Singer Mandy Lee admits to having hidden heavy messages in sugary pop songs in the past. However, Nosebleeds shows her unlearning coping mechanisms that don’t suit her anymore and coming face to face with herself. “I remember being like, ‘I’ve got to keep going until I get to the surface of what I’m actually feeling,’” she says.

Read more: Fan Poll: 5 best alternative songs of the summer

She embraced the discomfort and let it mold her, learning how to stay soft during hard times. Letting go of control allowed her to be guided by her emotions, rather than suffocated by them. What resulted was a fiercely resilient album, equal parts heartache and joy.

We sat down with Lee and drummer Etienne Bowler for a deep dive into Nosebleeds. Here’s what this new record means to them, in their own words. 

The imagery for Nosebleeds is so unlike anything we’ve seen from MisterWives before; it’s darker, more violent. Talk me through your process of conceptualizing these visuals.

MANDY LEE: Visuals are so symbiotic with music. When I’m writing or recording, those things always work in tandem for me. For this record, the emotions were the compass for everything that feels different — from production to all of the imagery, the music videos, and even the color palette. I wanted it to be a stark contrast to what our last record was because it felt really fitting for where I was and what my experience was.

The music itself also points to a new direction for the band. There’s a harder edge to everything. Where does this stem from?

LEE: We’ve always had moments where there’s more aggression [in the music], but [we’ve] never let that fully unfold into the whole course of a record. [After] everything that has been these last few years and the punches we have faced, I wanted to show up honestly, with what my experience was and how I was feeling. To not feel like I had to rush to [be like], “Here’s the final product. Everything’s great! Now I’ve healed, and I’m fine.” It was in real time what I was going through, and [Nosebleeds] takes you on that journey. 

Honestly, therapy was a huge thing that changed my life, and this past year, I started going, and that’s what helped me be honest and let things surface without having to mask it or be concerned that it’s not the narrative of what the band has been these last 10 years, or people are gonna feel like we’ve changed. Change is good. People are supposed to change and are supposed to evolve. Through the personal work I was doing, it helped me show all sides of myself and how multifaceted we are.

You once said these tracks were inspired by “the perfect storm for how bands fall apart,” but, incredibly, you didn’t. Why do you think that is?

LEE: There’s a few answers to that. Our friendship is one. The last record was about our divorce, and we were able to still navigate staying [in] a band and staying best friends and growing and healing together in real time. This record felt like survival for me. It made me feel how I felt when I was 16 and writing music for it to be cathartic and for me to get through the hard times. That felt like a North Star. 

Then last, but definitely not least: our fanbase. The community is so special. It’s what kept us going and was the light at the end of the tunnel when everything felt impossible to keep moving forward. I think a lot of bands will spiral and fall apart — and that’s OK — but it just felt like we [had] to keep fighting through. There’s so much more of the story to be written. The community we have that has been with us through all these years and keeps growing, it’s unlike anything I’ve experienced, ever. I didn’t want to give up on them and give up on ourselves.

ETIENNE BOWLER: At the end of the day, we’re best friends, and we really love making music together. We weren’t ready to stop that.

Do you think really facing what you were going through also helped y’all to continue to work well together?

LEE: Yeah, for sure. If you can stay honest in music, that’s a huge reason to keep going. We’ve never approached music from the standpoint of trying to recreate whatever is trending in music or trying to write from experiences I haven’t had or trying to fit a mold and maybe what’s expected from me. Honesty is definitely a big compass and why we’ve kept going and how much we’ve evolved and grown and continue to do so, even in the moments where it doesn’t feel like we are. 

How do you feel about the concept of change? Is it something you welcome with open arms or something you try to avoid at all costs? 

LEE: Oh, I don’t think anybody likes change. I haven’t been like, “I love feeling this way!” Embracing it, because it’s just inevitable, creates less resistance. I have gone through a lot of change in my life. Moving out when I was 15 and getting emancipated, and still pursuing music… I think it’s gotten easier, but by no means is it easy. It has been a tool of survival, having peace about it.

As a band, we always wanted radio success. That’s been something we’ve been told every time by a label: “We can’t fit you in a box. You guys don’t sound like this one sound.” I went into [Nosebleeds] saying, “I don’t care about radio anymore. That’s not the goal. I just want to write what’s true to me and be proud of what I’ve made and be honest and have fun.” And now I go in the car, and I’ve heard “Nosebleeds” a couple of times every week. Surrendering makes so much more space for other opportunities that you wouldn’t even realize if you were so tightly grasping onto what you want to happen.

It’s like when you want something so badly that the universe refuses to give it to you.

BOWLER: So true. I was in music for [at least] 10 years prior to starting this band with Mandy, and I had actually decided to give up on music. I started working for my dad’s company, and a year in, I was like, “I’m done with music. It’s too stressful. It’s not working out.” Then MisterWives was created, and I had to totally pivot my life’s plan. When you’re not looking for it, it finds you.

If you could go back to the beginning of this creative process and tell yourself anything, what would it be? 

LEE: It’s so funny that “Nosebleeds” was one of the first songs I wrote for the album, and I didn’t finish it. I was so deep in heartache and feeling lost and feeling like the sky was falling every day. I was holding back tears while recording the song. It took me a year later to revisit the song to realize this song is amazing. It became the backbone of the record.

