Emery

Emery is an American post-hardcore band from Seattle, Washington currently signed to BadChristian Music. Emery was founded in Rock Hill, South Carolina by Toby Morrell, Devin Shelton, Matt Carter, Josh Head, Joel Green and Seth Studley, and moved to Seattle in order to reach a more music centered scene.
Before 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. With Tooth & Nail, they have recorded five studio albums, and two EPs. 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. The latter fulfilled Emery's contract with Tooth & Nail. However, the band re-signed with the label and released ...In Shallow Seas We Sail on June 2, 2009 and We Do What We Want on March 29, 2011. After signing with BadChristian Music the band released You Were Never Alone on May 19, 2015, and Eve on November 9, 2018.

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Top SongsAlbum
1
ScissorsWe Do What We Want3:14
2
WallsTen Years3:23
3
The Ponytail Parades (Reimagined)Revival: Emery Classics Reimagined3:54
4
Studying Politics (Reimagined)Revival: Emery Classics Reimagined4:01
5
Butcher's MouthTen Years3:14
6
In Shallow Seas We Sail20th Century Masters - The Millennium Collection: The Best Of Emery3:37
7
Returning The Smile You Have Had From The StartAre You Listening?3:04
8
Miss Behavin'Are You Listening?3:17
9
The Ponytail ParadesTen Years4:06
10
Dear Death Part 1In Shallow Seas We Sail1:41
Emery kick off I'm Only a Man, their third full-length, with the roar of "Rock-n-Rule," a song stung initially by sharp edges before tumbling straight into driving rock, splintered by breaks, time shifts, and plenty of dramatics. It's far removed from the group's usual sound, but strongly sets the stage for the rest of this adventurous set, which takes Emery from pop to prog and all points in-between. The irrepressible "The Party Song" falls into the former category with its infectious chorus and hook riven verses, as the band reach out to a self-destructive, self-medicating party animal. On "World Away," Emery reach back in time, resurrecting the silken pop of '80s Depeche Mode, while "The Movie Song" powers up towards melodic punk rock, with its shout-along harmonies and chorus to die for, which fits perfectly with the song's "I could die tonight for one kiss more," theme. At the other end of the spectrum comes the prog rock styled "After the Devil Beats His Wife" and "Don't Bore Us, Get to the Chorus," the latter paying tribute (once again) to Queen, as well as to the organ led-rock of the '70s, while the tension packed "Can't Stop the Killer" blends emo with myriad nods to the past. That latter's theme of far from happy family is one revisited several times on the set, as relationships fall apart, and the band lose themselves in an emotional labyrinth from which they can find no way out. It's all supported by a magnificent musical maze, as Emery trod down numerous stylistic alleys and byways, most magnificently on the album's epic closer "From Crib to Coffin." Across this ten-plus minute extravaganza, the band shift from the downbeat acoustic opening, across elegant piano and sweeping organ passages, and into bubbly space. I'm Only a Man is a diverse set, adventurous both emotionally and musically, yet never feels overly eclectic due to Ryan Boesch's excellent production and the band never losing sight of their core sound and vision. Emery's best yet, and an album that may prove hard to beat. [A DVD version was also released.]
Emery kick off I'm Only a Man, their third full-length, with the roar of "Rock-n-Rule," a song stung initially by sharp edges before tumbling straight into driving rock, splintered by breaks, time shifts, and plenty of dramatics. It's far removed from the group's usual sound, but strongly sets the stage for the rest of this adventurous set, which takes Emery from pop to prog and all points in-between. The irrepressible "The Party Song" falls into the former category with its infectious chorus and hook riven verses, as the band reach out to a self-destructive, self-medicating party animal. On "World Away," Emery reach back in time, resurrecting the silken pop of '80s Depeche Mode, while "The Movie Song" powers up towards melodic punk rock, with its shout-along harmonies and chorus to die for, which fits perfectly with the song's "I could die tonight for one kiss more," theme. At the other end of the spectrum comes the prog rock styled "After the Devil Beats His Wife" and "Don't Bore Us, Get to the Chorus," the latter paying tribute (once again) to Queen, as well as to the organ led-rock of the '70s, while the tension packed "Can't Stop the Killer" blends emo with myriad nods to the past. That latter's theme of far from happy family is one revisited several times on the set, as relationships fall apart, and the band lose themselves in an emotional labyrinth from which they can find no way out. It's all supported by a magnificent musical maze, as Emery trod down numerous stylistic alleys and byways, most magnificently on the album's epic closer "From Crib to Coffin." Across this ten-plus minute extravaganza, the band shift from the downbeat acoustic opening, across elegant piano and sweeping organ passages, and into bubbly space. I'm Only a Man is a diverse set, adventurous both emotionally and musically, yet never feels overly eclectic due to Ryan Boesch's excellent production and the band never losing sight of their core sound and vision. Emery's best yet, and an album that may prove hard to beat. [A DVD version was also released.]
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