{"id":266,"date":"2024-03-08T17:00:00","date_gmt":"2024-03-08T17:00:00","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/2024-3-6-playlist-songs-with-screams\/"},"modified":"2024-03-08T17:00:00","modified_gmt":"2024-03-08T17:00:00","slug":"2024-3-6-playlist-songs-with-screams","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/2024-3-6-playlist-songs-with-screams\/","title":{"rendered":"Playlist: Songs with screams"},"content":{"rendered":"
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Graphic by Remi Foeller<\/p>\n<\/div>\n<\/figcaption><\/figure>\n<\/p><\/div>\n

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By Nora Onanian<\/h1>\n

In middle school, I remember a close friend of mine introducing me to some of her favorite bands one day, all of whom, at the very least, flirted with the genre of screamo \u2014 Pierce the Veil, Sleeping with Sirens and A Day to Remember, to name a few. While I loved her dearly, I never quite got the appeal. That is, until I found myself in a venue packed with predominantly queer, Gen Z concert goers, all following Phoebe Bridgers\u2019 lead and screaming like our lives depended on it. Although I still wouldn\u2019t call myself a fan of *screamo* per se, that moment at Bridgers\u2019 concert and times like it have caused me to realize that songs with screams \u2014 particularly from women or nonbinary artists \u2014 affect me in ways that songs with just lyrics alone don\u2019t. <\/p>\n

Screaming, shrieking, grunting, yowling \u2014 \u2026whatever you want to call it \u2014  see the artist return to something primal. They are a true embodiment of letting it all out, their rawness conveying a level of vulnerability and passion that language alone can\u2019t possibly express. And ultimately, in a medium that is already filled with such a high level of emotion, I think these expressions of the human voice provide an even more elevated form of catharsis for the artist, as well as listeners who relate to their message.<\/p>\n

I encourage you to give the five \u201csongs with screams\u201d that I describe below a listen. And if they speak to you, it might be best to follow Phoebe Bridgers\u2019 advice in \u201cI Know the End\u201d and \u201cWindows down \/ scream along\u201d to these songs where human emotion turns primal\u2026<\/p>\n

(Scroll down for a complete compilation available on Spotify.)<\/p>\n<\/div>\n

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\u201cI Know The End\u201d by Phoebe Bridgers<\/h1>\n

I Know the End\u201d (referenced twice above) has mixed meanings to Bridgers (she\/her\/hers), who wrote some of the original lyrics about a breakup and later reworked them to more closely be about the depression she was feeling while touring. While not necessarily universal experiences, Bridgers has a way of making sure the emotions behind the specific anecdotes she references are still transferable to the listener so that ultimately, \u201cI Know the End\u201d might resonate with anyone trying to escape something that\u2019s weighing them down emotionally. But optimists be warned: the song doesn\u2019t quite end in a Florence + the Machine\u2019s \u201cShake It Off\u201d-esque manner. Bridgers turns apocalyptic and expresses her feelings about this impending state of the world not in words, but rather a 16-second long, wonderfully cathartic scream.<\/p>\n<\/div>\n

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\u201cUr Mum\u201d by Wet Leg<\/h1>\n

When I was first introduced to Wet Leg by their debut single \u201cChaise Longue,\u201d I adored the deadpan vocal delivery style of Rhian Teasdale (she\/her\/hers). The vocal inflections cuing her emotions may be absent, but it can rather easily be distinguished how Teasdale is feeling when listening to what she\u2019s saying. At some point you realize that no one would say \u201cI went to school and I got the big D\u201d in a genuinely serious tone. So, in the later released track \u201cUr Mum,\u201d Teasdale is able to set up a jarring contrast when her emotions suddenly come out full-force. Through the lyrics, she overtly disses a former beau. At the bridge, she delivers the line \u201cOk, I\u2019ve been practicing my longest and loudest scream. Ok, here we go. 1\u2026 2.. 3\u2026\u201d with the calm, collectedness of a flight attendant providing instructional information. And then, in a beautiful contrast to this composure, she uses her voice to convey emotion in its highest expression\u2014 guttural, churning screaming.<\/p>\n<\/div>\n

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\u201cOhio\u201d by King Princess<\/h1>\n

The rage King Princess (it\/its\/itself) expresses in its song \u201cOhio\u201d peaks at various points in the track, but the textbook-definition<\/em> scream comes briefly in the song\u2019s last 20-or-so-seconds. King Princess sings about the complex emotions it felt when its girlfriend moved to Ohio. While the song starts innocently enough, with King Princess wondering how much its girlfriend thinks about their relationship, the song progresses to King Princess feeling a level of angst about the long distance situation. It sings \u201cWell, come here and I\u2019ll show you what I like about it\u201d in a harsh and raspy tone. King Princess switches back to its signature smooth, warm and soulful vocal style as it expresses being torn, wondering if its misery comes down to its girlfriend or King Princess itself \u2014 \u201cIs it me or is it you?,\u201d it repeats. This is the line that the lyrics end on, but the song continues for a punchy, guitar-heavy outro where a small scream is slipped in as a final marker of King Princess\u2019 upset. <\/p>\n<\/div>\n

