The most intriguing and dismaying aspect of the year was the lack of protest against President George W. Bush’s war in Iraq. He misguided America into thinking Saddam Hussein was responsible for the 9/11 attacks, with his talk of “weapons of mass destruction.” Punk rock had always been a particularly belligerent voice of dissent. It would be easy to think the government had finally cowed punk-rock rebels into submission, were it not for Green Day’s blistering American Idiot two years later. There was also the PunkVoter drive organized by NOFX that same year. Otherwise? Where were 2002’s equivalents of the Clash or Crass, screaming against this massive con atop crashing guitars?

Otherwise? 2002 was the year a number of positive voices emerged who would mold punk’s direction for years to come. We’re all the better for it. Please enjoy our custom Spotify playlist as you enjoy this survey of the year’s best punk albums.

The Distillers – Sing Sing Death House

The second LP from the band that gave Brody Dalle her name was the first real refinement of the Distillers’ strengths and aesthetic. On the surface, Dalle flashed the influence of her then-husband, Tim Armstrong. Both shared a certain gravelly, mush-mouthed vocal delivery, and there were times the Distillers’ music flashed hallmarks of Rancid’s, minus the reggae and ska seasoning. Then there are the moments where Dalle and her bandmates opened a vein and poured out pure inspiration, such as “City Of Angels,” their Ramones-meets-Black Flag reimagining of “Welcome To The Jungle.” This was when Dalle became a Joan Jett-like inspiration to the next generation of punk women.

The Libertines – Up The Bracket

Pete Doherty and Carl Barât were a pair of English chancers with poetic gifts, living in a romanticized Britain of their own devising dubbed “Albion.” They folded this world into their ramshackle indie band the Libertines, which never saw much success until the Strokes inspired them to get tougher, garage-ier. What oozed from the 0’s and 1’s comprising their debut, produced by the Clash’s Mick Jones, welded the articulate, very British songwriting of Ray Davies with a sloppy take on Clash/Jam-style late ‘70s punk. England finally had their own version of the Replacements. And they sold a lot of electric guitars to U.K. millennials.

Against Me! – Is Reinventing Axl Rose

Against Me!’s first full-length was an almost total rethink of punk-rock norms. Is Reinventing Axl Rose is almost a folk record in many ways. The guitar work is less distorted downstroked power chords and more clean, strummed open chords. And what Laura Jane Grace is screaming across this amplified folk backing could have been taken straight from the Crass songbook. Then there’s the Latin/spaghetti Western melodies of songs such as “Pints Of Guinness Make You Strong.” It’s probably the unique nature of this music that enabled Against Me! to connect with the large audiences they began drawing around this time on such a deep emotional level. 

Dillinger Four – Situationist Comedy

Quietly, Dillinger Four became America’s greatest active punk band. The only problem was, only a handful of people knew it. One of those was MTV’s pop-punk queen of 2002, Avril Lavigne. As “Complicated” burned up the worldwide pop charts, Rolling Stone magazine asked her what she was listening to: “Dillinger Four, do you know them?” she replied. “They’re punk.” Weeks later, Lavigne attempted to visit them backstage when they played Los Angeles’ Troubadour Club. “Who’s Avril Lavigne?” bassist Paddy Costello asked the security guard knocking on the dressing room door. The band preferred to issue their noisy, catchy, hilariously and intelligently punk albums, filled with such cleverly titled songs as “A Floater Left With Pleasure In The Executive Washroom,” without hoopla and play low-key gigs. It’s endearing, in a way. Situationist Comedy was their third album, and one of their finest. 

Good Charlotte – The Young And The Hopeless

This is it, the album that made Waldorf, Maryland’s own Good Charlotte megastars, on the back of massive hit single “Lifestyles Of The Rich & Famous.” Was it the smirking lyric slashing to bits the overdriven celebrity culture on which America is still obsessed with? Was it the mutated Iggy Pop “Lust For Life” beat that the album’s guest drummer Josh Freese drove through the song like a Mack truck hauling lit dynamite? Really, it was the everyman viewpoint Benji and Joel Madden invest in every song they write. They understand high school outcasts (“The Anthem”), those with drunken absentee fathers (“The Story Of My Old Man”) and the complicated balance between the sexes (“Girls & Boys”). This was ultimately what propelled Good Charlotte and The Young And The Hopeless to the top. 

