Texas Is the Reason imploded at a time when they were being touted as the "next big thing" in the wake of the punk explosion on MTV. They were one of the roots of the then-healthy post-Sunny Day Real Estate-core tree, crafting melodious yet forceful indie rock, or emocore, with finesse, sensitivity, and a bit of attitude. Shortly after releasing... [+] Read More

Texas Is the Reason imploded at a time when they were being touted as the "next big thing" in the wake of the punk explosion on MTV. They were one of the roots of the then-healthy post-Sunny Day Real Estate-core tree, crafting melodious yet forceful indie rock, or emocore, with finesse, sensitivity, and a bit of attitude. Shortly after releasing one of Revelation Records' highest-selling albums, the New York City-based quartet disbanded on the eve of signing with one of several major labels courting them in 1997. Fanzine editor, freelance writer, and former Shelter guitarist Norm Arenas formed Texas Is the Reason with former 108 drummer and then fellow Hare Krishna devotee Chris Daly. Both desired to get away from the more macho elements of the hardcore sound and aesthetic and the religious preaching of their former, if beloved, bands. Together with Fountainhead bassist Scott Winegard, the guys recruited singer/ guitarist Garrett Klahn, one-time bassist for Buffalo's Copper. Taking their name from a line in the Misfits' song "Bullet," the foursome quickly wrote the four tracks that would comprise their debut eponymous debut EP. The EP was a smash in the underground, helping inaugurate an entire genre of similarly themed emo bands. Texas Is the Reason was different from the pack mainly thanks to Klahn, with his nasally, Liam Gallagher-inspired whine and hot-shot, cavalier rock star attitude and on-stage persona. The band released a split single with Milwaukee's Promise Ring through Jade Tree. In 1995, they contributed one song to a split single with Samuel, which was released by Britain's Simba. The split released was followed up by the band's debut full-length album, which was produced by Jawbox's J. Robbins. Klahn titled the record after the last statement John Lennon was alleged to have heard: Do You Know Who You Are? Major-label wining, dining, and serious courting ensued, though the band insisted for a time that they would stay with Revelation as they toured the U.S. with then-labelmates Sense Field. Tension between bandmembers eventually came to a head, with Texas Is the Reason breaking up in 1997. Following the group's dissolution, Klahn formed the band New Rising Sons with a member of Into Another, taking his Brit-pop fascination a more obvious step further and quickly being snatched up by Virgin Records. Daly lent his talents to a new band called Jets to Brazil. Winegard stayed active, putting out other bands' records through the grapeOS imprint he co-owns, and jamming with members of Helmet and Chamberlain in a band called the Americans. Arenas retreated from both writing and rocking for almost three years, packing up for Chicago and becoming skilled in the art of DJing. Now living in California, Arenas and Winegard are part of a band called New End Original with the former vocalist of Far and the drummer from Chamberlain. New Rising Sons released two EPs through grapeOS, were dropped by Virgin, and disbanded. Klahn later went on to play in Solea. Texas is the Reason reformed for a single performance at New York's Irving Plaza over Thanksgiving weekend in 2006. ~ Ryan J. Downey, All Music Guide [-] Hide

In the midst of mid-'90s grunge, four childhood friends formed a band that would eventually impact modern rock of the new millennium. Jimmy Eat World formed in 1994 with kindergarten pals Jim Adkins (vocals/guitar) and Zach Lind (drums), Tom Linton (guitar/vocals), and Mitch Porter (bass). The foursome derived the band's moniker from Linton's... [+] Read More

In the midst of mid-'90s grunge, four childhood friends formed a band that would eventually impact modern rock of the new millennium. Jimmy Eat World formed in 1994 with kindergarten pals Jim Adkins (vocals/guitar) and Zach Lind (drums), Tom Linton (guitar/vocals), and Mitch Porter (bass). The foursome derived the band's moniker from Linton's younger brothers, Ed and Jimmy. The two had a fight one day and Ed resorted to drawing a picture of his cherubic older brother eating the world with "Jimmy Eat World" printed beneath. The band thought it was a perfect fit. Soon, they tinkered around with heavy punk rock sounds, playing small shows around their native Mesa, AZ. Influences ranged from Rocket From the Crypt, early Def Leppard, the Jesus and Mary Chain, Fugazi, and the Velvet Underground, leaving Jimmy Eat World as a work in progress.