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\u201cReal Pain\u201d by Indigo De Souza<\/h1>\n

I will \u2014 with some amount of shame \u2014 admit that I made a \u201cPain\u201d playlist in high school as I recovered from spine surgery and some level of emotional pain as well (another playlist article for another day). None of the other songs on the playlist came as close to encapsulating some of what I was feeling as \u201cReal Pain\u201d by Indigo DeSouza (she\/her\/hers) does. With rather simple but resonant lyrics, DeSouza is writing from a place of loss and grief. But rather than keeping it as an expression of her personal dealings with pain, she makes a very intentional choice to invite others to feel right alongside her. In the process of making the track, DeSouza sent out a call for people to submit anonymous voice memos of \u201cscreams, yells, and anything else.\u201d In the song\u2019s official recording, at the bridge, she repeats the lyric \u201cgoing\u201d as these voices are layered in. They scream softly at first, but then so loud that DeSouza\u2019s single repetitive lyrics can no longer be heard. DeSouza summarized her intention to \u201cembody a kind of collective experience\u201d in the song\u2019s press release<\/span><\/a>. She went on: \u201cWhile we live such separate lives, we are connected in the way that we all navigate immense amounts of pain and love and fear in our bodies every day\u2026 It’s okay to feel things fully and to allow others space to do the same.” Through most of the song (including the screams), DeSouza clearly expresses that it feels grating and unbearable to go on. However, she is also able to find compassion for herself amid the pain, as shown by the sweet-sounding last verse and outro that bring it all home.<\/p>\n<\/div>\n

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\u201cMiddle of the Road\u201d by The Pretenders<\/h1>\n

To end, I\u2019m bending the rules of this playlist slightly by expanding the definition of a scream to the feline-inspired yowl that Chrissie Hynde (she\/her\/hers) lets out in the outro of the Pretenders\u2019 \u201cMiddle of the Road.\u201d Sonically, the song has got it all: dynamic drumming, an impressive guitar solo, powerful stretches where the harmonica shines,  and \u2014 most of all \u2014 this iconic animalistic expression of angst. Chrissie Hynde reflects on time passing, motherhood and fame through her songwriting. These themes (and seemingly an explanation for the cat noise to come) are encapsulated most in the final lyrics: \u201cDon\u2019t harass me, can\u2019t you tell \/ I\u2019m going home, I\u2019m tired as hell \/ I\u2019m not the cat I used to be \/ I got a kid, I\u2019m thirty-three.\u201d Though tired, the yowl she ends with is a clear signal that, especially with the increased stakes of her life circumstances, she is ready to defend herself.<\/p>\n

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Wrapping up this playlist, I can\u2019t help but return to thinking about the screamo-esque bands my friend introduced me to all those years ago \u2014 why do the songs I listed above resonate with me in ways that those other ones didn\u2019t? Is it because I\u2019m not \u2018angsty\u2019 enough for their metal tendencies? Or, because I didn\u2019t resonate with the predominantly straight, male lead singers? <\/p>\n

I plugged in \u201cWhy do people like screamo music\u201d into my web browser and scanned through some Quora and Reddit users\u2019 answers to this very question. \u201cIntensity,\u201d \u201cforcefulness,\u201d \u201cemotion\u201d jumped off the pages as words people commonly used while describing what they were drawn to\u2026 similar enough to what I like about screams in indie, rock and alternative music (or any combination of the three). Slightly dissatisfied, I decided to reach out to my friend, close to ten years after our middle school days. <\/p>\n

Like others had echoed, she said that she resonated a lot with the emotions being displayed through the harsh vocals, especially while she was a teenager dealing with angst and rage. But she also described finding bits of her identity in the lyrics more than just relating to the emotions behind the screams. <\/p>\n

\u201cMany of the lyrics talked about their experiences with mental health and their emotional turmoil dealing with their struggles,\u201d she said. For her, hearing some of these lyrics helped reaffirm that she wasn\u2019t alone in her personal mental health experiences.<\/p>\n

With most popular screamo artists being men circa 2014, she didn\u2019t necessarily relate in terms of gender identity to the artists she was listening to and waiting hours to see at Warped Tour<\/em>. But she described the way that POC (person of color) artists she listened to resonated more than others. \u201cWithin some of their songs they would talk about their experiences living in America and having immigrant parents. Being Middle Eastern, I found myself relating greatly to these songs\u2026 I saw myself being represented in that part of my life.\u201d <\/p>\n

From our conversation, I realized that the specificities of what my friend and I were looking for in terms of representation were different, as were our sonic preferences; but ultimately, we find the same emotional support from listening to our respective music. <\/p>\n

I found that songs with screams \u2014 transcendent of genre \u2014 can make you feel seen at a whole new level. When you don\u2019t know the identity of the artist, lyrics are what can help establish a sense of relatability. But lyrics alone only reflect your emotional state so much. It is the screams embedded in these songs that speak to the queer experience, the POC experience, the experience of living in a male-dominated society or any other combination of tailored-to-you experiences, so very strongly. <\/p>\n

Interested in more songs with screams? Here\u2019s 15 more from where these came from\u2026<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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