer was simply not an option. Almost immediately, I couldn’t believe what I was hearing. Above Them’s “Change Your Views” is basically “The Middle”s morale-boosting lyrical charge with Nickelback’s general rock faux-pas. “Change your views/Don’t live your life through anyone/Don’t break the mold.” Don’t point out that those lyrics are contradictory because I already know. It doesn’t get any worse, however, unless you consider a scene kid’s version of The Rakes worse – I speak of This Drama’s “Tiger Meets Lion”. The first chance I had to enjoy the album came in the form of Knockout Kings’ “Question Everything”. The whiney vocals do grow on you as the song goes on, but more importantly, the song actually kept my interest. Andy Tanner, formally of the Layman Terms, follows. My immediate bias towards this man because of his former band could’ve led me to like his song more than I should’ve so I’ll let you the readers get back to me about it.

The Decoration’s “Progress, Not Perfection” is the next song on the compilation you need to be aware of. The band flaunts boyish melody like Daphne Loves Derby, but strikes deeper than the former can ever think of doing. I daresay it’s the best track on the release, but I don’t doubt this reader-base will refute this claim in support of I’m Fashion, You’re Victim’s “Until Vendetta’s Achieved”. Now this song really makes me question who over at Deep Elm put this thing together. Are they accepting applications from former Victory Records interns or something? If I wanted to listen to faux-screamo then I wouldn’t be listening to what I thought was a respectable series of compilations.

It's sad what the emo scene has become, but its even sadder that this new crop o' shit has affected the last available outlet for the bands hoping to bring back a little of what went into coining the genre in the first place. Emo is emotional hardcore. It always has been, and in my mind, always will be. To label what you will find in this compilation 'emo' is straight-up blasphemy to me. If you're only getting these kinds of submissions, Deep Elm, then rope them into the 'This is Indie-Rock' compilation, but not 'The Emo Diaries'. Because for God sakes, what has happened with this release is one step closer to the true essence of what emo used to be being totally eradicated.

[lauren<3s music]

"It's sad what the emo scene has become, but its even sadder that this new crop o' shit has affected the last available outlet for the bands hoping to bring back a little of what went into coining the genre in the first place."

Genius. its the sad bitter reality of the scene we live in

[saysmydoctor]

Lowest rating ever?

[fadedmemories]

What the fuck happened Deep Elm?

my words exactly

[b4u4get]

Yeah, so sad, so sad... I am very disappointed with this album.

[Rich Duncan]

This makes me sad, I was hoping this album would be as good as some of the older ones.

[shes.a.ghost]

Damn... When Emo Diaries is no longer putting real emo on their compilations it pretty much means that what we all know as emo is now practically dead. It has been for awhile, but Deep Elm raised the little hope I had. Wow, this is sad.

[Clark]

At least you didn't completely diss Knockout Kings. Dallas FTW.

[Chevy114]

This takes me back and truely looks like a good cd. I just wish people would stop calling every rock band that has the diy mentality emo. P.S. The Get Up Kids will always rule!

[Nathan Lint]

that Knockout Kings song is really good.

[Bearchuck]

Let me apologize in advance for the lengthy response to this review. I figured that someone who knows and has listened to this compilation as much as Scott has should step up and defend it. At the very least it might instigate some intelligent discussion…or vicious name calling.

First of all, Scott has terrific taste in music…especially in relation to his quest to shed a little positive light on much-maligned and often misunderstood genre. Most of the stuff he digs, I’m right there with him, and I firmly believe that he’s an invaluable asset to the Absolutepunk.net crew.

In any case, it’s ridiculous to dive into a semantic argument about what is and isn’t good, because there’s never be a winner when you start questioning people’s taste in music. It eventually ends up as one of those petty “you suck…no YOU suck” disputes. Agree or disagree with reviews on this site…it doesn’t really matter. We’re all entitled to an opinion.

Still, to summarily lump twelve bands into the “new crop o’ shit” category is just plain irresponsible. No one deserves that tag, regardless of what you think of their music. What’s worse is those of you posting comments in perfect, unquestioning agreement when it’s quite clear you haven’t even heard the record.