To tell Mandy in the studio in 2021: “This song? You’re gonna hear this on the radio,” I would not believe you at all, not for a second. Everything felt like we were starting over again. I had such a paradigm shift of people I trusted telling me I wasn’t good enough and I wasn’t gonna make it and our last record was a failure. All that stuff really started to permeate and make me feel like I couldn’t trust my voice anymore. You start to believe those doubters. 

So to tell myself to believe in me, to have embodiment over who I am, and the power and strength to keep going would feel amazing at a time that felt really hopeless for me to keep pushing forward.

So you’re in the studio making Nosebleeds, and you’re having all these self-doubts — when does everything shift?

LEE: I feel like “Out Of Your Mind” was one where I felt [like], “OK, we’re not doing the same thing anymore. The change is happening.” It scared me — oh, my God did that song scare me. I remember feeling like, “Oh fuck, I really like this, but this is too insane to put out as a MisterWives [track].”

BOWLER: We had talked about, “Should we make another version of the song and make it more accessible?”

LEE: Oh, God. I’m so happy we didn’t. That was such an important moment, and the rest of the album followed suit. Everything else was [about] how much more can we push ourselves? How much more can we step out of the comfort zone and be comfortable in the discomfort and let the creativity and emotion really be what guides us, versus getting hung up on what’s ahead or what’s going to be the single or what are people going to want from us.

BOWLER: It doesn’t matter whether people hate this or like this — we love it, and that’s all that matters. 

LEE: “Out Of Your Mind” was that pivotal moment where we gave ourselves permission to throw all the rules out the window. 

With all of the love Green Day have received over their 13 albums and 36 years as a band, there are bound to be some songs that slip through the cracks, doomed to never receive the same amount of widespread attention as tracks like “Boulevard of Broken Dreams” and “American Idiot.” To remedy this, we did a deep dive on the band’s first five albums to pull out some real hidden gems. Here are 10 criminally underrated Green Day Songs, in no particular order.

Read more: Every Weezer album ranked: From worst to best

“Going to Pasalacqua” – 39/Smooth (1990)

Armstrong’s ability to clearly articulate the complexities of anxiety and self-esteem in “Going to Pasalacqua” makes the track a standout  — oh, yeah. And he was only 17 at the time, making the song even more impressive. But it’s not just the maturity in the lyricism that makes “Going to Pasalacqua” a hidden gem: The song served as a hint as to what Green Day would be capable of in their career, and Armstrong’s songwriting would only improve on subsequent releases. 

“The Judge’s Daughter” – 39/Smooth (1990)

The chorus on “The Judge’s Daughter” is one of the best on all of 39/Smooth. Billie Joe Armstrong’s vocal stylings make it sound like a court case, with the singer on the stand attempting to explain his actions while an attorney cross examines his statements. The track also features Armstrong performing a surprisingly complex guitar solo that’s not typically seen in Green Day’s later recordings. 

“Christie Rd.” – Kerplunk! (1991)

“Christie Rd.” embodies ‘90s teen angst perfectly. It ticks all the boxes: hanging out on top of your beat-up car next to your local train tracks, getting high and decompressing from the woes of being a teenager. Even if you weren’t lucky enough to be a teenager in the early ‘90s — or if you didn’t happen to have any train tracks nearby at the time — the themes of being bored, lonely, and misunderstood highlighted in “Christie Rd.” are arguably universal experiences for teenagers of all generations.

“Dominated Love Slave” – Kerplunk! (1991)

Following the release of 39/Smooth, Tré Cool joined Green Day to shake things up. The drummer switched places with Armstrong for “Dominated Love Slave,” taking over lead vocals and guitar. He held nothing back on this track, donning an exaggerated Southern accent to let fans in on his desire to be slapped and get a little “naughty.” While the song may not see the band at their best musically, it does see them at their most goofy — and that’s just as important.

“Burnout” – Dookie (1994)

Much like the previous track, “Burnout” dives into being an apathetic teenager struggling with their mental health. Armstrong sings, “I’ll live inside this mental cave/Throw my emotions in the grave.” As the opening track to Dookie, Green Day’s first major label release, the song effectively set the tone for the rest of the now-iconic album — but it tragically doesn’t get as much love as the record’s more popular tracks “Basket Case” and “When I Come Around.”

“Pulling Teeth”  – Dookie (1994)

“Pulling Teeth” is one of the more serious songs on Dookie, with Armstrong discussing domestic violence. The lyrics, set over relaxed guitar riffs, depict an unhealthy relationship where a woman is physically and mentally abusing her boyfriend. They shed light on how men can be survivors of interpersonal violence — a fact that is often overlooked, especially so around the time when the record was released. 

“Armatage Shanks” – Insomniac (1995)

This song is named after a British toilet company, which in itself would have warranted it a spot on this list. However, it keeps getting better from there. “Armatage Shanks” opens with an unforgettable drum solo before Armstrong arrives to share the good news he has perfected the “science of the idiot.” It’s a perfectly passive aggressive song about how the general public has branded him as a maladjusted, pessimistic loner. 