Joey Ramone – Don’t Worry About Me

Obviously the Ramones’ iconic singer, Joey Ramone was recording his first solo album as quietly as he’d been battling lymphoma. The disease finally claimed him April 15, 2001. Don’t Worry About Me was unveiled posthumously 10 months later. Aside from the uncharacteristically cynical “Venting (It’s A Different World Today),” the album’s tone is delightfully upbeat. The opening rave-up of Louis Armstrong’s “What A Wonderful World,” featuring a borrowed guitar hook from the Sex Pistols’ “Pretty Vacant,” became an instant classic more beloved than the original. Produced by Daniel Rey, who’d worked on the last few Ramones albums, Don’t Worry was a more solid effort than anything from the Ramones final decade. Which made it a fitting memorial for the much-missed singer.

The Hellacopters – By The Grace Of God

The architects of what they called “action rock,” Sweden’s the Hellacopters were five albums in with By The Grace Of God. They went from lo-fi, ultra-distorted, ‘69 Detroit power punk to an ultra-clean and hi-fi ‘70s AOR sound with this LP. Tracks such as “Carry Me Home” could even put one in mind of Lynyrd Skynyrd remodeling Boston’s “Don’t Look Back,” complete with harmonized guitar solos. Was it still action rock? Sure, it was. But it was just really well-groomed and manicured. Which is likely why Grace was the most commercially successful of the Hellacopters’ albums in their native land.

Bad Religion – The Process Of Belief

Bad Religion, the fathers of hyper-intelligent pop punk, left Atlantic Records in 2001. They returned to Epitaph Records, and brought founding member Brett Gurewitz back as well. They were now an expanded six-piece, with new drummer Brooks Wackerman replacing Bobby Schayer. This was the form of Bad Religion that entered production on The Process Of Belief, their 12th studio LP. Also making its return was the melodic hardcore sound that marked their classic period, from Suffer through Stranger Than Fiction. The upshot? The sins-of-the-father classic “Sorrow,” Bad Religion’s first U.S. charting single in six years, a live staple to this day.

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

A legend begins. New Jersey’s My Chemical Romance inaugurated the intense devotion of their incrementally expanding following with this Eyeball Records release. The entire MCR vision arrived with I Brought You My Bullets, You Brought Me Your Love: the near-operatic mix of punk/emo/screamo and classic rock, especially Queen; the deep roots in horror comics; and a revival of the ancient ‘60s/’70s rock conceit, the concept album. The debut storyline: a pair of outlaw lovers eventually gunned down in the desert. Guitarist Frank Iero guested, joining after Bullets’ release. Stay tuned, as our heroes net the attention of Reprise Records and go massive in 2004. 

The Donnas – Spend The Night 

Palo Alto’s punk-metal queens the Donnas bit the major-label bullet in December 2001, signing with Atlantic Records after many years with Lookout! Records. Which meant they could finally afford the slick AOR rock production befitting the heavy-metal status they always desired. It enabled singer Brett Anderson, guitarist Allison Robertson, bassist Maya Ford and drummer Torry Castellano to finally hit the Billboard 200 with their fifth studio album, Spend The Night. It peaked at No. 62, selling 450,000 copies as of 2005. With single “Take It Off” taking off, TV shows ranging from Total Request Live to SNL, The Tonight Show with Jay Leno and The Late Show with David Letterman booked appearances. The Donnas arrived. 

Sleater-Kinney – One Beat

“One Beat…was a much more strident and pointed political record, in terms of the lyrics,” founding Sleater-Kinney singer/guitarist Carrie Brownstein reflected to Verbicide in 2005. The band have noted they conceived their sixth studio effort as a post-9/11 “voice in the silence.” The martial-rhythmed “Far Away” alone is pointedly critical of President Bush’s response to the terrorist attacks. The material, developed organically in unhurried practice sessions in drummer Janet Weiss’ basement, was the most intricate and complex of their career. Longtime producer John Goodmanson worked with Sleater-Kinney to shake up their normal work modes in the studio. Co-singer/guitarist Corin Tucker opined that the outcome was their discography’s most fully formed entry.

