Post-hardcore is a broad bag. Emerging in the ’80s and taking off in the early 2000s, there’s a wellspring of bands who don the label. From elders like Rites of Spring, who funneled the aggression of hardcore into introspective songs, to bigger names like Thrice, who used their mainstream popularity to keep evolving, the genre is rife with all kinds of different styles and tastes. In more recent years, post-hardcore has even mutated into more unpredictable shapes, with acts like Code Orange, Ithaca, and Static Dress venturing into bolder terrain while maintaining the ethos of the bands who paved the way.

Read more: Hail the Sun pick their favorite 2000s post-hardcore songs

We asked our readers who the best post-hardcore vocalists are of all time, and many were nominated. From Daryl Palumbo to Shane Told, find the top fan picks ranked below.

5. Geoff Rickly

Thursday frontman Geoff Rickly is a distinct lyricist with an even more unique voice. From their early days as up-and-comers to their rise as genre veterans, the band have racked up a slew of classics from their many albums. “Understanding In a Car Crash” and “For The Workforce, Drowning” stick out in an abyss of early 2000s post-hardcore songs, and by the time the next decade loomed, they had already released five albums filled with certified ragers. Though it’s been 12 years since their last studio record, Thursday have been actively playing shows, like when they ran through War All the Time in full for a Riot Fest after-show earlier this year.

4. Daryl Palumbo

Glassjaw’s second album, 2002’s Worship And Tribute, cemented the band as post-hardcore legends. Their sheer fluidity, which features vocalist Daryl Palumbo screaming his lungs out and then shifting into a sweet croon within the same song, set a standard and needs to be seen to be believed. Naturally, the post-hardcore giants went on to inspire countless acts, including Every Time I Die, Touché Amoré, and Koyo. They will even celebrate 30 years together with select shows later this year.

3. Craig Owens

Craig Owens seems to thrive in chaos, as he’s featured in different supergroups (D.R.U.G.S., Isles & Glaciers, Cinematic Sunrise) and pursued his own solo music after Chiodos — a post-hardcore outfit that were beloved by many — ended after 15 years. No matter the project, though, his voice remains inimitable and something to aspire to, going hand in hand with his ability to command a crowd. Whether he’s turning chaotic Chiodos songs into elegant ballads or remixing a 100 gecs cut, Owens is a massive talent in the post-hardcore world.

2. Shane Told

Shane Told is the assertive and emotive frontman behind Canadian post-hardcore giants Silverstein (or maybe you know him from his first band Jerk Circus if you’re an early fan). From playing Green Day’s “When I Come Around” at his first show to touring the globe with Silverstein, Told has remained an unstoppable force within the post-hardcore realm. His screams are rife with feeling, whether he’s ripping into an explosive chorus (“Smile In Your Sleep”) or relying on more melody (“Discovering The Waterfront”). Really, you can’t go wrong digging into the entirety of the latter, as the album possesses some of his best vocal runs.

1. Anthony Green

It’s no surprise that Anthony Green is the top pick. From his multiple bands — Saosin, Circa Survive, the Sound of Animals Fighting, and his more recent venture in the supergroup L.S. Dunes — to his vulnerable lyricism about addiction and relapse, Green is a genre giant who’s put out a number of commanding and gut-wrenching vocal performances over the years. It’s hard to narrow it down to a favorite, but “The Difference Between Medicine And Poison Is In The Dose” always seems to resonate as one of his finest moments, no matter where you joined in during his lengthy and impressive career.

Read more: Bayside celebrate their history with the 21 Years Of Bad Luck tour

badXchannels – “Dottedxlines”

From Destroy Rebuild Until God Shows to Isles & Glaciers to Cinematic Sunrise, Craig Owens has had his fair share of supergroup side projects. However, it’s his solo effort born from the ashes of Chiodos that’s currently his main focus. The vocalist’s 2016 debut EP, WHYDFML, is a five-song deep dive into a completely different direction that was later followed by a handful of singles. Owens’ iconic pipes blend seamlessly with an electronic backdrop. While he has recruited backup in Jon Connor and MISSIO, among others, the project is truly Owens’ time to shine.

boygenius – “Stay Down”

Julien Baker, Phoebe Bridgers and Lucy Dacus united for the ultimate supergroup, boygenius. Combining their talents, the act delivered a debut EP we all wanted and truly needed in late 2018. They give a voice to surviving heartbreak in their respective ventures, but together, it’s more of an uninterrupted broadcast. The unstoppable trio move through each song, capturing all the emotions surrounding love and the inevitable aftermath, showing the broken that they’re not as alone as they may think. 

John Floreani – “Echoes”

Trophy Eyes’ high-energy frontman brings it down a notch under his eponymous solo effort. Formerly housed under the moniker Little Brother, John Floreani unleashed the first round of tunes in 2014 for his Terrace EP. Following a one-off single in 2016 (“Cleveland, OH”), the vocalist unleashed his debut full-length, sin, in June 2019. Marked by lead single “Echoes,” Floreani offers a love song that’s both soft and room-filling as he sings of the importance of a home base. 

Laura Jane Grace & The Devouring Mothers – “Reality Bites”

With two decades and seven full-lengths under Against Me!, frontwoman Laura Jane Grace fell into a new venture. Following the intense writing process of the 2016 memoir, Tranny: Confessions Of Punk Rock’s Most Infamous Anarchist Sellout, Grace booked a two-week tour as the Devouring Mothers alongside drummer Atom Willard (also of Against Me!) and bassist/producer Marc Jacob Hudson. The trio later composed Bought To Rot, a no-holds-barred exploration in part influenced by Tom Petty and his ability to pull off two projects at once—something Grace has no problem accomplishing.

Mat Kerekes – “My Lucky #3”

Mat Kerekes has been the frontman of alt-act Citizen for over a decade. Four full-lengths later, the band are still inciting major throwdowns at their shows. In the midst of that, Kerekes embarked on a solo career that sounds nothing like his band—which is what makes it so great. He released a self-titled EP in 2014 followed by his first full-length, Luna & The Wild Blue Everything, in 2016. His latest, Ruby, continues to show off his softer side and versatile songwriting. Because who doesn’t love someone who can make you dance with one project and cry your eyes out with the other? 

Nita Strauss – “Our Most Desperate Hour”

Nita Strauss has rocked stages with everyone from Alice Cooper to WWE superstar Shinsuke Nakamura, in turn solidifying herself as a force to be reckoned with. Having toured since her teens, the guitarist finally made the move from the side of the stage to the center with her solo debut, Controlled Chaos, in 2018. The result is a totally face-melting collection of riffs. From the super-charged “Our Most Desperate Hour” to the more mellow “Here With You,” Strauss proves a one-woman band is nothing to mess with.

SAINTE – “Technicolor”

Tay Jardine rocked the stage with We Are The In Crowd through the late to mid-2010s, harmonizing with guitarist Jordan Eckes on most of the band’s tracks. Two full-lengths in (Best Intentions, Weird Kids), the band headed in a new direction. Jardine moved on with bassist Mike Ferri and guitarist Cameron Hurley to form SAINTE, where she took on vocals solo. The band dropped a seven-track EP, smile, and wave, in 2017 and songs such as “Back 2 Me” and “Everything Makes Me Sad” in 2019, showing off their more upbeat, fun side.

