I'd second the 57, with a Stedman pop filter and a bright but smooth pre like an RNP, or maybe an API - I see a lot of engineers using API's on screamo guys lately. I use the RNP and like it fine. Really picks up the rawness and the attack of punk or screamo vocals and sits nicely in the mix.
I did a similar project a couple of weeks ago and did two passes of the vocals. One on the 57 with the pop filter and one with a hand held '58. Combining the tracks together sounded REALLY good. The 57 gave the meat and definition to the tone and the '58 caught the distorted cupped-mic technique that those vocalists like to use. On some songs I nuked the 58 track and brought it in here and there as a backup vocal. It sounded great.
If you want hella raw and lo-fi, the AKG D19C is a hell of a lot of fun...
A lot of the screamo guys like to use the PA as an instrument, which is why they sometimes have trouble translating to the studio. They USE the feedback from the PA, and they cup the mic or otherwise try to overload it for distortion and effect. You could try having them do their thing your recording room through a PA with the hand held 58 and add a room mic (ribbon, LDC, SDC). A dose of PA in the room on those kind of tracks can really capture some of what's missing when those guys get into the studio. And the grainy reverbs on a cheap PA powered mixer can sound cool when you capture them in the room.
-Lance