I am one of the most vocal supporters of “real emo,” so I find it amusing when the readership –- people who cite bands such as Emanuel, Senses Fail and HawthorneHeights as favorites -– comments on the state of the scene. Especially when said people have never taken the time to explore amazing genre pioneers like Indian Summer, Current, Moss Icon, Policy of 3 or Ordination of Aaron. Hell, even artists like Braid, The Van Pelt and Christie Front Drive get short shrift from the readers. In other words, don’t preach to me about the decline of emo when you’ve missed the past 15 years of it.

Of course, now we’re getting into one of those semantic arguments mentioned above; not to mention the fact that I’m probably 12 years older than most of you. I can hardly blame anyone for being part of a generation that is regularly bombarded with major label-generated faux emo.

Anyway, a few positive comments in defense of Emo 11.

1. “Change Your Views” from Above Them is an awesome song...one of the best on the comp. There’s a reason why it’s first, and that’s it’s because it’s incredibly infectious, aggressive, dynamic and in no way Nickelback-esque. Nor do the lyrics (other than the first line) particularly adhere to any “moral-boosting.” Even if they did…who cares? Somewhere along the way emo earned the unfair tag of being sad or worse yet, cutting your wrists. It doesn’t have to be though. Case, in point, “Polar Bear Summer” from one of my favorite bands I Hate Myself…

the sun is shining on me, finally. finally.
and you walk so gracefully.
why don't you walk with me?
things are turning green and changing,
and it smells sweet. birds have come from out at sea,
and they sing for you and me.
time here is always so slow, but summer's fast.
let's make it last.
maybe this year you could stay,
and we'll wake together every day.

2. The unmentioned While You Were Gone’s offering is great. Plus, it’s a female singer. I mention it because I love the song…and I firmly believe there is a huge prejudice against female-fronted bands within the punk community. It’s not just Absolutepunk either…it’s everyone. It amazes me how many terrific female-fronted bands out there are largely ignored. To me, this scene has always been a boys club. I was just wondering what people thought about that.

3. Scott is on the money regarding Andy Tanner and The Decoration. However, I would argue that these are the least typically emo songs on the album. It’s interesting that Scott pans the majority of the album as being not emo (emo is “emotional hardcore”) but the two songs he praises are miles away from being emotional hardcore. Thoughts?

4. No mention of the Young Hearts either, which serve up an incredibly catchy slice of emo-pop-punk for your ears. Maybe a little sweet for some, but in my opinion a great song. And they have a bunch of other awesome tunes. Check em out here: http://www.myspace.com/youngheartsattack

5. I kind of agree about the I’m Fashion, You’re Victim song. However, note that Scott takes a not-so-subtle swipe at the AP.net readership with his comments about this band. That’s you, people. Any of you comment-posters upset by this? Cause I looked at the list of your favorite bands and you should be.

6. This comp deserves a little credit simply for exposing twelve unreleased songs from really good (in my opinion), virtually unknown bands from all around the world, including Spain, England and the Netherlands. No other label does that. Considering that everywhere you turn these days you’re getting the squeaky-clean, uninspired, industry haircut band du jour shoved down your throat, I would have thought you’d be psyched about something new and undiscovered. These songs were chosen on their own merits. Deep Elm doesn’t look at bios, press photos and fancy websites…they listen to the music and absolute anyone in the world can submit.

7. “What the fuck happened Deep Elm?” This is an interesting statement, especially considering his last three reviews of Deep Elm records (all within the past few months) are overwhelmingly positive:

* 500 miles to Memphis - http://www.absolutepunk.net/showthread.php?t=252580 (http://www.absolutepunk.net/showthread.php?t=252580)
“Half country twang, half raucous punk -- wholly innovative. Having set up camp in Cincinnati, the band is technically less than 500 miles from Memphis, but who's counting when you have as good an album as this.”

* Free Diamonds - http://www.absolutepunk.net/showthread.php?t=250411 (http://www.absolutepunk.net/showthread.php?t=250411)
“I would totally have dirty, dirty sex with tracks like "Hugs and Kisses" if it was at all possible. This band's charm is just so contagious.””

* Cover Your Tracks - http://www.absolutepunk.net/showthread.php?t=233184 (http://www.absolutepunk.net/showthread.php?t=233184)
“Surprise, surprise; Deep Elm has put out yet another incredible compilation. Eleven of the label’s active bands take songs from the label’s alumni and make them their own.”