Simple Creatures – “Drug”

What do you get when you mix the pop-punk powerhouse of blink-182’s Mark Hoppus with the pop-rock sensibilities of All Time Low’s Alex Gaskarth? Probably not what you were expecting, which is what make Simple Creatures so intriguing. The duo rocked the scene by surprise-dropping “Drug” in early 2019, marking the beginning of a new era of gritty, electro-tinged beats. With two EPs, Strange Love and Everything Opposite, out, the duo continue to play with sounds no one expected but definitely aren’t complaining about.

While working alongside a couple may sound intimidating or less than ideal for some artists, Yosef, Taylor and George are cut from the same creative cloth. Harnessing their collective strengths and personal influences, the three were able to openly explore artistic visions that, until now, they were unable to realize fully for one reason or another.

Read more: Brand Of Sacrifice knew ‘Lifeblood’ needed to be released independently

Despite the duo’s distinct musings and Yosef’s A-list collaborative work with artists such as Craig Owens (Chiodos, badXchannels, D.R.U.G.S.), Kamiyada+ and Alice Glass, the three fused their unrelenting sounds together, which culminated in a swift injection of representation across heavy genres, including hardcore, industrial, metal, EDM and more. In an instant, Taylor’s vocal range ejects from her throat like a piercing battle cry and slowly melts into a melodic progression, while George’s calculated synth work and Yosef’s own aggressive vocals create a neatly layered masterpiece.

Youth Code’s Taylor and George as well as Yosef spoke with Alternative Press on the dynamic the trio formed and the ease of creating the collaborative album with one another.

It’s been several years since Youth Code released Commitment To Complications. How has the writing and recording process developed with the release of A Skeleton Key In The Doors Of Depression?

SARA TAYLOR: Youth Code, to me, have never sounded the same throughout any record. I think there are similarities that come between A Place To Stand and Commitment, but they’re two completely separate records. With each record, I like to tiptoe a little bit more out of what I’m comfortable [with] from the last time. So with the first record, we just did this thing and did it pretty quickly. Everything was so quick at the beginning of our career. We started the band, and then we put out a record. I think it was like three months after our first show [that] Angry Love [Productions] wanted us to put out a seven-inch with them. We hadn’t even discussed doing a tape or anything, so it was already pretty rapid. And that first record, I think, was just go, go, go, go, go. And then after that, we had a little bit of time to home in [on] what we wanted to do, so when we were making A Place To Stand, there was a little bit more vocal recognition on my part, a little more confidence in terms of using my voice and being in the studio with it. 

By Commitment, I knew how to fucking scream. On this one, I was like, “I can excel in screaming.” I’d like to try a different approach or be more melodic, but I had to push myself to try to feel confident with doing that sort of thing. So for me, it took a long time personally because there were so many demos in between Commitment and recording A Skeleton Key. It’s me seriously trying out some weird fucking shit. Trying to figure out how it is that I can sing but also retain an aggressive nature to my voice because that’s what I do, and that’s what I tell. So I think between those two releases, for me personally, it was a lot of growth, but I didn’t want to overdo it, like, “Oh, band go away for four years to write, come back and are only doing Ariana Grande vocals.” I can’t even do that. I wanted to push toward more development in my voice.

Youth Code have had a really expansive career. Even though you did take those five years between the last two albums, you’ve had the opportunity to collaborate and work with some incredible artists. Notably at the end of 2019, Sara, you went onstage with My Chemical Romance at the return show. You’ve had the chance to work with Alex Lopez of Suicide Silence, Chelsea Wolfe and Deafheaven, just to name a few. When do you collectively know that a collaboration with a particular artist or producer is going to be the right fit for the band?

TAYLOR: We’ve only done one official collaboration besides this collaboration with King Yosef, and it was the song [“INNOCENCE”] with HEALTH. Other than that, we asked Chelsea Wolfe to remix one of our songs to donate to Planned Parenthood. George Clarke from Deafheaven was like, “This track is sick. Let me get on it.” I didn’t really have any say in George being on it besides saying, “Yes, please do that.” [Laughs.] We’re very selective about collaborating because it’s so personal to Ryan and me. On Commitment, we had Todd Jones from Nails, who’s been one of Ryan’s friends [for] probably 20 years. We’re very selective about bringing people in.

GEORGE: We are super selective about who we do stuff with. It’s pretty natural. It’s not like we’re not reaching out to anybody. Just in conversations, [we’re like] “Oh, we should do this.”

As a producer, collaborator and creator, you’ve worked with tons of artists, ranging from hip-hop to industrial and EBM. What was the writing and recording process like for you working with Youth Code on A Skeleton Key?

KING YOSEF: I’m pretty open about how big of an influence Ryan and Sara are on me, even just musically. I think the reason it made more sense as a collaboration with Youth Code instead of me just being a producer like I am in a lot of other circumstances is because it’s like coming back to the foundation of what my music is based upon. And I’ve been such a fan of theirs that by the time we started working on things—I’ve listened to all the Youth Code records and studied Ryan’s production—it just made sense instantly. I didn’t ever feel like, “How am I going to meld myself?” Because when you’re doing production for other artists, my goal when I’m working with anybody else is that I’m camouflaging into their world and trying to expand upon it, whereas for this, it felt like our worlds just meshed together perfectly. I just instantly started on all the things that we were exchanging, and it just clicked. I didn’t even have to really second-guess anything. I just instantly was in the zone and understood what I needed to be doing.

Similarly, Yosef, you’ve also had the opportunity to work with a lot of artists such as Craig Owens of badXchannels, Alice Glass and Kamiyada+. When do you know when a collaboration with a particular artist is the right fit?

YOSEF: I can just feel it. There are some people where I just hear what they’re doing, and I understand it. It’s really as simple as that. Sometimes I work with people outside of my wheelhouse. I don’t think most people would think that I’m the most pop-oriented producer in the world. But for the most part, I don’t do anything unless it makes sense to the world that I’m already carving out for myself, and I know that we are going to make sense together because I’m never trying to force anything and then come out with a product where it’s like, “I could have done this better.” If it comes naturally, then it happens. I’m all about collaborations becoming organic.

For each of you personally and as a team, what kind of difficulties or challenges were you forced to overcome during this collaboration together?

TAYLOR: My only challenge was making sure that I didn’t hog the record vocally because I’m so used to having a complete song and figuring out the cadence for the entire thing and the delivery for the entire thing and then just going in and doing the song. So, it was challenging for me. I think that I was on FaceTime with Yosef probably about six or seven times a day for the week leading up to me going there, just being like, “I don’t want to do that. Well, maybe I’ll do this, or maybe I won’t do that.” I was super nervous because every single part about this record is all equal parts, all of us. Because he’s also singing on the record, I didn’t want to go in there and just bulldoze over him, which I couldn’t because his voice is so rad and powerful.

YOSEF: I think the biggest thing is that I write everything, I record everything, I mix everything [and] I get the art done without the artist hearing the song. What I’m saying and what I’m talking about is very much my own world and my safe place to say it. So I went from this very isolated space, and then all of a sudden, I was in an environment where I was saying these things with somebody else. It wasn’t necessarily difficult, but it definitely was a little uncomfortable at first for me, and I think Sara felt the same way. So that was definitely a thing we overcame. And then we had a deadline for this album that was pretty strict, and I mixed the whole entire album with Ryan and Sara bouncing notes off each other. Mixing a whole eight-song album over two weeks after just tracking all the vocals was pretty rough, but we made it happen. I think having Ryan and Sara there to bring me back down to Earth [helped]. I can get very lost in the mix. You can’t hear, “This snare is too loud or this vocal needs to be up a little bit” when you’ve been looking at something for eight hours straight. So having a team where I could just send it to them, and they’re like, “Hey, maybe try this, maybe try that.” That certainly helped me a lot.