Henry Rollins and Friends – Rise Above: 24 Black Flag Songs To Benefit The West Memphis Three

The case of the West Memphis Three was the most savage indictment of a broken American justice system. In 1994, three men — Damien Echols, Jessie Misskelley Jr. and Jason Baldwin — were wrongfully convicted as teenagers of the murder of three West Memphis, Arkansas boys the previous year. The trial was an emotional, sensationalized affair misrepresenting the teens as Satanists, murdering the children as part of some rite. A pair of documentaries focussed a white-hot spotlight on the case, leading to the 2011 release of the WM3 for time served. It was the result of a concentrated fundraising effort by celebrities and musicians to process and submit new DNA evidence, indicating the teens did not commit the crime.

Among those fundraisers: This Black Flag tribute album, conceived by best-known BF singer Henry Rollins, using Greg Ginn’s powerful odes to defiance in service of this larger cause. The Mother Superior-staffed lineup of Rollins Band ably recreated — sometimes improving upon — these 24 Black Flag classics, mostly resung by Rollins, or performing in duet with different singers. Some of the highlights come from completely different singers entirely: Original BF vocalist Keith Morris outstripping his performance on debut single “Nervous Breakdown”; punk godfather Iggy Pop’s rethink of “Fix Me”; Lemmy’s growl through “Thirsty & Miserable”; and Slayer’s Tom Araya’s paint-peeling “Revenge.” The subsequent tour featuring a set divided between Morris and Rollins fronting Rollins Band was a marvel. Suddenly, Ginn’s groundbreaking songs gained a higher purpose, one that eventually paid off. 

The Used – The Used

Orem, Utah screamo specialists the Used never served the usual indie apprenticeship of other punk scenesters. Their first record deal was with Reprise, and their self-titled debut album was an instant success story upon its June 2002 release. This isn’t to say this band did not pay dues. They suffered a harder gestation than most: Homelessness, poverty, drug addiction and panhandling for food marked the writing of these songs. Goldfinger’s John Feldmann took a real gamble in flying the band to Los Angeles and showcasing them to record companies. Reprise joined in the chance, installing Feldmann and the Used in Marina Del Ray’s Foxy Studios. The overwhelming emotional toll of the band’s backstory poured out of Bert McCracken’s throat as he stepped into the vocal booth. It created a deep connection with all 500,000 people who bought the album by July 2003. It has since been certified platinum.

The Mighty Mighty Bosstones – A Jackknife To A Swan

2000’s ironically titled Pay Attention failed to perform as spectacularly for Boston ska-punks the Mighty Mighty Bosstones as 1997’s breakthrough Let’s Face It. Maybe it was because it didn’t have a monster track a la “The Impression That I Get.” More likely, the Bosstones got lost in the shuffle as Mercury Records folded into the megalithic Universal Music Group. They got the requested release to sign with Side One Dummy, returning to the indie leagues with their seventh studio LP. A Jackknife To A Swan emphasized the Bosstones’ more roaring power chord punk side, in anthemic tracks such as the opening title track. Which didn’t mean their power-ska was gone — it’s there in spades in such tunes as the mobster drama “Mr. Moran.” It was a strong album, which was puzzling in wake of the four-year hiatus began in 2003.

Flogging Molly – Drunken Lullabies

L.A.-based Celtic punks Flogging Molly came by their Irish-inflected sound naturally: Leader/frontman Dave King is a Dublin-born immigrant, previously singer for guitarist Fast Eddie Clarke’s post-Motörhead hard-rock band Fastway. Drunken Lullabies was the more successful follow-up to their 2000 debut, Swagger. Like that one, these 12 tracks reeked of the Pogues’ punk-up of traditional Irish music, with the addition of crashing electric guitars. It took Flogging Molly as high as No. 104 on the Billboard 200, and netted them a gold record. Certainly placing the banjo-rocking title track on Tony Hawk’s Pro Skater 4 didn’t hurt any.

But this is not about the year 2001.

Read more: Why Green Day’s 1994 BBC Sessions sound better with a cup of coffee

Musically, radio and MTV was no longer dominated by punk and alternative rock. The airwaves continued to shake with pop stars a la Britney Spears, the smooth R&B of such boy bands as *NSYNC and the hip-hop-inflected nü metal of Limp Bizkit and Korn. In the margins, music’s future was being written by punk-based bands.

The framework for garage to conquer the charts was the same way grunge and punk pop had the decade before. Oh, and punk pop was about to see a second resurgence, too. More hard–rock-based strains were seeing an increasing viability, as well. Anyone despairing or celebrating punk’s ultimate mortality were fooling themselves. It always retreats underground for a time, fortifying itself for another attack on the world.