Over the course of 1994 and early 1995, Jimmy Eat World issued several EPs and singles on the Tempe, AZ, imprint, Wooden Blue Records. Limited-edition pressings of "One, Two, Three, Four," "Back From the Dead Mother Fucker," and split EPs with Christie Front Drive, Emery, and Blueprint would later run out of print. During this time, the band gained a following. Capitol Records took notice and signed Jimmy Eat World in mid-1995. Porter soon exited the group; Linton's best mate since seventh grade, bassist Rick Burch, was added to Jimmy Eat World and a dynamic was officially in place. Static Prevails marked their major debut later that year.

In 1998, the band found itself under the emo billing thanks to the intricately hard-edged yet sensitive second album Clarity. It was a basic rock record and not exactly emo; Adkins' songwriting was at its finest. First single "Lucky Denver Mint" was an instant hit among college radio. It scored a spot on the Drew Barrymore love comedy Never Been Kissed in 1999, allowing Jimmy Eat World to be exposed to a larger audience. Their fan base only continued to soar; however, their relationship with Capitol was beginning to sour. They recorded a third LP for the label by 1999, but it was shelved. The decided to leave the label, and Capitol was happy to oblige. Split releases with Sense Field and Jebediah soon followed.

Jimmy Eat World's powerful rock sound was attracting those overseas; Clarity was popular on the German charts in 2000. That same year, the band funded and self-promoted their first ever tour of Europe. Singles appeared on Big Wheel Recreation later that year. During this jaunt, Jimmy Eat World redesigned their focus in music. DreamWorks opted to take a chance on the band, and Jimmy Eat World went back to work. They hooked up with Clarity's famed producer, Mark Trombino (blink-182, Midtown, Drive Like Jehu), for a follow-up. Bleed American, which would later be retitled as Jimmy Eat World after the horrific events of September 11th, was released in July 2001. "Bleed American" did moderately well, but the second single, the catchy cool "The Middle," landed Jimmy Eat World on the pop/rock map. Spots on MTV's TRL and VH1, and tours with Weezer and Tenacious D proved golden. A year after its release, Jimmy Eat World was still burning up the charts and modern rock radio. A third single entitled "Sweetness" was released in summer 2002, allowing Jimmy Eat World to eventually sell 1.3 million copies in the U.S.

By 2003, the band wrapped up two years of touring; however, the Dreamworks record label closed its doors in January 2004. Jimmy Eat World shifted things over to Interscope and joined producer Gil Norton for the recording of their fourth album, Futures, released in October 2004, followed by a nationwide headlining tour. The Stay on My Side Tonight EP was released on iTunes in September 2005, physically appearing in stores the next month. ~ MacKenzie Wilson, All Music Guide [-] Hide

In a search to find others interested in trading videos of live shows, drummer/singer Bob Nanna, of Friction, placed a classified ad in Maximum Rock 'n Roll and met drummer Roy Ewing, of Champaign-Urbana, IL, in 1993. That fall, Bob, a freshman at the University of Illinois in Champaign-Urbana, started hanging out with Roy, who played in... [+] Read More

In a search to find others interested in trading videos of live shows, drummer/singer Bob Nanna, of Friction, placed a classified ad in Maximum Rock 'n Roll and met drummer Roy Ewing, of Champaign-Urbana, IL, in 1993. That fall, Bob, a freshman at the University of Illinois in Champaign-Urbana, started hanging out with Roy, who played in Lowercase N. Bob's friend guitarist Pete Havranek, of 42 Loads and Inkadink, wanted to play with someone new, so Roy volunteered. Bob became their singer and guitarist, Jay Ryan joined them on bass, and Braid was born.

Shortly after, Jay left the band and went on to play with Hubcap and Dianogah. Todd Bell, who had played with Roy in Lowercase N, replaced Jay on bass. Kate Reuss was recruited to sing. Braid played their first show December 10, 1993, in Danville, IL. Kate left the band after the second show.

After this, Braid went through some drastic changes. Bob's other band, Friction, broke up for good, which meant that Braid was no longer a side project. Chris Broach joined as singer. Pete left the band in August 1994, and Chris took over on guitar. A week later Braid recorded the Rainsnowmatch 7-inch, which was released in December 1994 on Enclave Records. Braid's debut album Frankie Welfare Boy Age Five was released in June 1995 on Divot Records.