“Panic Song” – Insomniac (1995)

The fevered bassline in the intro to “Panic Song” encapsulates the theme of the track perfectly: panic (which you probably could have guessed from the title). The hysteric, non-stop strumming that hits listeners right out of the gate is reminiscent of how someone’s heartbeat might feel during an anxiety attack. Plus, the fact the intro is a whopping two minutes of instrumentation slowly building in intensity can be pretty anxiety-inducing in itself.

“Platypus (I Hate You)” – Nimrod (1997)

Green Day peppered in so many profanities in “Platypus (I Hate You)” that the lyrics could not be included on the album’s inlay due to legal reasons. The instrumentation is just as aggressive, with a breakneck tempo that doesn’t let up for the duration of the track. As for the bizarre name, Armstrong reportedly thought simply naming it “I Hate You” was too boring, and always wanted to name a song “Platypus.”

“King for a Day” – Nimrod (1997)

A celebration of gender nonconformity, “King For A Day” is about a person who sneaks clothes from their mother’s closet when she’s away to be “king for a day, princess by dawn.” The lyrics see Armstrong take a refreshingly progressive stance in the punk scene of the time, as he sings, “Don’t knock it until you’ve tried it.” The instrumentation is as playful as the lyrics, complete with a boisterous horn section.

While they could have taken the easy way out and continued to push out copies of their hugely successful debut album forever, they have continuously opted to take chances and experiment with their sound. They’ve released no less than six self-titled albums throughout their career, constantly reevaluating and reinventing themselves.

Ironically, Rivers Cuomo and co. are still very much the same band after all these years. They have always been unpredictable and have never taken themselves too seriously. They also aren’t afraid to admit when one of their musical experiments goes haywire (re: Raditude). 

With the exception of their covers record, the Teal Album, and their EP collection SZNZ, here is is every Weezer album ranked. 

Read more: Every Red Hot Chili Peppers album ranked: From worst to best

Every Weezer album ranked: From worst to best

DGC/Interscope/Geffen

14. Raditude (2009)

We have to give them some credit: Weezer took a lot of chances on Raditude. For example, none other than Lil Wayne was featured on the dance-pop track “Can’t Stop Partying,” and Cuomo even decided to jump in and spit a few bars with him. However, the cross-genre collaborations and experiments with different music styles didn’t pay off, and Weezer ended up essentially apologizing to their fans for the album in the 2014 track “Back To The Shack.”

Epitaph

13. Hurley (2010)

Hurley can best be described as Raditude dressed up in checkered vans and Thrasher hoodies. Weezer took a step back from some of the dance-pop sounds from the previous album to take on a skate-punk persona. Really driving the point home, the band recruited Johnny Knoxville and the rest of the Jackass crew on “Memories.” Weezer also decided to really lean into the internet culture of the time for the release of Hurley, utilizing cameo appearances from YouTube personas Fred and the Annoying Orange to promote the album.

DGC/Interscope

12. Weezer (The Red Album) (2008)

Weezer kicked off their experimental era, which would later lead to Raditude and Hurley, with the Red Album. The record marked the first time all four members of the band wrote songs and sang lead. Coincidentally, it was also the last time Weezer did that. While sharing the creative burdens seemed refreshing in theory, and tracks like “Troublemaker” and “Heart Songs” lend the Red Album some stability, the album lacked direction overall.

Crush Music/Atlantic Records

11. Van Weezer (2021)

After almost three decades of success in alternative-pop music, Cuomo decided to combine his roots in hard-rock (he originally dreamed of finding success in a California glam-metal band) with Weezer’s modern sound for Van Weezer. Playing homage to legendary ‘80s acts like Ozzy Osbourne, Aerosmith — and, of course, Van Halen — the band experimented with more fervent drumming, distorted guitar riffs, and extra-low bass notes. The result is a somewhat campy representation of metal music, but it’s still fun.

Crush Music/Atlantic Records

10. Weezer (The Black Album) (2019)

After a few years of trial and error, Weezer finally got blurring the lines between genres right with the Black Album. The record is the band’s best work in experimenting with the sounds and subject matter of contemporary pop music. They notably collaborated with Against Me!’s Laura Jane Grace and Evanescence’s David Hodges as co-writers, which seems odd, given the overall light-hearted tone of the album, but nonetheless proved to be the right fit.

Geffen Records

9. Make Believe (2005)

With Make Believe came “Beverly Hills,” a song that has become synonymous with Weezer. The goofy musicians singing for everyone with crappy cars and a whack sense of style were back in full force. “Perfect Situation” also saw Weezer looking back on where they came from and finding themselves unsatisfied with where they were at the time. Make Believe proved that more than a decade after their debut, Weezer could still produce tracks that were not only downright infectious, but extremely relatable to their audience.

Atlantic Records

8. Pacific Daydream (2017)

A year after the White Album, Weezer evidently hadn’t left the beach and decided to release another album full of upbeat, sun-soaked songs. Pacific Daydream is another perfect record for driving along the Pacific Highway with the windows down and an ice cream cone in hand. The record also served as a bit of foreshadowing to OK Human, which would be released a few years later, as they shed their fuzzy guitar riffs and jumped head first into a decidedly poppier sound.