As a collective unit, what does this album represent for the future? 

TAYLOR: In my opinion, it’s just a really nice way to barge down the barn doors and let people know that we’re in a different zone. I feel like this band, from inception to now, have always tried to be five steps ahead of what everybody else does. When we started in 2012, industrial wasn’t this cool word that a lot of people were throwing around at every chance with their music. By the time everyone started throwing it around as a cute descriptive word, we were already moving beyond it and going back into metal elements and stuff. It’s not to say that we reinvented the wheel by any means, but we always try to push forward more and more. So this record is a collaboration. By the time we have another record out, I’m sure that there will be things that are even more different about it. It’s just a constant means of trying to make sure you’re five steps ahead of people. Even if they don’t get it at that point in time, they’ll get it in five years because it’s been proven. I’ve seen it with my own eyes.

GEORGE: It’s a good bridge for us. It’s not just a good record. It’s a good way, when we come back with our next record, for people to see what we’ve been doing over the last couple of years, what we’ve been working on and how we changed.

YOSEF: It’s a celebration of friendship for me and growth. It feels like I have the two coolest older siblings that are giving me a space to be creative and helping me along in my evolution. Lyrically, it’s really offloading a lot of weight mentally to clear up the space, and now I’m already taking a step forward.

You can read the full interview between Youth Code and King Yosef on their collaborative work in Issue 393, available here.

Yet, there’s no doubting their sway. These subgenres united to carry the scene flag as pop punk’s popularity spiked and dipped after the turn of the century. We first jammed to them on our Walkmans, then iPods and finally our smartphones during a decade of constant change. 

Read more: The 50 best albums of 2020 in alternative, pop punk, metal and beyond

Here is a list of post-hardcore songs that stood out during that stretch. Categorizing bands into specific classes is, in this case, pretty subjective. So assume that if your favorite band didn’t make the list, they might be interpreted as something slightly out of the post-hardcore realm by yours truly. 

Scary Kids Scaring Kids – “Faces” 

The chunky guitar riff of “Faces” blasts through a smartphone’s speakers, sparking the aggravating “I know that song” feeling. But the track’s name hides deep in the forgotten music cortex of your brain. Then that oh-so-familiar chorus hits: “Let’s tear away these faces we hide behind!” Oh yeah, Scary Kids Scaring Kids. Let’s break something.

Silverstein – “Smile In Your Sleep” 

You hip zoomers probably don’t listen to the radio anymore. It’s like podcasts with commercials, and you can’t rewind. Believe it or not, Silverstein’s “Smile In Your Sleep” still gets decent airplay, a term that describes a song that disc jockeys play frequently. And a disc jockey is… never mind. 

Chiodos – “There’s No Penguins In Alaska” 

It wasn’t the most popular track on Chiodos’ breakthrough album, All’s Well That Ends Well. But the never-ending chunky guitar work, coupled with Craig Owens’ unwavering vocals, embodied the post-hardcore sub-scene.  

Story Of The Year – “Anthem Of Our Dying Day” 

Page Avenue belongs on the Mount Rushmore of early 2000s alt-rock albums. Everyone remembers “Until The Day I Die,” and you probably played “Sidewalks” on your Walkman for your middle-school sweetheart so many times she switched lunchroom tables. But “Anthem Of Our Dying Day” is Story Of The Year’s magnum opus.  

VersaEmerge – “Past Praying For”

VersaEmerge helped set the template for women in post-hardcore bands with their consecutive releases in 2009 and 2010. The instrumentals blend perfectly with Sierra Kay’s vocals, with lyrics that were standout. Comparable bands, such as Tonight Alive and PVRIS, soon followed suit.

Four Year Strong – “Heroes Get Remembered, Legends Never Die”

With pop punk in metamorphosis, 2000s post-hardcore on the back nine and Hot Topic emo uncomfortably thriving, the scene sought something fresh in 2007. Enter the little-known Four Year Strong. Rise Or Die Trying was the unexpected surprise of all unexpected surprises, a much-needed injection of originality. “Heroes Get Remembered, Legends Never Die” is the moment we all realized we’d stumbled on something special. 

New Years Day – “Razor” 

What a run it’s been for Anaheim natives New Years Day. Formed in 2005, singer Ash Costello and company may have experienced their most successful stretch prior to the pandemic with their 2019 release of Unbreakable. It’s 10 times heavier than their earliest work, but their mid-2000s track “Razor” foreshadows the band’s edgier future. And the chorus is wonderfully earwormy. 

A Day To Remember – “The Plot To Bomb The Panhandle”

Before A Day To Remember’s mainstream success and world tours, there was “The Plot To Bomb The Panhandle.” It introduced the band to a wider audience, helping ADTR connect with industry pros. Many great successes have a pre-breakthrough breakthrough. “The Plot To Bomb The Panhandle” was it for A Day To Remember.

Thrice – “The Artist In The Ambulance” 

Thrice always put on a show. And when singer Dustin Kensrue croons “Late night, brakes lock, hear the tires squeal,” hold on to your butts. The entire crowd is about to become a circle-pit causality (which future post-hardcore bands are welcome to use as a name). 

Senses Fail – “Calling All Cars” 

Senses Fail went on a crazy run of great music in the mid-2000s. “Calling All Cars” is a perfect composition, containing a great hook and an excellent buildup to a banging chorus. The band’s political activism is also commendable. Senses Fail never failed to inspire us in many ways. 

Underoath – “Reinventing Your Exit” 

Is this it? Is this the ultimate metalcore/post-hardcore anthem? This soaring track shows off both subgenre’s quintessentials—the aggression of a punk song with the brief instrumentals of a metal track. The vocals, harsh and angelic, blend seamlessly. And that soaring chorus never grows old: “This is the way I would have done things/Up against the wall, up against the wall.” Underoath achieved perfection.

Alexisonfire – “Accidents” 

Maybe the best song/music video combo on this list, “Accidents” helped Alexisonfire build to their breakout album, Crisis, in 2006. Without this table-setting track, we might not see them reach the fans that they did. We’ll always remember “This Could Be Anywhere In The World” as a masterpiece, but we can’t forget “Accidents” as the song that got the band there. 

At The Drive-In – “Pattern Against User” 

With pop punk dominating MTV, radio and Napster, At The Drive-In carved just enough room for post-hardcore to make a major stamp on the 2000s. Their incredible Relationship Of Command reflected the market’s thirst for the style. “Pattern Against User” might not have been the album’s most popular track, but it padded the depth, cementing Relationship Of Command as a well-rounded and formidable piece of art. 

Funeral For A Friend – “Roses For The Dead” 

It’s tough to pick just one track from Hours to highlight. “Roses For The Dead” is a lyrically somber song that opens with a bouncy guitar solo, gradually building to a booming chorus. Yet, the heartfelt ending isn’t just the song’s standout moment but perhaps the highlight of Funeral For A Friend’s most consequential album. 