Welcome to Alternative Press’ pick of the year 2000’s best punk albums. Please enjoy our custom playlist of those LPs’ highlights as you read.

Rancid – Rancid

Two years after Berkeley street–punk kings Rancid released Life Won’t Wait, basically their Berkeley Calling, the band decided it was time to shake things up. They had issued three studio full-lengths in a row, crammed to the seams with their juicy Clash/ska-inflected sound. They were selling truckloads of records to the public with raw, rootsy punk. So they naturally made a hardcore album.

Their second self-titled LP was even rawer: 22 songs—most not even two minutes—in 38 minutes, 24 seconds. Every vocal was a one-note, tonsil-shredding scream, and the only melodies were Matt Freeman’s nimble bass runs. Only “Radio Havana” sounds like the Clash-damaged Rancid of yore. Then speed-bullet “Axiom” thunders in, returning the record to one-minute-plus thrashers. Probably Rancid’s least commercial record, making it one of their best.

At The Drive-In – Relationship Of Command

It arrived Sept. 12, 2000, in a sleeve loaded with Trojan War/Trojan Horse imagery. It left everyone who listened shaken to the core. Relationship Of Command felt like music had been knocked off its foundations and completely rearranged. The reality was likely more prosaic: El Paso post-hardcore unit At The Drive-In had obviously completely digested their Fugazi and Gang Of Four records and Refused’s The Shape Of Punk To Come. They threw the chunks up in all manner of novel and exciting forms. Seeing the band perform “One Armed Scissor” on Late Night With David Letterman—all flying scissor kicks and MC5-oid afros—was a sight few can forget.

Good Charlotte – Good Charlotte

“Yeah, this song is dedicated to every kid who ever got picked last in gym class,” singer Joel Madden intones in the opening moments of “Little Things,” Good Charlotte’s self-titled debut album’s first track. “To every kid who never had a date to no school dance,” continued his litany of high school outsider alienation. “To everyone who’s ever been called a freak, this is for you.”

Those 40 words encapsulate why the band Joel formed with twin brother Benji on guitar in Waldorf, Maryland, in 1996 went mega come 2002. They’d been the teen misfits, finding salvation in the rock music of their day: Green Day’s melodic punk overdrive, Sublime’s funky reggae-core, Beastie Boys’ hip-hop/rock fusion, Silverchair’s Nirvana-inspired teenage grunge-pop, Oasis’ widescreen stadium anthems.

They channeled that eternal sense of adolescent disaffection into every nook and cranny of that first album, developing a universal connection with the millions of kids who’d make Good Charlotte superstars two years later via The Young And The Hopeless and “Lifestyles Of The Rich & Famous.” They never forgot that sense of being divorced from their peers, thereafter offering sympathy and inspiration to the millions of kids going through these emotions through eternity.

Green Day – Warning

On Nimrod, Green Day did not want to be typecast as the Generation X/Buzzcocks/Ramones of the ‘90s. Hence, the hints of ska, folk and surf instrumentals, as well as the acoustic weeper “Good Riddance (Time Of Your Life).” Warning wandered even further afield. There were more acoustic guitars per square inch over the sixth Green Day studio album than on your average James Taylor record. Only, an acoustic guitar in Billie Joe Armstrong’s hands is hardly an audio sleeping aid.

The most hilarious aspect of Warning was how little Armstrong could be bothered to disguise the bits he borrowed from other songs (i.e.: the title track’s resemblance to the Kinks’ “Picture Book” or the similarities between “Waiting” and Petula Clark’s “Downtown”). Still, Warning was solid, though it only sold 3.5 million worldwide. It would take the next album for Green Day to remember they were a punk band and conquer the world a second time.

Dillinger Four – Versus God

Unlike most bands in thrall to vintage Hüsker Dü, Minneapolis’ Dillinger Four never thought the classic ‘80s jangle-core outfit was all heart-on-sleeve songwriting and an overdriven chorus pedal. D4 also understood that the Hüskers were capable of more aggression per pound than Motörhead in a bad mood.