Crush Music/Atlantic Records

7. Weezer (The White Album) (2016)

After Weezer’s manager suggested the band write a beach record, the White Album was born. And their fourth self-titled album is exactly what you would hope for in a beach record: light and energetic pop-rock that’s perfect for sunbathing on the California coast. Weezer carried the ocean-side aesthetic all the way from the cover art, which featured the band standing in front of a lifeguard tower, to song titles like “California Kids” and “L.A. Girlz.”

Republic

6. Everything Will Be Alright in the End (2014)

Everything Will Be Alright in the End arrived after one of the longest gaps in music from Weezer. Taking four years to reminisce on their past projects, the band decided to cut back on some of the corniness that riddled previous records (namely Hurley and Raditude) and go back to a more straight-forward approach to songwriting. As Cuomo sings in “Back To The Shack,” they had to make a few mistakes to find out who they were.

Geffen Records

5. Maladroit (2002)

Maladroit saw Weezer refusing to settle into the sound they became known for on the Green and Blue Albums. Instead, they searched for a middle ground between the dark, distorted guitars in Pinkerton and the brighter, poppy stylings of their previous self-titled records. Maladroit brought a harder edge back into Weezer’s discography while simultaneously peppering in a sense of levity that made Weezer appeal to the masses in the first place.

Geffen Records

4. Weezer (The Green Album) (2001)

Weezer’s second self-titled album was a direct response to the Pinkerton fiasco of ‘96. They had a massively successful debut album, unfortunately succumbed to the ever-dreaded sophomore slump, and then staged a comeback with the Green Album. “Island In The Sun,” Weezer’s most popular song to date, helped critics to forget about Pinkerton, an intimate and rowdy album ahead of its time, by reminding them of the band’s whimsical pop-rock debut.

Crush Music/Atlantic Records

3. OK Human (2021)

Although OK Human and Van Weezer were released in the same year, the two albums couldn’t be more different. While the latter was influenced by ‘80s glam-metal powerhouses, OK Human featured a 38-piece orchestra. The whole record was a fantastic surprise, from the spectacular string section to the fact it was released seemingly out of nowhere during the pandemic. The retrospection forced upon Weezer during quarantine is prevalent in tracks like “All My Favorite Songs” and the luscious “Numbers,” which is one of the most elegant and poignant songs Weezer has ever released.

DGC

2. Pinkerton (1996)

Following the massive success of the Blue Album, Weezer’s sophomore effort Pinkerton was such an astonishing commercial failure that it sent the band straight into hibernation for five years. But while Weezer were away, Pinkerton became a cult-classic that inspired a generation of bands, including Taking Back Sunday, the Used, and Dashboard Confessional. Weezer dropped the catchy choruses and clean-cut personas of “Buddy Holly” to create an emotionally charged album that grappled with the loneliness of life on the road and being launched into rock stardom.

DGC

1. Weezer (The Blue Album) (1994)

Woo-ee-ooh, what can be said about Weezer’s debut album that hasn’t already been said? It brought us “Buddy Holly,” “Say It Ain’t So,” and “Undone (The Sweater Song).” It turned the band into MTV mavens. And, most importantly, it resonated with a nation of adolescents who would become lifelong fans. The Blue Album established Weezer as a group of unapologetic — albeit a little anxious — nerds. They became mouthpieces for underdogs everywhere, and who doesn’t love an underdog?

Although they have a plethora of commercial hits from their tenure as a band (such as the aforementioned hits, as well as “Move Along,” “Swing, Swing” and “It Ends Tonight”), they have quite a few other songs that are just as good but tragically did not receive the same amount of love — or airplay. As the All-American Rejects gear up to go on their first headlining tour in a decade, we’re here to make a few suggestions for their setlist. Here are 10 criminally underrated the All-American Rejects songs, in no particular order.

Read more: Every All-American Rejects album ranked: From worst to best

“One More Sad Song” – The All-American Rejects (2002)

Lead singer Tyson Ritter was just 18-years-old when he wrote “One More Sad Song,” drawing inspiration from a difficult breakup. He touches on the inner turmoil felt when you have to let go of someone you still love, singing, “My heart is torn for all to see/Alone with you, alone with me.” The most interesting part of the song is that it doesn’t sound like a sad song at all, despite its name. The lyrics are melancholy, but they’re disguised by Ritter’s bright vocals and an upbeat guitar.  

“Your Star” – The All-American Rejects (2002)

“Your Star” is one of the least bitter songs about a cheating girlfriend that has ever been written, along with the aforementioned “One More Sad Song.” Ritter inserts a glimpse of his partner’s perspective in the lyrics, acknowledging that both parties are feeling that post-breakup sting. That sensitiveness is carried throughout the rest of the group’s self-titled album, highlighted by the maturity in Ritter’s vocals. Plus, there’s a pretty good guitar solo about halfway through the track, and who doesn’t love that?

