I'm not worrying if the new album will be popular because I know that it will be, but I just hope so much that the emo kiddies that listen to Panic at the disco and My Chemical Romance don't take it and call it their own, because then we'll be apart of the people we all hate so much. But think about if just say SD and MCIS was released in these days(I can't belive I'm saying that) the fans would be all the emo kids of today.

It just makes my skin crawl.

dudehitscar link=topic=801.msg12145#msg12145 date=1164529118]
For example, Take me down would of never made it onto MCIS.


Take me down was a good song.

i concur believe, it was a most goodfull song indeed

dougy (cant sign in) link=topic=801.msg12282#msg12282 date=1164633049]
i concur believe, it was a most goodfull song indeed


- DON'T YOU JUST HATE WHEN YOU CAN"T SIGN IN!!!!

who cares if it's popular? I'm sure it will rock one way or the other and that's all I care about.

who cares if it's popular? I'm sure it will rock one way or the other and that's all I care about.

True, but it would be nice to see Billy's hard work finally get the appreciation it deserves. In my opinion, it's been a long time since he has received the attention he deserves for his talent.

joene link=topic=801.msg12298#msg12298 date=1164659707]
who cares if it's popular? I'm sure it will rock one way or the other and that's all I care about.

True, but it would be nice to see Billy's hard work finally get the appreciation it deserves. In my opinion, it's been a long time since he has received the attention he deserves for his talent.


I think he could care less if it gets mass-media attention. he knows he has the most loyal fan base on the planet, and he knows that all of us "converted" will get it and will love it. I don't think he has any desire to impress anybody except the people that love it already....if some new fans pick up on it along the way, fine, but if not, who gives a damn?

i think if you truely believe that he goes unnappreciated then i think you greatly undervalue fan bases such as this, netphoria (to a degree) and the huge australian site ozphoria..plus all the offshoots on sites such as kittyradio that have huge pumpkins followings. they are, still huge, and i think he's getting and will get all the appreciation that all of these people have been waiting so long to give. i mean when i saw billy last year i came across some pretty die hard fans, and i used to think that i was committed. everyone was sitting in the line-up since about 9am, myself included, someone had a stero and was playing pumpkins, someone had a book of billys poetry and we were reading that, and pretty much until the doors opened at 7 thats all we did, a whole line of us. and this happened in every state and show that he played at (some ppl i knew from perth went to all the shows)....chilled out, committed fans waiting to appreciate, (there were some nutters too...one girl got on her knees in front of billy and started wailing that he was god)

I agree...i see alot of appreciation for Billy. I think that what he feels is a connection to his fans that Britney Spears aill never know. Some bands are bigger than the Pumpkins right now but if they were to stop making music for six years how many people would be waiting for their return. The same girls that were at TRL holding "I Love Britney" signs are the same one's there today holding "I Love Shakira" signs. They are not REAL fans but it's ok because those are not real artists.

stumbleine link=topic=801.msg12182#msg12182 date=1164573558]
dougydarkangel link=topic=801.msg12159#msg12159 date=1164542179]
joene link=topic=801.msg12148#msg12148 date=1164535550]
Believe me, when the new album comes out, everyone's gonna know.


Not in australia, i have heard no mention from australian media about the reformation, without the internet i wouldnt even know

yeah its terrible. i feel so underprivileged. i dont remember hearing about it on the entertainment news AT ALL. and australia is supposed to be their biggest market outside of america.

If it makes everyone feel better, I haven't heard anything in the American media either.

Most of what we've been getting in the States is via the internet and radio. Not much else. I don't think other media outlets and forms of media will really catch on until there's a concrete plan. Why promote something when it's not ready to be promoted yet?

Matt[O] link=topic=801.msg12269#msg12269 date=1164619726]
I'm not worrying if the new album will be popular because I know that it will be, but I just hope so much that the emo kiddies that listen to Panic at the disco and My Chemical Romance don't take it and call it their own, because then we'll be apart of the people we all hate so much. But think about if just say SD and MCIS was released in these days(I can't belive I'm saying that) the fans would be all the emo kids of today.

It just makes my skin crawl.

That's one of my biggest fears about the new Pumpkins. Everyone overgeneralizes the term, and I'm afraid the Pumpkins will get attached to that label. I agree with what most people here have been saying, that emo is basically pop punk - terrible pop punk.
About the overgeneralization of the term "emo", something happened a week ago that exemplifies it. This ditzy girl at my school called my music "emo", which is the farthest thing from the truth. I listen to indie rock (i.e. Belle & Sebastian, The Decemberists, Bloc Party, Rilo Kiley, The New Pornographers, Wilco) and indie rock IS NOT emo. This ditzy girl, and many other people who have no clue when it comes to indie rock, label every artist they're not familiar with as emo. The girl asked me what I was listening to one day, and I said Sleater-Kinney. She had no idea what I was talking about, which led her to the decision to label my Anyway, I'm starting to rant and lose focus, so I'll wrap it up. I hope that the new Pumpkins don't get the same label as Sleater-Kinney and the other bands on my iPod did.

uh, the 'emo' thing again. Emo is NOT 'basically pop punk'. Just because you don't like Fallout Boy doesn't mean you don't like emo. That's like saying you don't like grunge because you hate Creed. Creed took that sound and watered it down to mainstream bs. It is the same with most of the so-called emo bands that are making money today.