In March 1997, Roy left the band. Damon Atkinson, of Figurehead, joined Braid's spring tour and became the band's drummer. Two years later, in August 1999, Braid disbanded; the posthumous Lucky to Be Alive followed in the spring of 2000. ~ Tracy Frey, All Music Guide [-] Hide

The Promise Ring were one of the most popular emo bands of the '90s, epitomizing the poppier, more accessible wing of the style. Along with Sunny Day Real Estate, the Get Up Kids, Braid, and Jimmy Eat World, they helped bring emo from the punk underground to a wider indie rock audience in the latter half of the decade. Like the exact definition... [+] Read More

The Promise Ring were one of the most popular emo bands of the '90s, epitomizing the poppier, more accessible wing of the style. Along with Sunny Day Real Estate, the Get Up Kids, Braid, and Jimmy Eat World, they helped bring emo from the punk underground to a wider indie rock audience in the latter half of the decade. Like the exact definition of emo itself, the Promise Ring's music evolved in ways that were difficult to pin down completely; starting out as both intricate and visceral, they simplified their sound into more straightforward punk-pop, then dabbled in introspective roots rock before disbanding. Different parts of their fan base often disagreed about which phase was their best, but their debut 30° Everywhere is usually cited as one of the best emo albums of its era.

The Promise Ring were formed in Milwaukee in early 1995 from the remnants of several other Midwestern emo outfits. Guitarist/singer Davey vonBohlen was still a member of the acclaimed cult band Cap'n Jazz when he started jamming with guitarist Jason Gnewikow (ex-None Left Standing), drummer Dan Didier (ex-Ceilishrine), and bassist Scott Beschta. When Cap'n Jazz disbanded later that year, vonBohlen focused on his former side project full-time. After a one-off debut single on the small Foresight label, "Watertown Plank"/"Mineral Point," the Promise Ring signed with the independent Jade Tree. Their first release was the three-song EP Falsetto Keeps Time, which included the emo classic "A Picture Postcard"; not long after, they also issued a split 7" with Texas Is the Reason that featured the track "E. Texas Ave."

Building a following through touring and word of mouth, the Promise Ring released their debut album, 30° Everywhere, in the fall of 1996. It quickly became an underground sensation, and started to earn the band some attention from indie rock publications. While on a supporting tour in early 1997, the band repackaged and reissued its early singles on The Horse Latitudes. After the tour, they re-entered the studio and recorded their proper sophomore effort, the slightly poppier Nothing Feels Good, which was released later in 1997. Nothing Feels Good expanded the Promise Ring's indie following by leaps and bounds, and received generally good reviews. However, it marked bassist Beschta's last work with the group; he was replaced on the supporting tour by Tim Burton, the onetime bassist for Gnewikow's None Left Standing.

Disaster nearly struck on that tour when the band's van flipped during a snowstorm; most of the members ended up in the hospital, and Gnewikow was in critical but stable condition for a time. Burton, who hadn't been working out anyway and whose arm was broken, was dismissed from the band in early 1998 and replaced by Scott Schoenbeck, who ironically had just formed a post-rock band called Pele with original Promise Ring bassist Beschta. The Promise Ring issued a quick three-song EP, Boys + Girls, in 1998, before finally completing their third proper album, Very Emergency, in 1999. Very Emergency concentrated on the pop side of their punk-pop formula to a greater degree than ever before, and while it was the subject of a backlash among their earlier fans, it continued to build their indie audience and earned some airplay on college radio. Also in 1999, vonBohlen and Didier joined forces in an acoustic-oriented side project band called Vermont, which issued the first of two albums that year.

Following the release of the Electric Pink EP in early 2000, the Promise Ring narrowly averted another tragedy when vonBohlen was diagnosed with a brain tumor. It was surgically removed and fortunately turned out to be benign, although a subsequent infection kept vonBohlen in the hospital and off the road for some time. In the aftermath, the Promise Ring severed ties with Jade Tree in 2001 and signed with Epitaph subsidiary Anti. The following year, they issued their fourth album, Wood/Water, a drastic change of pace whose introspective tone and shimmering atmosphere were indebted to the more recent roots-pop efforts of Wilco. Though their reinvention was generally a critically successful one, the Promise Ring elected to disband in October 2002. ~ Steve Huey, All Music Guide [-] Hide

After a shifting lineup, Pedro the Lion finally eventually became a one-man outfit. That man is David Bazan. A Seattle native, Bazan cut his teeth playing in hardcore bands before forming Pedro in 1995, taking the band's name from a character he made up for a possible children's book. Under the moniker of Pedro the Lion, Bazan creates melodic... [+] Read More