“Dance Inside” – Move Along (2005)

Move Along is full of iconic songs, and “Dance Inside” is one of them — even if it didn’t receive as much attention as “Dirty Little Secret” or “It Ends Tonight.” While love songs are not revolutionary for the All-American Rejects discography by any means, what makes “Dance Inside” special is that they weren’t lamenting over something lost. “It’s about passionate love, on a deeper level than I used to write about before,” Ritter told MTV in 2003. 

“Can’t Take It” – Move Along (2005)

The All-American Rejects close Move Along with the orchestral “Can’t Take It,” taking a jump from the angsty sound they had become known for. The strings that perforate Ritter’s roaring in the song would make the perfect soundtrack to James Bond glaring at someone across a poker table. Ritter also adds a dabble of falsetto in “Can’t Take It,” which sets the song over the top — much like the thin slice of a lemon peel in Bond’s Vesper martini.

“Real World” – When the World Comes Down (2008)

“Real World” comes off of the All-American Rejects’ most introspective album, When the World Comes Down. After focusing heavily on teenage heartbreak for years, the band dove into more existential waters. “Real World” is a track about growing up in the digital age where “you’re fed from the TV screen.” Much like the rest of the album, that’s not the whole story: a desperate sense of hope for the future is sprinkled throughout the song.

“Damn Girl” – When the World Comes Down (2008)

Now it’s time to forget everything we just said about the All-American Rejects switching up their subject matter on When the World Comes Down. Yes, “Damn Girl” is another breakup song about a cheating girlfriend. But where “One More Sad Song” and “Your Star” are fairly cordial responses to a split, Ritter is a bit more bitter on “Damn Girl.” Gone are the days of seeing the other person’s side, which does make the song more cathartic to sing along to.

“Someday’s Gone” – Kids in the Street (2012)

To be fair, “Someday’s Gone” was pretty popular when it was released to promote Kids in the Street in 2012. However, it failed to become an instant alternative rock classic — even though it really should have. “Someday’s Gone” is peak AAR. The lyrics are creative (“I fall like a dead man out of the airplane,” for example), the outrage in Ritter’s voice is palpable, and the instrumentation is dynamic. It’s everything you want in an angsty breakup anthem.

“Beekeeper’s Daughter” – Kids in the Street (2012)

Much like “Someday’s Gone,” this song was also received well when it first came out as the lead single for the same album. But again, it only got as far as becoming a top 40 hit on the U.S. Billboard Pop charts, and I believe it deserved so much more. “Beekeeper’s Daughter” represented a shift to a more lighthearted pop sound in the All-American Rejects’ discography. Plus, if you look closely you’ll see both YouTuber Trisha Paytas and the legendary “Mr. Entertainment” Wayne Newton featured in the music video. 

“There’s a Place” (2015)

After a three-year hiatus following the release of Kids in the Street in 2012, the All-American Rejects reemerged to drop the surprisingly soothing single “There’s a Place” in 2015. The track is much more mellow than anything they had previously released, and Ritter’s voice seemed to have developed something of a folksy charm, as compared to his typical sarcasm and angst. Though they’d done it before, “There’s a Place” is the most effective example of the All-American Rejects experimenting with their sound.

“Me Vs. The World” (2020)

When the world needed them the most, the All-American Rejects dropped the energetic “Me Vs. The World” during the COVID-19 pandemic. The song brings back fond memories of the introspective yet lively When the World Comes Down in both the lyrics and instrumentation. As an added perk, the All-American Rejects’ also announced that proceeds from the song would be donated to MusiCares, the Recording Academy’s nonprofit that assists with the health and well-being of those in the industry. 

Though Lavigne is widely considered to be the princess of pop-punk, her discography covers a wider range of genres. From her roots in alternative and post-grunge to experimenting with more electronic stylings on her self-titled record, Lavigne has spent her decades-long career growing as an artist by blending different influences into full-bodied albums. Permeating through them all has been her rich vocals and a dash of feminine rage. 

Read more: Fan poll: 5 greatest pop-punk vocalists of all time

While feminine rage has historically been articulated, written and otherwise communicated by and for men, Lavigne made visible the true range of the tradition on her own terms. This led her music to define a generation and help pave the way for woman-driven and punk-influenced pop music. 

Every Avril Lavigne album ranked

Epic

7. Avril Lavigne (2013)

Lavigne’s self-titled album found her making the music she wanted to, regardless of reception, and perfectly encapsulates her love for experimenting with her sound. This sentiment is best represented in the track “Hello Kitty,” an electronic fever dream. The release was also the first time Lavigne included featured artists on a project. Thus, a bold and carefree experimentation with genre defines both this record and the musician behind it. 

BMG

6. Head Above Water (2019)

A gargantuan tone shift in Lavigne’s music came with Head Above Water. After being diagnosed with Lyme disease in 2014, she spent two years bedridden and recovering. At the same time, Lavigne’s voice seemed to grow stronger, which she saw as a sign from God to keep making music. She explored the range of her voice and rediscovered the power of her own vulnerability with Head Above Water. The title track, featuring Lavigne’s robust vocals towering above peaceful piano and swooning strings, is one of her most monumental ballads to date. 