Not that Scott isn’t allowed to pan something from the label he doesn’t like. I just thought it was an incredibly damning statement with which to begin a review, especially when he’s always been a vocal fan of Deep Elm.

While I’m the first to admit that this Deep Elm comp certainly isn’t “emo” like emo used to be (don’t you think if they received submissions from bands half as good as Appleseed Cast or Jazz June, they’d use them?) the label has never claimed to be a great definer of the genre. I quote…

“We believe any combination of songwriting, lyrics and live performance means something different to every listener. We have only intended to share with you the music that moves us and support these bands.”

To Deep Elm, the Emo Diaries has always been about exposing great music that stirs emotion…not great “emotional hardcore” that stirs emotion. To label it as such misses the entire point of the series, which is to provide a forum for great bands who fall under the extremely wide-reaching umbrella that is the emo genre. Of course, most of the bands I listed above as “read emo” certainly fall into that category, but if we cut it off there we would need to exclude other Emo Diaries notables like Jimmy Eat World, JeJune, Last Days of April, Logh and the aforementioned Appleseed Cast.

Emo 11 certainly an admittedly modern take on the style…but that’s more of a byproduct of today’s music scene than a conscious decision to ignore the genre’s forefathers. Sure, bands like Street Smart Cyclist and Algernon Cadwallader are definitely a jazzy, old-school throwback and groups like Tiny Hawks and Sinaloa inject some much needed intensity, inventiveness and sincerity into the more chaotic subset, but most are emulating something with a distinct 2007 slant. It’s not Deep Elm’s job to determine what is and isn’t emo; It’s their job to put out music they love from underground bands, plain and simple. If that’s what’s wrong with the label, I’m perfectly okay with it.

[TheBaroness]

Scott, I agree with every word you've said here. This comp is such a fucking letdown, it's everything I feared it would be. Deep Elm are more or less a dead label to me after being my favorite for so long. Besides Settlefish, they really don't have any bands who interest me at all. It's a terrible shame.

Moreover, I was very disappointed with the packaging of this album. I decided to order a hard copy to file alongside the other 10 Chapters and lo and behold it came in a cardboard fucking slipcase. $12 for that? Give me a break. If you ask me Deep Elm should either clean up their act or bow out completely because right now they are a fucking joke, and obviously in trouble, not to mention a disgrace to the legacy of what was once one of the best labels in the indie scene.

And I refuse to believe midwestern emo is completely dead...

[Rich Duncan]

Scott, I agree with every word you've said here. This comp is such a fucking letdown, it's everything I feared it would be. Deep Elm are more or less a dead label to me after being my favorite for so long. Besides Settlefish, they really don't have any bands who interest me at all. It's a terrible shame.

Moreover, I was very disappointed with the packaging of this album. I decided to order a hard copy to file alongside the other 10 Chapters and lo and behold it came in a cardboard fucking slipcase. $12 for that? Give me a break. If you ask me Deep Elm should either clean up their act or bow out completely because right now they are a fucking joke, and obviously in trouble, not to mention a disgrace to the legacy of what was once one of the best labels in the indie scene.

And I refuse to believe midwestern emo is completely dead...

Me either, though they are a putting alittle bit of a modern spin on it, Scott and I seem to find some awesome midwestern emo style bands almost everyday through bands we have made friends with through our label

[Julia Conny]

Shaking it up, Mr. Irvine. I haven't listened to the comp much, but I absolutely love the This Drama track.

[Bearchuck]

Scott, I agree with every word you've said here. This comp is such a fucking letdown, it's everything I feared it would be. Deep Elm are more or less a dead label to me after being my favorite for so long. Besides Settlefish, they really don't have any bands who interest me at all. It's a terrible shame.

Moreover, I was very disappointed with the packaging of this album. I decided to order a hard copy to file alongside the other 10 Chapters and lo and behold it came in a cardboard fucking slipcase. $12 for that? Give me a break. If you ask me Deep Elm should either clean up their act or bow out completely because right now they are a fucking joke, and obviously in trouble, not to mention a disgrace to the legacy of what was once one of the best labels in the indie scene.