Here are some fucking great bands that have been labeled emo over the years. I challenge all of you to take 20 minutes and listen to these songs and make up your mind once and for all about emo.

Sunny Day Real Estate Download: Seven off the album Diary
Fugazi - Download: Give me the cure off the album 13 songs
At The Drive In - Download: Arc Arsenal or Mannequin republic
Cursive - Download: The Great Decay off Burst and Bloom

If you don't like these songs then I will shut up and let you bash Emo for all it's worth. but I


I will close with this little history of emo:

Originally an arty outgrowth of hardcore punk, emo became an important force in underground rock by the late '90s, appealing to modern-day punks and indie-rockers alike. Some emo leans toward the progressive side, full of complex guitar work, unorthodox song structures, arty noise, and extreme dynamic shifts; some emo is much closer to punk-pop, though it's a bit more intricate. Emo lyrics are deeply personal, usually either free-associative poetry or intimate confessionals. Though it's far less macho, emo is a direct descendant of hardcore's preoccupations with authenticity and anti-commercialism; it grew out of the conviction that commercially oriented music was too artificial and calculated to express any genuine emotion. Because the emo ideal is authentic, deeply felt emotion that defies rational analysis, the style can be prone to excess in its quest for ever-bigger peaks and releases. But at its best, emo has a sweeping power that manages to be visceral, challenging, and intimate all at once. The groundwork for emo was laid by Hüsker Dü's 1984 landmark Zen Arcade, which made it possible for hardcore bands to tackle more personal subject matter and write more tuneful and technically demanding songs. Emo emerged in Washington, D.C. not long after, amidst the remnants of the hardcore scene that had produced Minor Threat and Bad Brains. The term "emo" (sometimes lengthened to "emocore" was initially used to describe hardcore bands who favored expressive vocals over the typical barking rants; the first true emo band was Rites of Spring, followed by ex-Minor Threat singer Ian MacKaye's short-lived Embrace. MacKaye's Dischord label became the center for D.C.'s growing emo scene, releasing work by Rites of Spring, Dag Nasty, Nation of Ulysses, and MacKaye's collaboration with members of Rites of Spring, Fugazi. Fugazi became the definitive early emo band, crossing over to alternative rock listeners and getting press for their uncompromisingly anti-commercial attitudes. Aside from the Dischord stable, most early emo was deeply underground, recorded by extremely short-lived bands and released on vinyl in small quantities by small labels; some vocalists literally wept onstage during song climaxes, earning derision from hardcore purists. Fugazi notwithstanding, emo didn't really break out of obscurity until the mid-'90s emergence of Sunny Day Real Estate, whose early work defined the style in the minds of many. Tempering Fugazi's gnarled guitar webs with Seattle grunge, straight-up prog-rock, and crooned vocals, SDRE launched a thousand imitators who connected with their dramatic melodies and introspective mysticism. Some of this new generation connected equally with the wry, geeky introspection and catchy punk-pop of Weezer's Pinkerton album. While several artists continued to build on Fugazi's innovations (including Quicksand and Drive Like Jehu), most '90s emo bands borrowed from some combination of Fugazi, Sunny Day Real Estate, and Weezer. Groups like the Promise Ring, the Get Up Kids, Braid, Texas Is the Reason, Jimmy Eat World, Joan of Arc, and Jets to Brazil earned substantial followings in the indie-rock world, making emo one of the more popular underground rock styles at the turn of the millennium.

I don't nessecerily attribute emo to pop punk but to the effects they use in their song, their fans, their voices, their music and if the actually write any of it.

All these main bands that we've been calling emo like My Chem, Panic and all the rest of the crap that the kids my age who dress like punks but arn't because they listen to 5 guys who don't write any of their own music, use vocal harmonics in their songs and just and have different alternating power chords without even a main rif or solo are just that. A bunch of tools that have been made by record companies to try and make more and more money for the profiteering gluttons.

I got draged by some of my girlfriends friends to Panic at the Discos concert, and belive me, if they were singing different songs (except for Tonight Tonight) they would have sounded good, because in their concert unless they mime, it's near impossible to use vocal effect like harmonics (like they use on their records) and make it sound right, so whoever the lead singer is had to sing normaly, and honestly, he had a good voice, Tonight Tonight was the best song they played in the night, nothing compared to SP's version but he sounded good. They still need to be destroyed for playing Tonight Tonight though.