Saosin – “Seven Years” 

“Seven Years” plays second fiddle to “You’re Not Alone” on Saosin’s massively commercial self-titled debut album, but it rips all the same. The abrasive chorus juxtaposes the methodical first and second verses perfectly. And just when the track appears over, Saosin smashes the overdrive button. 

Vedera – “Trade This Fear”

The opening track to Vedera’s 2005 album allows Kristen May to stretch her vocal range. It’s a smooth song with plenty of kick, a comfortable first step into the band’s simmering debut. The pace of “Trade This Fear” gradually increases before an electric finish that gives way into a stellar album. 

From First To Last – “Note To Self” 

If you look up post-hardcore in the dictionary, From First To Last’s “Note To Self” should be listed as exhibit A. It shows off the whole package—the heavy guitar breakdowns, aggressive lyrics, structural creativity and untethered vocals. Does anyone even know what they are saying? Doesn’t matter. This song is all about feeling, and there’s plenty of it. 

A Skylit Drive – “I’m Not A Thief, I’m A Treasure Hunter”

Riding the spiking popularity of post-hardcore, A Skylit Drive rushed their debut record to the market in 2008. While songs such as “I’m Not A Thief, I’m A Treasure Hunter” may have been buried by an oversaturated market, make no mistake. It’s a standout track that passes the test of time. 

Touché Amoré – “Honest Sleep”

A risky track that falls short as one of Touché Amoré’s most downloaded, “Honest Sleep” is the opposite of cookie-cutter. It bounces between heavy screamo and soft acoustic. It breaks all the songwriting rules, but it works. There are few post-hardcore tracks more recognizable yet forgotten by time. 

AFI – “Miss Murder”  

It’s easy to overlook just how massive this hit, nay, grand slam from AFI was. Not only a top rock song in 2006, but it also soared up the Billboard Hot 100 and dominated the late Total Request Live days. AFI were always ahead of their time.

letlive. – “Beauty Queen Breast Stroke” 

This is the part of letlive.’s live set that breaks into anarchy. The band, known for their rambunctious stage presence, truly let loose. The entire crowd succumbs to the mosh pit. Plastic bottles fly through like missiles. Run for the hills. No one is safe. 

Eyes Set To Kill – “Darling” 

In a scene made up mostly of white guys, Eyes Set To Kill feature diversity in both gender and race. Formed by Alexia and Anissa Rodriguez, the band broke boundaries. But it was their creative composition that always stood out. “Darling” is a perfect example. 

Dance Gavin Dance – “Uneasy Hearts Weigh The Most” 

Of course, we can’t forget about Dance Gavin Dance. The Sacramento natives accomplished so much that it’s understandable to overlook their truly masterful self-titled album, released in 2008. “Uneasy Hearts Weigh The Most” shows off the band’s gift for creative songwriting and skillful musicianship. It was their first big breakthrough.

The Fall Out Boy bassist launched his Fueled By Ramen imprint, Decaydance Records, in 2005 and quickly started accumulating a roster of soon-to-be icons. Though rebranded in 2014 as DCD2 Records, the label has continued to put forward notable scene favorites, such as nothing,nowhere., well into the modern era.

Read more: Andrew W.K. shows his dark side in sinister metal track “Babalon”—watch

Given Wentz’s propensity for scouting legends in the making, we can only imagine how vastly different the scene would have looked without his contributions. Here are 10 artists you might not have discovered without him.

A Rocket To The Moon

A Rocket To The Moon were still in their fledgling stages when they signed to Fueled By Ramen in 2008. Of course, you probably already know who’s responsible for getting them in the door. Wentz had originally scouted the band for Decaydance, but ultimately they ended up releasing On Your Side under the parent company in 2009.

Gym Class Heroes

This one shouldn’t come as any surprise, given Wentz’s long-standing friendship with Gym Class Heroes frontman Travie McCoy. The two initially met at a Fall Out Boy show in 2004, the year before The Papercut Chronicles dropped, and “hit it off” immediately. The band went on to release that album under Decaydance, and McCoy remains on the roster to this day.

Panic! At The Disco

It seems pretty natural to compare Panic! At The Disco and Fall Out Boy to one another. Between their theatric anthems, long song titles and extravagant music videos, they’re definitely operating within the same wheelhouse. Of course, that begins to make a hell of a lot of sense when you realize that Panic! were a Wentz discovery. In fact, the band were first signed under Decaydance and have remained on the label for over 15 years.

Read more: nothing,nowhere’s new album is unpredictable, and that’s how he wants it

The Hush Sound

As it turns out, signing Panic! At The Disco had some rather direct implications for other artists. The mainstream emergence of the Hush Sound was the result of a joint effort between Wentz and Ryan Ross. Ross reportedly found the band on the internet following the release of their 2005 debut album, So Sudden. He passed them onto Wentz, who reached out regarding a signing. The group went on to re-release that album through Decaydance as well as drop two additional full-lengths, 2006’s Like Vines and 2008’s Goodbye Blues.

The Ready Set

No doubt, the Ready Set‘s “Love Like Woe” holds its own as a 2000s anthem. So, it’s pretty hard to stomach that we may have never heard it had Wentz not discovered Jordan Witzigreuter in 2009. Witzigreuter released I’m Alive, I’m Dreaming the next year under a joint signing by both Decaydance and Sire Records, a Warner Music Group subsidiary.

Cobra Starship

Cobra Starship said it themselves in their 2009 track: “Pete Wentz Is The Only Reason We’re Famous.” Upon first glance, it just seems like a sassy tribute to Gabe Saporta‘s iconic friendship (you know, the one that’s been hilariously memorialized on Wentz’s skin…). When you break down the history, though, there’s far more truth to the nod than you might immediately think. While the frontman found success with his former outfit, Midtown, it was the Decaydance supergroup project “Bring It (Snakes On A Plane)” that really gained Cobra Starship significant traction. After the collaboration, they went on to release albums under the label through their entire tenure.

Read more: Meet Me @ The Altar revisit “Garden” in new acoustic rendition—watch

Hey Monday

Despite their brief reunion in 2019, Hey Monday may be one of the most severely missed bands from the 2000s. As you could probably guess, we have Wentz to thank for all that pain (though, we’ll admit, it’s worth it). Wentz discovered the outfit shortly after their inception in 2008 and released their debut album, Hold On Tight, that same year through a joint deal with Columbia Records.

The Cab

We were all shook when Wentz popped up in the Cab‘s “One Of THOSE Nights” music video. However, the appearance didn’t just appropriately accent Patrick Stump‘s feature—it also paid homage to the band’s big break. The Cab were another group passed on to Wentz by way of Panic! At The Disco. They released their debut album, Whisper War, under Decaydance in 2008.

Destroy Rebuild Until God Shows

You probably remember D.R.U.G.S. as the decade-old supergroup composed of members from Chiodos, From First To Last, Story Of The Year, Matchbook Romance and Underminded. Do you recall the Wentz connection, though? The band released their first, and so far only, album through Decaydance in 2011. Just prior, in a 2010 interview with MTV, Wentz had cited Craig Owens as his favorite new artist. Now on the heels of a new D.R.U.G.S. demo and Owens’ collaboration with Wentz and Stump on 100 gecs‘ “hand crushed by a mallet (Remix),” we have to wonder if the band might rejoin the DCD2 roster going forward.

