Rites of Spring - End On End (1991)

From allmusic (4.5/5):

"Released on CD by Dischord in 1991, this digital version of End on End covers the complete recorded output of the legendary Rites of Spring: their self-titled LP, the All Through a Life EP, and one extra song. One of the first bands to be labeled emocore, Rites of Spring would seem to transcend all labels as their music cuts right through to the heart of universal human experience. Emotional? Yes -- check out the bitter memorial relived on "For Want Of," the pulse pounding moment-grab that is "Drink Deep," or the devoted searches for honesty and meaning explored on "End on End," "Theme," and really just about every track on the disc. Hardcore? Yes -- emerging from the D.C. scene, the music is pure focused energy, not a single note wasted. The band at times is fast and furious, at other times lush and evocative though always with a sense of drive and melody. Rites of Spring hint at some of the territory vocalist/guitarist Guy Picciotto and drummer Brendan Canty would later survey with Fugazi, but this band is much more than just a stepping stone. End on End, quite simply, is a testament to the rich possibilities of sincerity in music."



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Sunny Day Real Estate - The Rising Tide (2000)

From allmusic (4.5/5):

"Described by Jerermy Enigk as a "wake-up call," Sunny Day Real Estate's fourth album (and their first for Time Bomb) The Rising Tide presents the most accomplished version of their gripping, anthemic sound yet. Appropriate to its title, The Rising Tide comes in sweeps and swells, ranging from searching, uncompromising rock like "Killed By an Angel" and "One" to gentle, beautiful ballads like "Rain Song" and even pop-tinged songs like "Television," which sounds a bit like a more propulsive version of the Police's early '80s singles. Though the album was recorded with a trio lineup (Jeremy Enigk, Dan Hoerner, and William Goldsmith), it's some of the band's fullest-sounding work, rich with strings and keyboard flourishes that add extra depth to the shimmering, Eastern-inspired drones of "Fool in the Photograph" and "Faces in Disguise." Lou Giordano's production gives The Rising Tide an unabashedly big, clean sound that frames Sunny Day's detailed songwriting and arrangements perfectly, giving the restrained, reflective "Tearing in My Heart" and "The Ocean" as much impact as driven tracks like "Snibe" and "Disappear." Best of all is the title track, which blends a beautiful melody, heartfelt vocals, and an insistent rhythm into a sweeping, affecting finale. Expansive and complex without compromising the band's focused, impassioned style, The Rising Tide is one of Sunny Day Real Estate's -- and 2000's -- most impressive albums."

Get it here.

Also:
Sunny Day Real Estate - Diary (1994)
Sunny Day Real Estate - How It Feels to Be Something On (1998)

Sunny Day Real Estate - How It Feels to Be Something On (1998)

From allmusic (4/5):

"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."

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Drive Like Jehu - Drive Like Jehu (1991)

From allmusic (4.5/5):

"Pitchfork was a fine enough band, but whatever happened between those days and the launch of Drive Like Jehu made the newer group a quantum leap forward, as this gripping album demonstrates. Starting with the deceptively calm then ripping "Caress," Drive Like Jehu lives up to the Biblical reference of the group's name by feeling like a heaven-sent storm taking everything along with it at 200 mph. The Rick Froberg/John Reis guitar team sound like they've been dipped in battery acid, wired to a power station, and let absolutely loose, screaming, nervous riffs piled on top of each other and taking off for Mars. Froberg's own wild scream singing suits it perfectly, sounding like something's about to give and leave nothing in its wake. The concluding chorus to "Spikes to You" is a call-and-response from hell, his strangled wail sounding like a last desperate cry for help, while "Good Luck In Jail" sounds even more like something from beyond a violent, horrifying wall of sound. Reis helps out himself every so often, with equally fierce results -- "Step on Chameleon" practically burns with threat both vocally and musically, Froberg's additional interjections on the chorus even more unsettling while the weirdly beautiful mid-song break takes things to an even higher level. Meanwhile, the Mike Kennedy/Mark Trombino rhythm section know when to cut out and when to go full out, throwing in a bunch of tempo shifts and changes per song without sounding like wanky prog rock wannabes. Everything is done in the service of intensity and emotion, winding everything up to explode and then explode again, as with the heart-in-throat shuddering start to "If It Kills You." Even the group's quietest moments loom with threat, sometimes just needing Kennedy's bass or a soft hum of feedback, as on the start of "O Pencil Sharp," to make the point."

Get it here.

Mineral - The Power of Failing (1997)

An essential album to have for any real emo fan. Mineral were together for only four years releasing two full length albums in that time. The Power of Failing being their first and their best. The album is full of driving melodies and "heart-penetrating lyrics." The explore the gambit of volume vocals that go from hushed to pure power and instrumentals that can go from calm to almost violent in an instant. Anyone who claims to know what "emo" is doesn't know shit if they haven't heard this album.

Here's part of a real review from punknews.org

"It’s always nice when you discover a band (or album) that hits you in a way much like a breath of fresh air after a long night in a crowded bar. When I first listened to The Power of Failing. by Mineral, I was really impressed with them musically, just the way they sounded so cohesive and how at any point in time I could find myself humming some of the bass or guitar parts in my head. Too bad they only lasted through the `90s; they still made an impact however on how indie and emotional music would be made afterwards. 

If you are into this type of music, this is definitely one of the best indie/emotional rock albums that I’ve ever heard and I hold it in high regard, much like Sunny Day Real Estate’s album Diary. The only defect (if you could even call it that) on this album would have to be the length of the songs; however, all the songs are pretty amazing all the way through. The shortest track falls around the 3:15 minute mark while the rest usually push over five minutes.

The music itself is quite moving: beautiful guitars, well-placed bass lines, and great drums charge the engine of this band. The vocals are emotional and energetic as vocalist Chris Simpson pours every amount of feeling and vigor into the mic. The songs are slow, melodic, and the instrumentation will baffle you. The best track on this album (in my opinion) titled “Slower” holds lyrics like "I scream into the wind and laugh / As the words slap me in the face / I would gladly trade a lifetime of convenience / For an honest day or two" are alone powerful but the way that Simpson’s haunting voice delivers them are unforgettable. Whether it’s on top of noisy distorted guitars, clean and subtle picking or strumming, his voice really completes the sound of this band and makes a distinct mark on first listen."

Track Listing:

1. Five, Eight, and Ten- 5:26*

2. Gloria- 3:42*

3. Slower- 5:47

4. Dolorosa- 5:10*

5. 80-37- 4:33

6. If I could- 5:59

7. July- 4:24

8. Silver- 6:56

9. Take the Picture Now- 3:16

10. Parking Lot- 3:52*

*My personal favorite tracks

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