And I refuse to believe midwestern emo is completely dead...

Do you have any thoughts about the actual music on the record...or does the packing debacle prohibit you from thinking clearly on the issue? Tell us about some songs you like / dislike and why. Tell us your definition of emo. For that matter, why is it more valid that anyone else's? Talk about whether or not emo is even worth discussing, especially on a forum where the majority of the readership would probably dig the songs on Emo 11.

Or maybe you could write a few paragraphs about how you overpaid for this record by at least four bucks and how Deep Elm's current vision isn't aligned with your unquestioned musical brilliance.

Why do people take things so personally? I mean, I haven't bought a record from Dischord in years...but I respect them immensely, and I respect their decision to work with their current crop of bands (even though I think that Antelope kinda blows it). Seriously...can you imagine writing a letter to Ian MacKaye, chewing him out -- basically dismissing two decades of impossibly difficult work in an increasingly thankless field -- because he hasn't released a record you like in the past year? Get the fuck over yourself.

[TheBaroness]

Do you have any thoughts about the actual music on the record...or does the packing debacle prohibit you from thinking clearly on the issue? Tell us about some songs you like / dislike and why. Tell us your definition of emo. For that matter, why is it more valid that anyone else's? Talk about whether or not emo is even worth discussing, especially on a forum where the majority of the readership would probably dig the songs on Emo 11.

Or maybe you could write a few paragraphs about how you overpaid for this record by at least four bucks and how Deep Elm's current vision isn't aligned with your unquestioned musical brilliance.

Why do people take things so personally? I mean, I haven't bought a record from Dischord in years...but I respect them immensely, and I respect their decision to work with their current crop of bands (even though I think that Antelope kinda blows it). Seriously...can you imagine writing a letter to Ian MacKaye, chewing him out -- basically dismissing two decades of impossibly difficult work in an increasingly thankless field -- because he hasn't released a record you like in the past year? Get the fuck over yourself.

Of course I have thoughts on the music. I did not post them because I do not currently have the album with me where I am (on vacation) and so I cannot exactly remember all the songs by name. I recall liking one or two, but being overwhelmingly disappointed with the majority. The packaging just happened to be one point of consternation (of many) that I had with this release, one which had not been addressed in Scott's review. Moreover, posting in bed at 7:30am in the morning from a sidekick is not exactly conducive to deep musings on the nature of emo, and the music industry in general.

As for my thoughts about Deep Elm, though perhaps uttered in the heat of frustration without due consideration for their magnitude, it pains me to see this label reduced to a point where they can't even give half their bands a physical release. I am angry because I don't want to see the label I loved, from whom I own and treasure every release (save Free Diamonds - not my thing) fade into further obscurity without so much as a whimper. Furthermore, I believe there was no need for this release. Why revive a dormant compilation when these songs could have easily fit on 'This is Indie Rock' or something of that ilk? Is it an attempt to cash in on the media-bastardized conception of emo which is oh so popular with the kids these days? You can forgive people for their cynacism.

As for taking things personally, I think you have certainly taken that to another level by your vitriolic reaction to my post. Perhaps it is, as I suspect, because you work for Deep Elm.

[Blake Solomon]

lol at that guy. While it is nice to see someone post a response that isn't just "lollllllllllllllllll no" or "you da man, love it," I still think this guy needs to "get over himself." For some reason his age is an important factor. Like kids today can't hear every older band their heart desires. He is blinded by his own emotions, and when did it become wrong to be emotional about music? Isn't that the point? Blah.

[Bearchuck]

Of course I have thoughts on the music. I did not post them because I do not currently have the album with me where I am (on vacation) and so I cannot exactly remember all the songs by name. I recall liking one or two, but being overwhelmingly disappointed with the majority. The packaging just happened to be one point of consternation (of many) that I had with this release, one which had not been addressed in Scott's review. Moreover, posting in bed at 7:30am in the morning from a sidekick is not exactly conducive to deep musings on the nature of emo, and the music industry in general.