Read more: 10 unsigned emo bands to keep an eye on in 2021

The Academy Is…

The Academy Is… and Fall Out Boy have been interwoven for as long as we can remember. Just look to the “We’ve Got A Big Mess On Our Hands” and “A Little Less Sixteen Candles, A Little More ‘Touch Me’” music videos for confirmation of their creative symbiosis. You may chalk it up to being part of the 2000s Chicago scene, but, as it turns out, Wentz is actually responsible for getting TAI signed to Fueled By Ramen ahead of releasing Almost Here. This of course happened in 2004, prior to the establishment of Decaydance. However, the band released their next two records under Wentz’s label.

Which of your favorite bands have foundational ties to Pete Wentz? Let us know in the comments below!

On Friday, he shared the first photo of him in the studio working on new D.R.U.G.S. music.

Read more: Andy Biersack’s memoir ‘They Don’t Need To Understand’ is on its way

D.R.U.G.S. originally dissolved back in 2012 after releasing just one album and a live EP when bassist Adam Russell left. Following this, Owens announced he would be returning to Chiodos. Shortly after Owens’ announcement, lead guitarist Matt Good, rhythm guitarist Nick Martin and drummer Aaron Stern all ended up announcing their departures as well.

At the time of all of this, they were working on a new album just a year after releasing their debut record. Over the years, rumors swirled that a reunion may be the works, but nothing ever materialized.

Then, earlier this year, Owens surprised dropped the first new D.R.U.G.S. song in nine years called “King I Am.” Along with the powerfully cathartic hit, Owens also confirmed that he’s working on a follow up to the project’s debut self-titled album.

“I am writing the next D.R.U.G.S. album. I started writing it in early December. This song [“King I Am”] was written in early December. It was produced by my friend Hiram Hernandez. I’ve been working really hard on the album and that’s where my focus is.”

Read more: Fyre Festival and blink-182’s ongoing lawsuit is finally over

Now, Owens is offering an inside look into the recording process of the second D.R.U.G.S. album. On Friday, he shared a behind-the-scenes photo of him tracking vocals for the new record.

In a recent interview with Blunt Mag, he revealed that the album probably won’t be released until 2021.

“It won’t be until next year, for sure.”

As well, he shared that the album’s sound will reflect back to what D.R.U.G.S. fans have previously heard from the project. Amongst Chiodos and badXchannels, Owens found it difficult to switch back into the writing headspace for D.R.U.G.S.

“It was a head trip leading into it,” he says. “To start writing D.R.U.G.S. again was like, ‘Okay. I know exactly what to do. I know exactly what this needs to sound like, what kind of record it needs to be.’ And until you have that epiphany as an artist, you’re kind of just chasing other people’s vision or a past vision, and I would never just phone in a project ever, because I want to leave a legacy.”

Read more: Kevin Lyman hopes that TikTok ban will inspire influencers to politicize

For now, Owens plans to keep D.R.U.G.S. a solo project. He previously said that he is keeping his options open to adding members in the future.

“I do think that I’ll introduce members later on, but right now my focus is just like it was when the first album was written,” Owens said. “The music matters the most. That’s where my focus is at. After that, I’ll start to figure out how to present it live. I don’t want this to just be about me. It’s about the music. That’s all I really care about, and that’s all I’ve ever cared about.”

As well, Owens also revealed that he has intentions of eventually taking D.R.U.G.S.’ new music on the road. However, due to the coronavirus pandemic, those plans have been put on hold.

“There will most definitely be shows and tours,” he shared. “I’m not sure exactly how it’ll roll out, but I’m currently building my team around it. Once the album is written and done, then I’ll move forward.”

CORONA NEEDS TO HURRY SO I CAN ANNOUNCE THIS NEW D.R.U.G.S. TOUR

— Craig Owens (@craigowens) April 26, 2020

To further add to the D.R.U.G.S. nostalgia, Owens also brought back some iconic merch from 2010 including the classic D.A.R.E. shirt.

“King I Am” is available to stream below.

Are you ready for a new D.R.U.G.S. album? Let us know in the comments below.

Alas, Riot Fest isn’t happening this weekend or this year. But ask anybody who has ever rendezvoused at Chicago’s Douglas Park and there’s a great chance their memories are vivid. As if it happened last weekend. For decades, Riot Fest has been giving us more thrills for our skrilla. (Did we mention the return of My Chem yet? We did? Oh.) This list runs down some of the bands who raised both our heart rates and the ringing in our ears. 

Read more:  iDKHow play unreleased “Lights Go Down” at Riot Fest

We curse the microbes that screwed up our year (and the livelihoods of people who help bring us joy). We’ll heartily agree that FOMO is a better option than COVID-19. Consider  this select list of Riot Fest reunions. We can’t help but wonder what moves that team are making to blow our minds yet again. Our knuckles will remain forever whitened as we hang on their every word. But until then, here are 10 times Riot Fest reunited our favorite bands.

Naked Raygun

Punk-rock legends Naked Raygun called it quits in 1992, and although they had a two-show reunion in 1997, the band didn’t have a proper “back for good” return until they took the stage at 2006’s Riot Fest. Since reforming, they’ve played with the Offspring, Bad Religion and opened up for Foo Fighters at Wrigley Field in 2015, proving the innovators of the “Chicago Sound” are far from finished. 

Bikini Kill

Although their appearance at the 2019 Riot Fest wasn’t their first return performance, Bikini Kill closing out the last day of the festival’s 15th anniversary with the riot grrrl classic “Rebel Girl” is guaranteed to be a moment that will forever live in both Riot Fest and punk-rock history. Known for their confrontational live shows and unapologetic feminist activism, the band transform the stage into a progressive feminist statement. 

Motion City Soundtrack

Although famous for bringing bands back, Riot Fest has also served as sacred grounds to lay acts to rest. From I Am The Movie to Panic Stations, Motion City Soundtrack created their own brand of neurosis-driven, Moog-heavy pop rock and shared it with every hopeless romantic emo kid for 19 years. But the band decided to make the 2016 Riot Fest their penultimate gig, performing their final 36-song set at Metro after the festival. However, MCS announced the end of their three-year hiatus with their “Don’t Call It A Comeback” tour beginning in January 2020. With any luck, the run made the band refreshed and ready to potentially play Riot Fest in 2021. 

Craig Owens with Chiodos

Chiodos without Craig Owens is like watching a Quentin Tarantino movie with the dialogue on mute—still pretty cool but simply devoid of what makes it great. Chiodos and Owens parted ways in 2009, with the band saying the “decision was a necessary one.” In their time apart, Chiodos went on to release the album Illuminaudio with former Yesterdays Rising vocalist Brandon Bolmer in 2010 while Owens fronted post-hardcore supergroup Destroy Rebuild Until God Shows. All parties eventually agreed to reassemble in 2012 and turned Riot Fest into a public demonstration of their reestablished dominance. The band returned to a full-time touring schedule and released their final record, Devil, in 2014 before breaking up for good in 2016. 

Saosin with Anthony Green

Although Anthony Green was a founding member of the band and the original vocalist, it seemed that his replacement, Cove Reber, had solidified his legacy as the definitive frontman of Saosin. A reunion with Green seemed impossible. That is until Reber parted ways with the band in 2010 and vacated the lead singer position. The band finally announced the reformation of their Translating The Name-era lineup and made 2014’s Riot Fest one of the key moments of their big comeback.