After a shifting lineup, Pedro the Lion finally eventually became a one-man outfit. That man is David Bazan. A Seattle native, Bazan cut his teeth playing in hardcore bands before forming Pedro in 1995, taking the band's name from a character he made up for a possible children's book. Under the moniker of Pedro the Lion, Bazan creates melodic pop in the vein of Bedhead, Hayden, and Sebadoh, with a lyrical focus on relationships -- with both other people and God. Bazan also plays in the band Unwed Sailor with Johnathon Ford of Roadside Monument. Pedro the Lion's debut full-length album, It's Hard to Find a Friend, was released in 1998. An EP titled The Only Reason I Feel Secure shortly followed, and in early 2000 Pedro the Lion returned with Winners Never Quit on Jade Tree. In 2001, Jade Tree reissued the band's first two records, and Casey Foubert joined the band to handle bass, percussion, and keyboard duties for the next record, 2002's Control. In 2004, the band issued their most expansive album, Achilles Heel. Two years later, in early 2006, Bazan retired the Pedro moniker to continue on with solo work under his own name; the first "official" David Bazan release, the Fewer Moving Parts EP, appeared that July. Long-time collaborator and multi-instrumentalist T.W. Walsh moved on with his own project, the Soft Drugs, and returned to a career in software engineering. ~ Jason Nickey, All Music Guide [-] Hide

Disregarding all the wordiness and adjectives that can be heaped like a pile of horse dung at Disneyland upon great, timeless albums, the importance of this record can perhaps be more suitably measured by the number of people who remember the first time they heard it. 13 Songs (a combination of the Fugazi and Margin Walker EPs) is usually among... [+] Read More

Disregarding all the wordiness and adjectives that can be heaped like a pile of horse dung at Disneyland upon great, timeless albums, the importance of this record can perhaps be more suitably measured by the number of people who remember the first time they heard it. 13 Songs (a combination of the Fugazi and Margin Walker EPs) is usually among the first records that spring to mind when defining alternative rock. Furious, intelligent, artful, and entirely musical, it's a baker's dozen of cannon shots to the gut -- not just a batch of emotionally visceral and defiant songs recorded by angry young men, but something greater. Nearly every song here reaches an anthemic level without falling prey to pomposity. Most of these songs are anthems of the self rather than a rallying cry of accusation or unification, with "Waiting Room" and "Suggestion" serving as two examples. The attention-getting drop into silence that occurs at the 22-second mark of the former is instantly memorable. The relentless ska/reggae-inflected drive of the song is equally effective, as Ian MacKaye tells everyone listening to get off their behinds and do what they want. During the Meters-meets-Ruts thrust of "Suggestion," MacKaye switches genders for an entirely convincing rant on the objectification of women. Guy Picciotto takes on the persona of an addict on "Glue Man," whose blurred sense of reality is also conveyed in the warped, psychedelic guitars. Picciotto threatens to set himself on fire during "Margin Walker"; given the spirited play of the remaining members, it sounds like the same could be said for the rest of them. Foreshadowing the band's knack for introspective and mid-tempo concluding tracks, the disc ends with MacKaye's "Promises," examining the pitfalls of trust in relationships of any nature. A landmark record. ~ Andy Kellman, All Music Guide [-] Hide

Pedro the Lion's Dave Bazan is an observant Christian who wears his sins on his sleeve. Still, there's a sweetness about his outlook and journey on It's Hard to Find a Friend. The songs offer nice detail: he finds his girlfriend has ticket stubs to a movie she saw with someone, but not him; and he wishes he could become the disciplined person a... [+] Read More

Pedro the Lion's Dave Bazan is an observant Christian who wears his sins on his sleeve. Still, there's a sweetness about his outlook and journey on It's Hard to Find a Friend. The songs offer nice detail: he finds his girlfriend has ticket stubs to a movie she saw with someone, but not him; and he wishes he could become the disciplined person a friend is "for a few habit-forming years." There's some real grace and poetry in the lyrics, and the music is spare, simple, and hypnotic. Bazan seems to be a musical hybrid of Moe Tucker and Daniel Johnston, with a dash of Brian Wilson ("The Longer I Lay Here") and Popol Vuh ("The Bells"). A brotherly gem. ~ David Dwyer, All Music Guide [-] Hide

Braid's second full-length, The Age of Octeen, exudes a passion and roughness reminiscent of high school. From the boyish shouted/sung vocals to the straightforward, punk-influenced guitars to the lyrics dealing with failed relationships and memories, the album has an unpolished, garage-band energy. Although the album has that raw quality, there... [+] Read More