As for my thoughts about Deep Elm, though perhaps uttered in the heat of frustration without due consideration for their magnitude, it pains me to see this label reduced to a point where they can't even give half their bands a physical release. I am angry because I don't want to see the label I loved, from whom I own and treasure every release (save Free Diamonds - not my thing) fade into further obscurity without so much as a whimper. Furthermore, I believe there was no need for this release. Why revive a dormant compilation when these songs could have easily fit on 'This is Indie Rock' or something of that ilk? Is it an attempt to cash in on the media-bastardized conception of emo which is oh so popular with the kids these days? You can forgive people for their cynacism.

As for taking things personally, I think you have certainly taken that to another level by your vitriolic reaction to my post. Perhaps it is, as I suspect, because you work for Deep Elm.

Trust me...I understand why you feel the way you do about Deep Elm. The early years were truly amazing and it's no wonder fans pine for the days of Appleseed, Planes and Brandtson. Remember though, those bands have evolved (one could argue for the worse...at least in one case) and so has the label. It's perfectly fine if you're not diggin' the crop of new faces on the label. It happens sometimes.

However, I just want to point out that Deep Elm has continued to support and release the music they love without consideration of current trends or scene politics. Need some examples? Free Diamonds (who I personally love their weirdness...but realize they're certainly not everyone's cuppa), 500 Miles To Memphis (a country punk band) and even Latterman or Small Arms Dealer...two bands with a limited fan base considering they style of music they play and whom older fans of the label probably aren't too keen on either.

I can promise you though that Deep Elm is not releasing records for sinister reasons...like pissing off old-schoolers. The guiding principle has always been "put out what you love." Plain and simple. Sometimes things change: in particular, tastes in music.

I would say that the industry has transformed as well. Records simply aren't selling at retail and quite frankly, all indies are having a tough go of it. These days a label needs to evolve. You're seeing that with Deep Elm's focus on mailorder and digital, as well as their decision to self-distribute. Personally, I'm not a super fan of the cardboard cases either but I recognize that there are very good reasons for it. Again, the reasons are not to anger you...although that seems to be the case.

As for the Emo Diaries No. 11, again, I'm totally cool with the fact that you were disappointed with a lot of the songs. And sometimes I forget that The Emo Diaries has become a bible of sorts to a lot of purists out there and any perceived decline is taken very seriously. Still, it was never intended to be the "emo standard."

The Emo Diaries was created when Deep Elm received a terrific demo submission from Race Car Riot. John loved the songs, but because DE was an indie he couldn't afford to release every great band that came across his desk. As such, The Emo Diaries was created. It was a way to help out some of these amazing bands that deserved to be heard. That's how it began and that's how it will end. And I'll let you in on a little secret; the submission / and selection process for Emo Diaries and Indie Rock is exactly the same. Nothing has changed over the past 11 years; any band in the world can submit music and it doesn't matter who you are or who know or if you've toured with huge bands or you have a fat contract with Victory Records...it doesn't matter. Deep Elm selects songs that move them.

Another thing you may or may not know is that The Emo Diaries were originally supposed to be called The Indie Rock Diaries but Jimmy Eat World was on Capital and Samiam was with a major label affiliate. Also, the series was only supposed to go eight chapters.

Basically what I'm saying (for the three people out there still reading) is that instead of looking at The Emo Diaries as the end all be all to what the genre has to offer, think of it as a platform for some really great unknown bands from around the world to get some exposure. The Emo Diaries is just a name...it has never been a forum for Deep Elm proclaim to "THIS IS EMO!" Maybe that's why I was a bit irked at Scott's review (again, Scott I love you!). I felt like he was saying Deep Elm has forsaken emo. But the fact is we would never tell you what "emo" is or isn't. This is just music that moves us.

I am very happy to see that there are still people out there so passionate about the series...and music in general!

And Blake...I don't think that I implied that it was wrong to be emotional about music. If I did, I apologize. I just wanted to come at this review of The Emo Diaries from the different direction and maybe get people talking. Also, my statements about the younger generation were not meant to be insulting. If anything, it was a dig at myself. Sometimes I get frustrated with people because they're not familiar with some of the more old school emo bands...but I forget that I've had 12 or 13 years to explore the genre. Some of you are just starting out, and that's totally cool. Can I really blame a person for never hearing about Amber Inn or Julia? Bands like that take time to discover.

[thatwasamoment]

I need chuck as my pr man.