The Academy Is…

The Academy Is…? More like the Academy Was…! The emo-pop darlings behind “About A Girl” and “Checkmarks” disbanded in 2011—leaving bassist Adam T. Siska to play with Carly Rae Jepsen and frontman William Beckett strictly a solo act until 2015’s Riot Fest where the band got back together to perform their debut, Almost Here, in full. The return performance led to a 17-date Almost Here 10th anniversary tour, and although the status of the band has hung in limbo ever since, we’ve got our fingers crossed that we’ll get a chance to sing along to “Summer Hair = Forever Young” once again. 

Slayer—final Chicago set

If you look closely, you will see a few tears in the wicked awesome mosh pit at the 2019 Riot Fest as Slayer played their final Chicago date. The first of heavy metal’s legendary “Big Four” to call it quits, Slayer put their band to rest on their final tour for over a year, and Riot Fest marked the last time the metalheads of the Windy City had the opportunity to get whiplash to the tune of “Angel Of Death.” 

The Replacements

The universe had been lacking the Replacements’ brash and sloppily earnest brand of poet-punk alt-rock for 22 years until Paul Westerberg and Tommy Stinson reunited at the Toronto Riot Fest in 2013. The ’Mats’ setlist was a thing of dreams. But the reunion was short-lived. Stinson and Westerberg parting ways again before a new album could come to fruition. But hey, at least we got to hear “Bastards Of Young” live a few more times…

Jawbreaker

Every punk on planet Earth had an unspoken mutual understanding that there would never, ever be a Jawbreaker reunion. With the initial commercial failure of their major-label debut, Dear You, accusations of being sellouts, fans literally turning their backs to the band and a roadside fistfight between singer/guitarist Blake Schwarzenbach and bassist Chris Bauermeister, Jawbreaker disbanded—forever. For years, Schwarzenbach refused a reunion in favor of fronting Jets To Brazil and being an English professor until the band had a soft reunion in a recording studio for the documentary Don’t Break Down in 2007. Jawbreaker made their official public return as the headliners of 2017’s Riot Fest, answering every punk-rock prayer and leading to several subsequent shows and the possibility of new music. 

Misfits

For several decades, you would be more likely to see Morrissey and Johnny Marr holding hands and eating pastrami sandwiches together than witness Glenn Danzig and Jerry Only next to each other onstage. The reunion that would never be, could never happen but somehow did—the Misfits. 2016 saw hell freeze over, and with it came the reformation of the original Misfits on the Riot Fest stage. Doyle Wolfgang Von Frankenstein on guitar, Only on bass and founding vocalist Danzig once again fronted the famed fiends. It was a license for every die-hard fan to one day die a little happier knowing that the original Misfits had, once again, walked among us. The Sept. 2016 Denver show was the first of several gigs the original Misfits have played since reuniting. We owe our eternal thanks to Riot Fest for making all of our little dead dreams come true.

What was your favorite Riot Fest reunion? Which band would you like to see reunite at Riot Fest? Let us know in the comments, and don’t forget to subscribe to APTV! Thanks for watching!

You’ll find musicians who have Virgo as their sun sign to be calm, cool and collected. They keep everything well organized and always have a plan. Thus, Virgos find a home in the music industry because they work hard, fuel their creativity through their passion and spread joy throughout their talent and charitable acts. 

Read more: This ‘Tony Hawk’s Pro Skater 1+2’ player just recreated blink-182’s Boomer

Chrissy Costanza – Aug. 23

https://www.instagram.com/p/CDjqCZiJgjM/

Our first Virgo is none other than Chrissy Costanza, the lead vocalist for Against The Current. Virgos are often known for being rather particular, and Costanza is no exception. The vocalist has an amazing sense of style that you can tell she puts a lot of time into crafting, from her clothes to the organization style of the group’s shows on tour. Costanza exudes the creativity and craftiness of a true Virgo.

Craig Owens – Aug. 26

https://www.instagram.com/p/B4XbTbQgsI6/

Chiodos’ Craig Owens is the essence of a Virgo. This sign tends to take on as many projects as they can handle, and Owens definitely does that. Virgos love to be multifaceted, and their keen organization skills equip them properly to take on multiple ventures. Thus, we have Owens. 

Cassadee Pope – Aug. 28

https://www.instagram.com/p/CEt8qpHF4L2/

A key trait for Virgos is independence, which makes Cassadee Pope of Hey Monday accurately a Virgo. Pope’s emerging solo career in 2012 highlights her Virgo nature of being self-sufficient and creative. Independence is key for Virgos, as they often branch out on their own to pursue their own projects. When you’re working on, well, anything, you want a Virgo at the helm calling the shots because they pride themselves on their structure and independence. 

Florence Welch – Aug. 28

https://www.instagram.com/p/CAF2gB5DCIr/

A little known fact about Virgos is that they are insanely artistic and introspective. In comes Florence Welch of Florence And The Machine. Welch is also a writer and artist, as she has taken to creating books and other works of art. Welch’s passion and creativity are innately Virgo, as she’s a particular perfectionist in everything she does. From her eclectic style to beautifully organized live shows, Welch just screams Virgo in every way. 

Cove Reber – Aug. 28

https://www.instagram.com/p/B7zFHiWAqCi/

Talk about artistic and multifaceted. Former Saosin vocalist Cove Reber is extremely creative and uses his talent to pursue a variety of different projects. Virgos often have multiple streams of creativity, and Reber is no exception. He takes his talents and spreads them across multiple bands and projects, which is the epitome of a Virgo move. 

Ryan Ross – Aug. 30

https://www.instagram.com/p/B3iCgo5Fhv4/

A true Virgo is inherently talented and goal-oriented. Ex-Panic! At The Disco guitarist Ryan Ross is all of the above. Ross values perfection in all he does and refuses to settle for less. Virgos often take on several different projects because they find fulfillment in hard work and are passionate about reaching all of their goals, making Ross undoubtedly a Virgo. 

Lars Frederiksen – Aug. 30

https://www.instagram.com/p/CD4RSzvJ_kb/

You probably know a Virgo or two who spend their time working with nonprofits and donating what they can. Lars Frederiksen of Rancid does exactly that. Frederiksen is passionate about the music industry and uses his platform to help causes that are close to his heart. A little known trait about Virgos is that they’re often charitable and like to volunteer and support various organizations they believe in. That is what makes Frederiksen a Virgo, as he channels that passion into his music and charitable music-industry causes. 

Joe Trohman – Sept. 1

https://www.instagram.com/p/CEVii1EB_vV/

Speaking of Virgo activism, it’s also important to mention Joe Trohman from Fall Out Boy. Something to note about Trohman is that he’s an activist, fighting for social justice and using his platform accordingly. Thus, Trohman shows off that charitable and passionate side of Virgos that isn’t always expected. He channels his organization skills and passion for social justice into his celebrity platform, and that is a Virgo to a T.

Ricky Horror – Sept. 1

https://www.instagram.com/p/CEmf3hMH5KX/

Virgos value their independence and alone time, which often makes them introverted and introspective. That’s what brings Ricky Horror of Motionless In White to mind. One major thing to note about Horror is that he’s incredibly independent and keeps his social media presence minimal. Horror instead focuses on his craft. This is why Ricky embodies a Virgo—he values his independence and uses his time to work on his music.