RCA

5. The Best Damn Thing (2007)

The Best Damn Thing can best be described as the little sister to Love Sux. The album saw Lavigne dive headfirst into pop rock following the releases of the alternative Let Go and Evanescence-esque Under My Skin. Nothing exemplifies this more than “Girlfriend,” the album’s lead single and Lavigne’s first No. 1 song on the Billboard Hot 100 chart. But The Best Damn Thing isn’t just a pop-rock album — Lavigne also managed to pepper in some passionate ballads like “Keep Holding On,” again highlighting her ability to effortlessly shift genres (and belt out a ballad) without compromising on quality. 

RCA

4. Goodbye Lullaby (2011)

Lavigne’s fourth studio album, and her last release through RCA Records, took on a more melodic tone. An array of deeply introspective tracks featuring stripped-down instrumentals are cut with infectious hits like “What The Hell” and “Smile.” Lavigne’s trademark attitude in these songs lends a sense of humor and letting go (so to speak) to an album primarily devoted to the singer grappling with complicated emotions during a transitional period in both her life and career.

Elektra/DTA

3. Love Sux (2022)

After experimenting with a few genres over the years, Lavigne returned with Love Sux to remind everyone that she is still the mother-fucking (pop-punk) princess. With a little help from blink-182’s Travis Barker, Machine Gun Kelly, and blackbear, Lavigne brought her signature attitude into the modern age of pop punk. Tracks like “Bite Me,” “F.U.” and “Love It When You Hate Me” define the album: a refreshing and deeply infectious illustration of pure feminine rage. 

Arista

2. Under My Skin (2004)

The dreaded “sophomore slump” was no match for Lavigne. On Under My Skin, she experimented with a darker, post-grunge sound and ended up with an album that helped define a generation. Lavigne’s musical maturity, displayed through her impressive vocals and dynamic lyricism, can be seen in tracks like “Nobody’s Home” and “Fall To Pieces.” With the album being released just two years after her debut, Under My Skin showcased how far she had come in a short amount of time, as well as how much potential she still had as an emerging artist.

Arista

1. Let Go (2002)

There is simply no other place to put Let Go than right at the top. Lavigne was just 17 when she dropped her debut album, which is impressive in its own right. As a young woman in alternative rock, she controlled her own narrative and showed her range as an artist by dropping both the unforgettable “Sk8er Boi” and the evocative ballad “I’m With You” as singles. The result is an album where Lavigne inexplicably managed to capture early 2000s-era teenage angst in a way that resonates with listeners of all ages — even two decades after its release. 

Read more: Flashback: The All-American Rejects deliver folk cover of Britney Spears

While the All-American Rejects have been relatively quiet since their 2012 album, Kids In The Street, it should be noted that they never broke up. Instead, they took a step back to explore different experiences “both personally and professionally,” according to guitarist Nick Wheeler, in order to reenergize themselves and persist in creating music the way they want to make it. 

Every All-American Rejects album ranked

DGC/Interscope

4. Kids In The Street (2012)

Coming back from a four-year hiatus, the All-American Rejects took a slight detour from their signature pop-punk stylings and injected inspiration from rock music from the late ‘70s and mid-‘80s into their songwriting. Thus, Kids In The Street became a reflection of the comeback rock was having at the time, spearheaded by bands like Foo Fighters and the Black Keys. The band played with synthesizers, and singer Tyson Ritter showed off a new maturity and attitude in his vocals during standout tracks “Someday’s Gone” and “Beekeeper’s Daughter.” Despite this experimentation — which was extremely effective at times — Kids In The Street was not different enough from their previous records to grab the attention a band might hope for in a comeback album.

Doghouse/Dreamworks

3. The All-American Rejects (2002)

The All-American Rejects’ self-titled album received mixed reviews when it was first released in 2002. Many critics argued they were simply ripping off successful alternative bands that came before them, such as Weezer, blink-182 and Third Eye Blind (particularly in the track “Drive Away”). However, no one can claim The All-American Rejects was not an extremely well-produced debut, especially for a couple of college kids in Oklahoma. Ritter expertly switched in and out of falsetto throughout the album’s catchy melodies — something that would later become his signature — and the band utilized guitars, keyboards and orchestral arrangements to create a record that celebrated the early days of pop punk. 

DGC/Interscope

2. When The World Comes Down (2008)

When The World Comes Down is the All-American Rejects’ most introspective album. A weariness in Ritter’s voice made some of the growing pains they experienced in the six years since their debut palpable. The existentialism throughout the record is leavened by more lighthearted tracks, like the tongue-in-cheek “Gives You Hell.” Overall, When The World Comes Down encapsulates the highs and lows of adolescence set over traditional pop and rock instrumentation. 

Interscope

1. Move Along (2005)

Finally, we come to the All-American Rejects’ sophomore album, Move Along. “It Ends Tonight,” “Dirty Little Secret” and the title track turned the record into an instant hit, and they remain some of the band’s most popular songs to this day. The latter two songs were even featured in the 2006 movie She’s the Man starring Channing Tatum and Amanda Bynes, though they honestly could have been included in any romantic comedy during the time to soundtrack both young love and teenage heartbreak. But what really makes Move Along the pinnacle of the All-American Rejects’ discography is the fact it improved upon what was built on their debut, adding more depth and sophistication to their songwriting.