But the thing that disgusted me the most was the crowd, they were all dressed in black, all had tight drainpipe black jeans on, nearly all had some form of a lip ring, and black hair. But it wasn't just that, it was was they were at (what they called) at rock concert, and they were bearly moving, like the front three rows were sort of, but they are really just a bunch of lifless people who want to be that way because they see these people in their videos acting like life is so hard on them and they want to be like that, but they actually think it's cool, I mean come on?

By the end of the night I was just shaking my head and was glad it was over.

Some people may disagree but thats really what emo is to me these days, the people back in the early 90's and late 80's whos used to sing sadly and cry on stage, they were the ones whos actually had problems.

god dammit!

that was all way too long, call em boy bands, it makes more sense

dudehitscar link=topic=801.msg12420#msg12420 date=1164716321]
uh, the 'emo' thing again. Emo is NOT 'basically pop punk'. Just because you don't like Fallout Boy doesn't mean you don't like emo. That's like saying you don't like grunge because you hate Creed. Creed took that sound and watered it down to mainstream bs. It is the same with most of the so-called emo bands that are making money today.

Here are some fucking great bands that have been labeled emo over the years. I challenge all of you to take 20 minutes and listen to these songs and make up your mind once and for all about emo.

Sunny Day Real Estate Download: Seven off the album Diary
Fugazi - Download: Give me the cure off the album 13 songs
At The Drive In - Download: Arc Arsenal or Mannequin republic
Cursive - Download: The Great Decay off Burst and Bloom

If you don't like these songs then I will shut up and let you bash Emo for all it's worth. but I


I will close with this little history of emo:

Originally an arty outgrowth of hardcore punk, emo became an important force in underground rock by the late '90s, appealing to modern-day punks and indie-rockers alike. Some emo leans toward the progressive side, full of complex guitar work, unorthodox song structures, arty noise, and extreme dynamic shifts; some emo is much closer to punk-pop, though it's a bit more intricate. Emo lyrics are deeply personal, usually either free-associative poetry or intimate confessionals. Though it's far less macho, emo is a direct descendant of hardcore's preoccupations with authenticity and anti-commercialism; it grew out of the conviction that commercially oriented music was too artificial and calculated to express any genuine emotion. Because the emo ideal is authentic, deeply felt emotion that defies rational analysis, the style can be prone to excess in its quest for ever-bigger peaks and releases. But at its best, emo has a sweeping power that manages to be visceral, challenging, and intimate all at once. The groundwork for emo was laid by Hüsker Dü's 1984 landmark Zen Arcade, which made it possible for hardcore bands to tackle more personal subject matter and write more tuneful and technically demanding songs. Emo emerged in Washington, D.C. not long after, amidst the remnants of the hardcore scene that had produced Minor Threat and Bad Brains. The term "emo" (sometimes lengthened to "emocore" was initially used to describe hardcore bands who favored expressive vocals over the typical barking rants; the first true emo band was Rites of Spring, followed by ex-Minor Threat singer Ian MacKaye's short-lived Embrace. MacKaye's Dischord label became the center for D.C.'s growing emo scene, releasing work by Rites of Spring, Dag Nasty, Nation of Ulysses, and MacKaye's collaboration with members of Rites of Spring, Fugazi. Fugazi became the definitive early emo band, crossing over to alternative rock listeners and getting press for their uncompromisingly anti-commercial attitudes. Aside from the Dischord stable, most early emo was deeply underground, recorded by extremely short-lived bands and released on vinyl in small quantities by small labels; some vocalists literally wept onstage during song climaxes, earning derision from hardcore purists. Fugazi notwithstanding, emo didn't really break out of obscurity until the mid-'90s emergence of Sunny Day Real Estate, whose early work defined the style in the minds of many. Tempering Fugazi's gnarled guitar webs with Seattle grunge, straight-up prog-rock, and crooned vocals, SDRE launched a thousand imitators who connected with their dramatic melodies and introspective mysticism. Some of this new generation connected equally with the wry, geeky introspection and catchy punk-pop of Weezer's Pinkerton album. While several artists continued to build on Fugazi's innovations (including Quicksand and Drive Like Jehu), most '90s emo bands borrowed from some combination of Fugazi, Sunny Day Real Estate, and Weezer. Groups like the Promise Ring, the Get Up Kids, Braid, Texas Is the Reason, Jimmy Eat World, Joan of Arc, and Jets to Brazil earned substantial followings in the indie-rock world, making emo one of the more popular underground rock styles at the turn of the millennium.



Note: I'm attributing the term "emo" to bands like Fall Out Boy (like you mentioned) and Panic! at the Disco. Emo is too vague a genre, anyway. I actually like Jimmy Eat World, but I don't call them "emo".