Ryota Kohama – Sept. 4

https://www.instagram.com/p/CEsq7K9Bawd/

Virgos like to change things up and often don’t just stick to one thing. That’s what makes Ryota Kohama from ONE OK ROCK a true Virgo. Kohama dabbles in rock and hip-hop, and his ability to cross genres is the essence of a Virgo. Virgos are innately creative and love to try new things, even if they don’t work out in the end.

Freddie Mercury – Sept. 5

https://www.instagram.com/p/CEUQnsaFPv3/

Freddie Mercury needs no introduction. He’s curated his own unique style, and Queen were meticulous in perfecting their music. Every Queen song is crafted so each band member fits beautifully together, including Mercury with his flair and passion. This is what makes Mercury a true Virgo, as he’s a stylistic, passionate perfectionist.

Jimmy Urine – Sept. 7

https://www.instagram.com/p/bChkI0DCO1/

Multiple streams of income is the name of the Virgo game. Jimmy Urine keeps up with the trends and immerses himself in new projects all the time. Thus, Urine is a true Virgo in that he diversifies what he’s doing and is constantly looking for ways to get more involved. If there’s something involving programming, animation or rocking out, Urine‘s on it. Listeners know him best as the co-founder and genius programmer of electro-punk wiseguys Mindless Self Indulgence. Urine also voiced a character for the pixelated animation series X-RL7 and completed a faux British gangster movie soundtrack with System Of A Down‘s Serj Tankian (under the name Fuktronic). Over the years, Urine’s also done musical projects for Marvel and appeared in Guardians Of The Galaxy Vol. 2. Like any true Virgo, the dude is in motion, constantly

Brendan Kelly – Sept. 8

https://www.instagram.com/p/CE4DFu3DHkg/

Did someone say multi-talented? That’s definitely Brendan Kelly from the Lawrence Arms because not only is he a musician but also a writer, television host and the keeper of the Nihilist Arby’s Twitter account. Virgos are known for being organized, and it’s not uncommon to see them as teachers or in office jobs. However, Virgos are also incredibly talented and can be found in creative careers, too. Thus, Kelly’s ability to be creative and hardworking is innately Virgo as he tackles multiple different kinds of jobs.

Mikey Way –  Sept. 10

https://www.instagram.com/p/B4WU_rYhcQf/

Speaking of a talented Virgo, look no further than Mikey Way of My Chemical Romance. After My Chem broke up, Way pursued other projects such as acting and creating the comic book Collapser with Shaun Simon. Virgos love changes and often embrace new projects with open arms. Way handled each change beautifully and channels his talent straight into them, making him the epitome of a Virgo. 

Patty Walters – Sept. 12

https://www.instagram.com/p/B-zyWuEJ2Wy/

Multitasking looks effortless when there’s a Virgo involved, and Patty Walters from As It Is does exactly that. Walters has taken to content creation outside of music and finds a way to blend those two passions through his YouTube channel. As Walters branches out into other creative outlets, it’s clear he’s a true Virgo in every sense of the word. 

Skyler Acord – Sept. 12

https://www.instagram.com/p/CEN3t8eF16H/

Did you know that Virgos often take on teacher-type roles? Skyler Acord from Issues actually moonlights as a guitar teacher. He offers virtual classes and uses his social media platforms to reach students who may be interested in lessons. This is the essence of Virgo energy, as this sign is eager to teach and share their talents with the world.

Amy Winehouse – Sept. 14

https://www.instagram.com/p/CEoVRoaJGSF/

Amy Winehouse is no longer with us, but her legacy will live on forever. Winehouse had a very particular style, was fiercely independent and truly shined in her creativity. That’s what makes her an alluring Virgo—she was able to be particular, organized and independent. You see this independence in her interviews, where she often explains her love of music as being an outlet of self-expression, making her a true Virgo at heart.

Tegan And Sara – Sept. 19

https://www.instagram.com/p/CE6-umWFqRE/

While Gemini may be the sign of twins, plenty of other signs have twin birthdays, too. That’s where Tegan And Sara come in. What makes these two the epitome of a Virgo is that they use their platform for charitable causes. Virgos are always eager to help. The duo even have their own Community Grants foundation and actively try to help those in need. Sounds like a pair of Virgos to us. 

Adam Lazzara – Sept. 22

https://www.instagram.com/p/B6nyDdoFsmn/

Virgos are perfect fits in the music industry because they’re extremely entertaining. Adam Lazzara from Taking Back Sunday definitely meets this description. He’s always been creating music, giving us plenty of iconic Taking Back Sunday albums in the process. Likewise, Lazzara has pursued many different kinds of music ventures, all with incredible talent, making him a true Virgo.

Joan Jett – Sept. 22

https://www.instagram.com/p/CB6_UVhA7Av/

Joan Jett is one of the Virgo queens of rock ’n’ roll. Joan Jett & the Blackhearts set a standard and encouraged more women to join rock bands. Jett’s personal style and attitude are absolutely iconic and distinctive to her, rocking that Virgo energy. It takes passion, perseverance and individuality to make it in the rock world like Jett has, making her a Virgo in every way.

There’s hardly any filler on these records, and many of the albums mentioned here are fan favorites to this day, many years and albums later. Just don’t ever yell “Play your old stuff!” at a show when we can finally attend them—it’s quite rude. Check out our picks below.

Read more: Watch MGK and blackbear’s action-packed video for “my ex’s best friend”

The All-American Rejects – The All-American Rejects

The All-American Rejects came out swing swinging in 2002 with their debut self-titled LP for Doghouse Records. AAR promoted the record’s initial indie run with opening slots with quirky rockers Motion City Soundtrack and emo darlings Northstar. However, the perfect power-pop band seemed to be always destined for major-label success, and almost immediately after the record came out, a short four months later, it was re-released on powerhouse Dreamworks Records to eventual platinum sales. Thus, AAR were now a headline act and would continue to end a plethora of shows with album closer “The Last Song.”

Boys Like Girls – Boys Like Girls

It’s rare for a debut album to have even one hit song, but Boys Like Girls found a way to come out of the gates with three monsters (“Hero/Heroine,” “The Great Escape” and “Thunder”) on their self-titled LP. The sugary pop-rock was super sweet with BLG, and after support slots with many Warped Tour favorites such as Valencia and Cartel, they co-headlined a tour with Good Charlotte with Metro Station and the Maine opening. What a stacked lineup!

Chiodos – All’s Well That Ends Well

Chiodos seemed to come out of nowhere with their 2005 debut album, All’s Well That Ends Well, but the six-piece screamo band had been diligently plugging away at local VFWs and small all-ages venues for four years prior. By 2009, finding success with their next record, Bone Palace Ballet, the band were a main stage act at Warped Tour and had already joined the big leagues, touring with some of the biggest acts in the world: Linkin Park and Coheed And Cambria. None of this would have happened without the breakout success of Chiodos’ debut release and the star power of vocalist Craig Owens. 

Circa Survive – Juturna

Equal Vision Records was on fire with debut albums in 2005, and the buzz surrounding Circa Survive’s debut LP, Juturna, was unparalleled. Fresh off quitting Saosin prior to the band signing with Capitol Records, vocalist Anthony Green formed Circa Survive with friends and friends of friends. The formula worked, and few were appalled with the end results. Circa Survive started their career by not sounding like anyone else, and each subsequent album release cemented their legacy with both originality and artistry.