Read more: AP&R: 347aidan, Scowl and other rising artists to check out this month

Quinton Griggs

CHECK OUT: “Crazy Devotion”

Quinton Griggs’ “Crazy Devotion” describes just that: someone who’s hopelessly committed to their partner, even if it’s all in vain. Griggs belts, “I don’t think I can let go/Can I find a way back to you?” atop modern pop-punk beats. The Georgia native got his start where many young musicians have started blowing up recently: TikTok. “Crazy Devotion” is current enough to slide into any modern emo kid’s playlist while remaining nostalgic enough to fit into any elder emo’s just as easily.

Momma

CHECK OUT: “Speeding 72”

Every part of Momma’s “Speeding 72” was carefully constructed to transport listeners into the right mood for the track — which is about driving in a car and intended for driving in a car. It begins with the sounds of Aron Kobayashi Ritch getting into his vehicle and turning on the ignition. “We wanted it to be the sort of summertime anthem that you can turn on during a drive to impress your crush,” the band explain in a press release. Allow Momma to take you on the ultimate joyride with their new album, Household Name, out July 1.

Mascara

CHECK OUT: “Half Light Aftermath”

“Half Light Aftermath” is one-half of Mascara’s new EP, HLA-11TF. The French band have cemented themselves as a group that are hard to define and even harder to categorize. Their music falls somewhere in the alternative-metal genre but has plenty of grunge, post-metal and dream-pop influences. “Half Light Aftermath,” in particular, takes listeners through a sonic voyage. The track opens with hypnotic vocals before jumping into heavy riffs, the two balancing and playing off each other through the entirety of the song. You surely don’t want to miss out on the journey Mascara will take you on.

Horse Jumper Of Love

CHECK OUT: “I Poured Sugar In Your Shoes”

Horse Jumper Of Love capture the feeling of staring longingly out a window, rain streaming down the glass, in “I Poured Sugar In Your Shoes.” The track tells a sorrowful, Hansel And Gretel-esque tale of someone who poured sugar in their lover’s shoes to “follow a trail of sweetness.” Dimitri Giannopoulos sings, “What do I do?/I got my spirit hooked on a fishline baited with no reason why.” The sinking melodies combined with the yearnful, almost self-deprecating lyrics produce a bittersweet love song perfect to soothe any aching heart.

Obongjayar

CHECK OUT: “Tinko Tinko (Don’t Play Me For A Fool)”

Obongjayar was born and raised in Nigeria and moved to London as a teenager. His debut album, Some Nights I Dream Of Doors, spans everything from alternative and indie to soul and Afrobeat. The track “Tinko Tinko (Don’t Play Me For A Fool” is packed full of artful layering. The soulful swagger of both the vocals and the production intertwine to create a world of sound that is deceptively upbeat. Obongjayar sings “Don’t be fucking with my head,” as he wonders if he and his partner are truly in love.

Calabasas

CHECK OUT: “The Mend”

Calabasas’ “The Mend” accomplishes many feats in three minutes. To start, the track is refreshingly vulnerable. “I wrote this at a tough time in my relationship for the woman I love,” Watrcup, one-half of the duo, says of the song. “It’s a chance to get vulnerable with our fans and let them know that we are all humans and we make mistakes.” But aside from the vulnerability of the lyrics, “The Mend” is simply a joy to listen to. The track shines with the laid-back, surfy sounds of the Golden State.

Exit Dream

CHECK OUT: “kaleidoscope”

“kaleidoscope” may take listeners by surprise. The Exit Dream track begins with a shimmering piano melody. Then, all of a sudden, it bursts into a heavy guitar riff. Listeners can hear the fairy-tale-like melody break through the guitar riffs at points, like the sun shining through the clouds, as the two sounds swirl together in perfect harmony. The name “kaleidoscope” is fitting, as fans can discover something new with each listen, just as one might when looking through the optical device.

Witch Fever

CHECK OUT: “Blessed Be Thy”

Witch Fever bassist Alex Thompson perfectly describes “Blessed Be Thy” in four words: “It just goes heavy.” And we can’t argue with that. The track opens with vocalist Amy Walpole declaring, “Blessed be thy shame/It’s time to let it go/Resentment makes me yours, baby/And I’m afraid it makes you glow.” Walpole uses cadence and language to tailor a traditional hymn and make it their own. That, in addition to fuzzy guitar riffs and the aggressive thumping of the drums, flips the religious symbolism heavily embedded in the track on its head.

This story first appeared in issue 406, available here.

Read more: AP&R: spill tab, babychaos and other rising artists to check out this month

Death Blooms

Check out: “Shut Up”

Death Blooms have crashed onto the metalcore scene like a runaway freight train. “Shut Up,” from their album Life Is Pain, incorporates elements of nü metal with ferocious riffs. On the track, vocalist Paul Barrow insists, “Bite your tongue, your words are useless.” They also released a reimagined version of the track with WARGASM. Barrow explains, “Every single day I see and hear people doing stupid, pointless fucking shit. They look down on others less fortunate. They think they’re better than them. You’re not, you fucking dickhead. We’re all exactly the same. If you think otherwise, you’re wrong.”