Read more: How ska paved the way for punk… and took over the world along the way

Singer/bassist Patrick Costello, guitarists Erik Funk and Bill Morrisette and drummer Lane Pederson also demonstrated more wit and intelligence than any band still playing more house parties than club gigs should own. Songs such as “Who Didn’t Kill Bambi?” and “Let Them Eat Thomas Payne” proved these guys cracked open a book or two, and the judicious samples proved they learned all the right lessons from hip–hop. They should have been bigger than Guns N’ Roses.

AFI – The Art Of Drowning

Spooky-core heroes AFI’s fifth studio album was the first to bother the commercial mainstream. Although with The Art Of Drowning peaking at No. 174 on the Billboard 200 chart, the band barely tickled the overground. With their most radio-friendly production yet, all compressed sheen, guitarist Jade Puget particularly slashing within a wall of midrange fizz, the band cemented their horror/goth-punk credentials. And if the sound didn’t betray their macabre streak, titles such as “The Nephilim” and “The Lost Souls”—the latter of which sounded like labelmates the Offspring with a slasher-film makeover—should have spelled out their Hammer Studios mindset.

The White Stripes – De Stijl

1999: a heady year for Detroit garage duo the White Stripes. Jack and Meg White issued their self-titled debut album—dedicated to Jack’s hero, Delta bluesman Son House—on influential California label Sympathy For The Record Industry. Word spread rapidly about the faux-siblings’ high-concept garage/blues/punk/Zeppelin hybrid, dressed entirely in red, white and black. With Jack ceasing his co-membership in hometown MC5 avatars the Go—his rampaging junk shop guitar work illuminated their Sub Pop debut, Whatcha Doin’—he turned his gaze to the White Stripes’ sophomore full-length. Except Jack and Meg got divorced in March 2000.

The “brother and sister” were in actuality married since 1996. Convinced the band was over upon their separation, Jack planned to perform a White Stripes date with nephew Ben Blackwell and friend Dave Buick. Meg showed up the day of the gig and convinced her ex-husband that the band should persevere, even if their marriage was a bust.

Hence De Stijl, named for a Dutch art movement, was recorded in Jack’s living room on 8-track analog tape. It distilled the band’s essential nature: stomping garage anthems such as “You’re Pretty Good Looking (For A Girl),” nearly ragtime acoustic numbers a la “Apple Blossom” and a snarling take on House’s immortal “Death Letter.” Jack would close his upholstery shop as De Stijl’s seemingly endless tour began. Whether they knew it or not, Jack and Meg were laying groundwork for conquering the world two years later.

The (International) Noise Conspiracy – Survival Sickness

“I wanna know about the books you’re reading,” former Refused singer Dennis Lyxzén sang in the opening minutes of new band the (International) Noise Conspiracy’s debut album, Survival Sickness. “I wanna know about the sound, coming from the underground,” continued that opening track, “I Wanna Know About U,” serving notice this was not going to be The Shape Of Punk To Come II.

Lyxzén seemingly formed the (I)NC almost immediately upon his post-core kingpins’ self-immolation. The quintet distinguished themselves with a MC5/Nation Of Ulysses-inspired garage-punk attack couching a running Situationist critique of society both catchy and thought-provoking. Their sound on tracks such as “Smash It Up!,” if not their politics, would certainly provide the shape of punk to come perhaps more than Refused, even.

Read more: These 10 bands showcase the Ramones’ undying influence on music

The Hives – Veni Vidi Vicious

Behold the album that catapulted Swedish garage demolitionists the Hives to world domination. Except Veni Vidi Vicious proved a slow-burning time bomb, blowing up two years down the road. The slashing Kinks-meets-DEVO riffer “Hate To Say I Told You So” took off and started a chicken run at the top of the charts with the White Stripes in 2002. The two raced neck-and-neck as garage punk began conquering extreme rock radio formats and MTV a la “Smells Like Teen Spirit” or “Longview.” But for a moment, the Hives’ matching outfits, arch sensibilities and frontman Howlin’ Pelle Almqvist’s hysterical onstage arrogance was utterly irresistible.

Queens Of The Stone Age – Rated R

“Nicotine, valium, vicodin, marijuana, ecstasy and alcohol,” Queens Of The Stone Age mainspring Josh Homme announced over a stammering Stooges guitar riff introducing his band’s first major-label album, before stuttering, “C-c-c-c-c-c-cocaine!” Homme’s claimed “Feel Good Hit Of The Summer” was a “knife in the neck” of QOTSA’s “stoner-rock” tag yet admits its lyrics attempted recalling the shopping list of drugs he’d consumed at a New Year’s party.