Dashboard Confessional – The Swiss Army Romance

Who would’ve thought that a one-man band from Florida would catapult an emo movement to global fame? Dashboard Confessional started as a solo acoustic project in 1999, and DC shows around this time period included vocalist (and then-lone band member) Chris Carrabba, an acoustic guitar in an unconventional tuning and a crowd of extremely enthused attendees screaming infidelities over every lyric louder than the PA ever could. Every subsequent release took Dashboard further toward a forever career, and Carrabba later added a band for shows and releases.

Eisley – Room Noises

The Beach Boys proved that siblings can harmonize together better than pretty much anyone, and the 21st century had its own version of siblings singing different notes in unison with indie-pop family band Eisley. The DuPree family members have stupid good and ridiculously haunting vocals, and their debut LP, Room Noises, features unconventional, Olympic-worthy melodies and catchy yet strong musicianship. Eisley proved their strength and versatility on this album’s touring cycle by hitting the stage with Hot Hot Heat and Switchfoot. Basically, they’re your favorite bands’ favorite act. 

Fall Out Boy – Take This To Your Grave

Next to blink-182, Fall Out Boy are arguably the second biggest pop-punk band in history. Numbers don’t lie. In 2003, FOB stormed the scene with 12 tracks that obsessive fans will forever clamor for live, Take This To Your Grave—the band still play “Saturday” at every show. You had to be there during that time period: Fall Out Boy were on everyone’s minds, and their army of supporters ardently campaigned for the act in a manner not seen again until One Direction arrived seven years later. Six major-label full-lengths later, this band are certainly here to stay.

Finch – What It Is To Burn

Drive-Thru Records may be best known for their pop-punk catalog, which includes two bands who pop up later on this list (Midtown and the Starting Line), but the label also excelled in the post-hardcore/screamo worlds. Without question, Finch’s debut LP, What It Is To Burn, is one of the ultimate screamo full-lengths of all time, and its legacy has been going strong for nearly 20 years. If you were lucky enough to attend the sweaty 10-year anniversary shows for the album last decade, you know that Temecula, California (the band’s home base) should be famed for more than just wine. 

Glassjaw – Everything You Ever Wanted To Know About Silence

Long Island’s Glassjaw walked so the Used, Story Of The Year and Finch could run. The post-hardcore five-piece pulled no musical and lyrical punches right from the start and inspired a legion of ride-or-die fans for enigmatic vocalist Daryl Palumbo. The band also acted as a gateway drug for many pop-punk and scene kids toward the then-up-and-coming genre screamo, and the next 20 musical years were much louder and more intense as a result. 

Good Charlotte – Good Charlotte

It’s hard to believe that Good Charlotte introduced themselves to the world 20 years ago. Their debut self-titled release took a minute to pop off, and the band were nearly dropped by Epic Records for selling much fewer units at the beginning than originally anticipated. However, they trudged on, and when the album did explode beyond the label’s expectations, there was no looking back for the world of pop punk. How’s that for a motivation proclamation for all musicians?

Mayday Parade – A Lesson In Romantics

Mayday Parade’s debut LP, A Lesson In Romantics, could also be named “A Lesson In Persistence,” as the band hustled their (just as good) debut EP, Tales Told By Dead Friends, to approximately 10,000 Warped Tour attendees waiting in line in 2006 without being on the actual tour lineup. Fearless Records promptly signed Mayday Parade after their overwhelmingly successful grassroots efforts. Just one short year later, they subsequently recorded and released one of the most lyrically quoted albums on this list. 

Midtown – Save The World, Lose The Girl

It takes a lot to save the world, but solid three-part harmonies can certainly help. New Jersey basement heroes Midtown introduced themselves to many outside of the garden state by singing/yelling a cappella “God, I wish I could hate you for the rest of my…” and then proceeded to rock the fuck out for 12 solid tracks of their debut LP, Save The World, Lose The Girl. Guitar purists will love the dueling axes on said LP, and English majors will have plenty of phrases and words to analyze with the album’s clever lyrics. 

Motion City Soundtrack – I Am The Movie

What happens when the biting pop punk of Jawbreaker merges with the power-pop synthesizers of the Rentals? Well, Motion City Soundtrack can certainly explain on their debut record, I Am The Movie. The band self-released this musically punchy and lyrically quirky record in 2002, and Epitaph Records took notice, signed them and re-released it one year later. Five albums (and almost 20 years) later, the band took a brief hiatus, but they made a triumphant live return earlier this year. One more record, boys?

My Chemical Romance – I Brought You My Bullets, You Brought Me Your Love

Any album produced by our lord and savior Geoff Rickly of Thursday deserves at least 666 spins. My Chemical Romance’s first LP, I Brought You My Bullets, You Brought Me Your Love, came out of the skylines and turnstiles to an abundance of success in the heavy music world, causing Reprise Records to take notice of the New Jersey five-piece and later sign the band. Two years later, MCR were one of the biggest bands on the planet, and the 21st century would never be the same. This could and would not have happened without the ardent base built by this powerful debut album. 

Paramore – All We Know Is Falling

Paramore’s debut LP, All We Know Is Falling, is the definition of a sleeper hit album. Nine years after its release, it finally was certified as a gold record in 2014. Vocalist Hayley Williams has been both shocking and pleasing diverse crowds at events such as the summery Warped Tour and the darker Taste Of Chaos festivals since she hit the scene in 2004, and the 10 tracks on Paramore’s first record truly showcase her unrivaled vocal prowess and super-strong delivery. 

The Pretty Reckless – Light Me Up

A lot of television and film actors start bands, but few are half as successful as the Pretty Reckless. Gossip Girl actress Taylor Momsen proved the many naysayers dead wrong with their fire debut LP, Light Me Up, which contained three minor hit songs. Ten years later, the band are still going strong, which is a feat in itself. The first record did well in the states, but TPR are at another level in the United Kingdom, headlining much larger venues.

The Starting Line – Say It Like You Mean It

Pop punk belongs to the youth, and Kenny Vasoli, vocalist/bassist for the Starting Line, proved this fact when his band signed with Drive-Thru Records before he could legally vote. Produced by Mark Trombino (formerly of Drive Like Jehu), TSL’s Say It Like You Mean It may be the sunniest pop-punk record ever created. If given the chance, you should check it out right now so by the time emo nights return, you can scream every word of “The Best Of Me.”

Taking Back Sunday – Tell All Your Friends

Bands such as Glassjaw, the Movielife and the Reunion Show helped start a Long Island rock revival in the early 2000s, but no one stood out quite like Taking Back Sunday. Victory Records was on a roll at the turn of the century, and Tell All Your Friends arguably is the label’s ultimate release. You can thank a free label CD sampler for launching this one, as by the time TBS hit the road in support of their debut LP, they already had legions of fans singing along to every biting lyric coast to coast.  

The Used – The Used

The Used put Orem, Utah, on the map with their debut self-titled record in 2002. Up till that point in time, one would be hard-pressed to find screams on rock radio. The Used truly changed the game 18 years ago, and the results were quite monumental, as the 12-track record eventually went platinum. Fun fact: The Used are one of few bands to play both Warped Tour and Ozzfest, and they did so on this album’s touring cycle.