Charlie Hickey

Check out: “Nervous At Night”

“Nervous At Night” is the title track of Charlie Hickey’s debut album. It’s a song about “being nervous for no particular reason, which is a running theme on this album, and also one that I think a lot of people, particularly of my generation, can relate to,” according to Hickey. The musician grew up in the same Pasadena, California, neighborhood as Phoebe Bridgers, and the two became close friends when they were 13 years old. He says he imagines his songs taking place in a similar “dreamlike safe haven.” If you like the melancholy lyrics of Bridgers, you’ve found your next favorite artist in Hickey.

Flipturn

Check out: “Playground” 

“Playground,” the lead single from Flipturn’s debut full-length, is steeped in nostalgia. It’s a song about simpler times, when there was “beauty and invincibility to everything you did,” as guitarist Tristan Duncan says.” Shimmering electronic sounds and Dillon Basse’s wistful vocals juxtapose each other delightfully, encapsulating the feeling of looking back at a lustrous youth. Listening to “Playground” may knock loose some memories you forgot existed, but it’s worth appreciating where you are now and where you’ve come from.

347aidan

Check out: “BAD KIDS”

347aidan started his music career when he was 5, enticed by the offering of free popsicles from his piano teacher. He later began making music in his bedroom, uploading song after song to SoundCloud. “BAD KIDS’’ is quintessential 347aidan — full of boisterous youth and reckless abandon for the rules. The track details his weakness for a girl who taught him “how to fall in love with madness.” Sonically, “BAD KIDS” employs crisp production intertwined with grunge-y, DIY sounds to create a track that somehow sounds both mature and youthful. 

Grubby Little Hands

Check out: “Medicine Drawer”

Grubby Little Hands’ “Medicine Drawer” comes off the band’s new album, World So Strange. “This song is about the lies we tell ourselves to justify our decisions, or to make us feel more comfortable with the situations we’re in,” the band say. The tranquil beats mixed with siren-like vocals is a sonic demonstration of the false sense of security the song speaks of through the lyrics (“We lie to ourselves/Till we believe that it’s true.”) On the surface, “Medicine Drawer” is a woozy track with leisurely vocals and surf-rock riffs. But a closer look reveals a mistaken sense of warmth.

Dead Cassettes

Check out: “Hex”

Dead Cassettes have it all, incorporating elements of punk, soul, funk and dance in their music. Both Bradlea-Roi and Rodney started as solo acts in Atlanta, but together they produce a project where their individual specialties intertwine to create gritty alternative music. Their single “Hex” touches on social issues, with lyrics such as, “Now the good book said ‘don’t do’/While the bourgeoisie screw you/Take you over and under and through/A type of hell that only demons could allude to.” Electronic beats with dark undertones highlight a palpable disdain for failing modernity in “Hex.”

GUPPY

Check out: “If I Wanted To”

GUPPY offer up a heartbreaking ode to indifference with “If I Wanted To.” Straight to the point, the lyrics are short and sweet. Vocalist Julia Lebow makes the mantra abundantly clear through the track, joyfully singing, “If I wanted to, I’d care/But I don’t/Now that you’re gone.” Although straightforward, the track is anything but boring. Listeners can’t help but skip along to the liberating apathy exuded in “If I Wanted To,” off new album Big Man Says Slappydoo. 

Bexley 

Check out: “Save Me, Save Us All”

Bexley’s “Save Me, Save Us All” is a rager from the second you hit play. The track starts with a buzzing guitar and Jack White-esque vocals slicing through the foreground. Out of the blur of distorted guitars and thumping drums, Bexley sing, “Marching through a world where people live on greed and hate/Demonize the youth for organizing in the streets/Don’t you think a government would tell it to you straight?” You can tell from this one song, full of fury and societal commentary, that Bexley pack heart and soul into their music.

Scowl

Check out: “Bloodhound”

Scowl usher in the modern age of hardcore on their debut album, How Flowers Grow. “Bloodhound” sets the tone for the release, getting blood pumping from the jump. Kat Moss provides gnashing vocals that pair marvelously with the grinding guitar riffs to create a feverish sound that both old- and new-school punks can appreciate. In the track, Moss sings “Learn to shut your fucking mouth” in a way that’ll make listeners abide, even if they haven’t uttered a word. Coming in at a minute-and-a-half long, “Bloodhound” blisters the whole way through. 

This feature appeared in issue 405, available here.

With the announcement comes the first single, “why do i do that” featuring Chaos Canine. The track is accompanied by a music video.

Read more: Dance Gavin Dance celebrate Tim Feerick and open up on ‘Jackpot Juicer’

The 20-year-old Valentine recently dropped out of Berklee College of Music, where she had a full ride for music production, to move to LA and start her career. After meeting with multiple labels, Valentine ultimately decided to go independent. She wrote and produced the entire forthcoming EP herself.

tonight, i don’t exist, was mixed by Devon Corey, who has previously worked with Bebe Rexha, Ella Mai and Tillie. It was mastered by the Grammy Award-winning John Greenham, who has worked with artists such as Billie Eilish, girl in red and FINNEAS.

Check out the video for “why do i do that” below.