Braid's second full-length, The Age of Octeen, exudes a passion and roughness reminiscent of high school. From the boyish shouted/sung vocals to the straightforward, punk-influenced guitars to the lyrics dealing with failed relationships and memories, the album has an unpolished, garage-band energy. Although the album has that raw quality, there isn't a weak track on it. The first track, "My Baby Smokes," starts with quiet, mumbled lyrics, rolling drums, and understated guitars before bursting into wailing vocals backed by a wall of sound. "American Typewriter" is a little more complex with its tight, staccato drumming and quick guitar riffs. "Chandelier Swing" and "Autobiography" close the album on a quieter, more thoughtful note. Overall, The Age of Octeen is a solid effort that manages to capture the abandon and freedom of being 19. ~ Tracy Frey, All Music Guide [-] Hide

On the heels of their self-titled EP in late 1998, Jimmy Eat World released their breakthrough album Clarity in 1999 and took up the mantle of emo poster boys. Deftly produced by Mark Trombino and the band, Clarity mixes introspective balladry with power-chord punk rock, elements of chamber pop, and subtle doses of electronica to create a... [+] Read More

On the heels of their self-titled EP in late 1998, Jimmy Eat World released their breakthrough album Clarity in 1999 and took up the mantle of emo poster boys. Deftly produced by Mark Trombino and the band, Clarity mixes introspective balladry with power-chord punk rock, elements of chamber pop, and subtle doses of electronica to create a remarkably unique album. The only single to garner radio play, the hard-edged yet poppy "Lucky Denver Mint," was also featured on the soundtrack to the Drew Barrymore film Never Been Kissed, and while the album reached an audience that far surpassed Jimmy Eat World's previous efforts, it was by no means a commercial smash hit. The band's punk influences are evident on "Your New Aesthetic," which decries the commercialization of radio as effectively as any song since Elvis Costello's "Radio, Radio." The other songs are more personal and poignant. Using string ensembles, drum loops, chimes, piano, vibraphones, and tight vocal harmonies to create intricately layered songs, Clarity alternates between hypnotic and hard rock, often in the same song. The snarl of "Blister" and "Crush" are counterbalanced by the understated beauty of "Table for Glasses" and "On a Sunday." However, most of the tracks mix both ends of the emotional spectrum with dramatic effects. The sweeping "Goodbye Sky Harbor," which clocks in at an epic 16 minutes 11 seconds, starts off as an up-tempo romp, but evolves into an expansive piece of dream pop that includes vocal loops, several layers of delicate electric guitars, bells, and a drum machine. Heartfelt, yearning vocals from Jim Adkins and Tom Linton tie the songs on Clarity together and set them apart from other post-grunge rock acts. Neither vocalist is afraid to wear his heart on his sleeve, but both pull it off without sounding wimpy or overly forlorn. They are also versatile enough to belt out the more aggressive tunes. Trombino also deserves praise for helping to brilliantly balance excellent songwriting and traditional rock elements with adventurous production and unique instrumentation. ~ Mark Vanderhoff, All Music Guide [-] Hide

The cryptically titled How It Feels to Be Something On was the first fruit of Sunny Day Real Estate's reunion, and it simultaneously smoothed out their sound while shifting it into something altogether more ambitious. Always somewhat arty and challenging to begin with, SDRE flirts with out-and-out prog rock here, cleaning up the production to... [+] Read More

The cryptically titled How It Feels to Be Something On was the first fruit of Sunny Day Real Estate's reunion, and it simultaneously smoothed out their sound while shifting it into something altogether more ambitious. Always somewhat arty and challenging to begin with, SDRE flirts with out-and-out prog rock here, cleaning up the production to reveal the contrasting layers in their ever more intricate arrangements. There's a droning, almost Middle Eastern feel to some of the songs, pointing up Jeremy Enigk's newfound taste for spiritual mysticism (though the mantra-like chanting on "The Prophet" comes off a little awkwardly). Enigk has matured greatly as a vocalist, applying lessons learned from his solo project; gone is the strangled roar he frequently used on Diary, but even while confirming his softer bent, he's reined in the swooning, bordering-on-fey excess of LP2. Similarly, the band's musicianship keeps getting sharper, handling the twisting chord progressions with an easy grace that keeps the songs flowing smoothly into one another. Almost too smoothly, in fact -- if the album has a flaw, it's that the climactic peaks don't seem to scale quite the same heights as on the band's other albums. That's a minor complaint, to be sure, but perhaps that's why How It Feels to Be Something On can feel at times like a dry run for the magnificently perfected The Rising Tide, where Enigk's piercing falsetto really hits its stride and where the band's songwriting fulfills their every anthemic ambition. But that's only in hindsight; taken on its own terms, How It Feels to Be Something On is a remarkable step forward from a band that seemed destined to leave its full potential untapped. ~ Steve Huey, All Music Guide [-] Hide