![]() ![]() Emery toured extensively to promote their new release. The record was released in January 2004 by Tooth & Nail Records. It was produced at the Black Lodge Studio in Eudora, Kansas. Wasting no time, Emery paired up with producer/ engineer Ed Rose and worked on their debut album, The Weak's End. Because Seth took over drums, Devin took the position of guitarist.Īfter making Emerald City their new home in Seattle, Washington, Emery signed a record deal with Tooth & Nail Records, also of Seattle, in 2002. After a little while Seth Studley, who was one of the original members of the band, broke out of a serious relationship and followed them to Seattle and resumed his post as drummer. Most of the members are from the bands Sachul, Joe 747, Simply Waynes and Oogie Brown. ![]() The four members in the band at the time, Toby Morrell ( vocals/ guitar), Devin Shelton ( drums), Matt Carter ( guitar/ keyboards), and Joel "Chopper" Green ( bass) left Rock Hill, South Carolina, for Seattle on September 11, the day of the terrorist attacks they found out about the attacks when they stopped at a Cracker Barrel restaurant in North Carolina. The band was named after a first grader that Toby Morrell met while working as an intern for a teacher in college. History Early years (2000–2010) Įmery formed in 2001 in Rock Hill, South Carolina, but moved to Seattle, Washington, in search of a better musical environment. After signing with BadChristian Music, the band released You Were Never Alone on May 19, 2015, and Eve on November 9, 2018. In Shallow Seas We Sail on June 2, 2009, and We Do What We Want on March 29, 2011. ![]() However, the band re-signed with the label and released. The latter fulfilled Emery's contract with Tooth & Nail. The Weak's End, their debut album, was released in 2004, followed by The Question in 2005 and I'm Only a Man in 2007. With Tooth & Nail, they recorded five studio albums and two EPs. īefore signing with Tooth & Nail Records, Emery recorded two EPs, The Columbus EEP Thee and The Weak's End demo that they used to attract attention from labels. The band relocated to Seattle in order to reach a more music-centered scene. This analysis of vocal polyphony in Emery’s music uncovers an area of popular music theory that should be explored further in future research.Emery is an American post-hardcore band formed in Rock Hill, South Carolina, in 2001 by Toby Morrell, Devin Shelton, Matt Carter, Josh Head, Joel Green, and Seth Studley. I have identified these same alternating and simultaneous polyphonic vocals in other contemporary rock subgenres such as emo, pop punk, indie rock, and others. Emery uses two types of this vocal polyphony: alternating and simultaneous. Chapter 4 is an analysis of the diverse patterns of vocal polyphony in Emery’s music. The band Emery, whose history and genre classification are explored in Chapter 3, is used as a case study. This includes the formation of Tooth & Nail Records and bands signed to the label who produced music that is both compositionally complex and sincere in its expression of Christian faith. Chapter 2 includes people and events that challenge prevailing misguided beliefs about the subgenre. A history of Christian rock is presented in a way that existing literature on the subject has yet to accomplish. This thesis seeks to uncover and analyze Christian rock that has been largely overlooked by those who believe and perpetuate negative stereotypes about the subgenre. All of this points to a prevailing stereotype that in Christian rock, sincerity and compositional complexity are sacrificed for the sake of marketability and mass appeal. This led to the emergence of dismissive assumptions that Christian musicians are only in the business for money and that Christian music is cheap imitation of secular music, which is more authentic. The Christian music industry simultaneously produced more “radio-friendly” music, while also creating their own Christian radio stations, retailers, and record labels as outlets for this music. Though the subgenre was gradually more accepted over time, Christian musicians faced a new challenge when they realized they had isolated themselves from a wider audience by occupying the “gospel” and “worship” sections of the record store. Preachers and religious leaders spoke out against this combination of the “music of the devil” and gospel-proclaiming lyrics. To many, the inception of Christian rock threatened the moral and religious stability of America due to its ties to rock and roll. ![]()
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