Most of the album was in fact drug-saturated, save breakout single “The Lost Art Of Keeping A Secret,” concerning Homme’s growing distrust of others, particularly following affairs. He should have rested easy—QOTSA were saving rock ‘n’ roll with their sand-blasted desert sound.

Bad Religion – The New America

For their final full-length under their contract with Atlantic Records, Bad Religion worked with ‘70s musical polymath Todd Rundgren. The producer of such punk hallmarks as the New York Dolls, Patti Smith, Lords Of The New Church and Psychedelic Furs was also a childhood hero of singer Greg Graffin.

Unfortunately, the pair clashed during The New America’s recording, though Graffin claims he and Rundgren have maintained a friendship since. It was Bobby Schayer’s final Bad Religion album and the first to feature a contribution from founder Brett Gurewitz, co-writing and playing guitar on “Believe It.” The album was the first to otherwise spring from Graffin’s brow wholesale.

Rollins Band – Get Some Go Again

Following Black Flag’s acrimonious 1986 split, vocalist Henry Rollins was at loose ends. He pretty quickly formed the nucleus of what became known as Rollins Band with guitarist Chris Haskett, a friend since Rollins’ D.C. teenhood. With the lineup coalescing around the pair teamed with drummer Sim Cain and jazz/funk bassist Melvin Gibbs, Rollins Band became an alt-metal powerhouse, dominating MTV with “Low Self Opinion” and “Liar.” Their sixth album found the entire band replaced by Los Angeles hard rockers Mother Superior. Get Some Go Again was perhaps more straightforward than such LPs as Weight, possibly slightly less funky and jazzy, like hearing Rollins sing atop Jimi Hendrix and Black Sabbath outtakes. Not necessarily a bad thing.

Read more: Revisit ‘Nimrod’: The moment Green Day ripped up their own rulebook

Nashville Pussy – High As Hell

Atlanta gonzo Southern punk metallurgists Nashville Pussy cut a wide swath on the late ‘90s alternative club circuit. The brainchild of Blaine Cartwright, guitarist in early ‘90s country/punk fusionists Nine Pound Hammer, NP combined several things he’d held dear: Lynyrd Skynyrd’s Southern outsider identity (minus the Confederate leanings many wrongly assume about them), 1977 punk’s powerdrive and rebelliousness, Ted Nugent’s over-the-top arena-busting, Motörhead’s propulsive rock ‘n’ roll fundamentalism.

Flanked by fire-breathing Amazonian bassist Corey Parks and Cartwright’s SG-shredding wife Ruyter Suys, they endlessly toured their way into a large international cult following, resulting in a 1998 Best Metal Performance Grammy nomination for “Fried Chicken And Coffee” from debut album Let Them Eat Pussy. Second album High As Hell crystallized the punk Skynyrd framework, with perhaps more muscular production. Drawling blitzkriegs such as “Struttin’ Cock” and “She’s Got The Drugs” cemented their growing reputation, even as Parks exited following HAH’s release.

The Hellacopters – High Visibility

Swedish garage hellions the Hellacopters continued fusing the spirit of Detroit’s Grande Ballroom with ‘70s arena-rock aesthetics. Their ability to make old KISS or Led Zeppelin riffs sound like MC5 outtakes was admirable, doing much to blur the divide between punk and metal. True, the genres were perhaps cousins all along, and such acts as Black Flag did much to kick over the partitions between the styles from the ‘80s onward.

Leader Nicke “Royale” Andersson’s fearless vision continued to take the band from strength to strength, as they welcomed new guitarist Robert Dahlqvist. High Visibility also initiated a longstanding association with producer Chips Kiesbye. The resultant album hip-shook like a more gonzoid version of such early ‘70s Rolling Stones albums as Sticky Fingers.

Read more: A beginner’s guide to Green Day: From the big hitters to the deep cuts

The Yo-Yos – Uppers And Downers

Danny McCormack had cut an impressively Paul Simonon-like figure as bassist for pop-infused British sleaze-rockers the Wildhearts. Guitarist Tom Spencer had spent some time in a lineup of original U.K. punks the Lurkers. Recruiting drummer Andy “Bladz” Selway from Sugar Snatch, another of Spencer’s old bands, and B-Movie Heroes guitarist Neil Phillips, the Yo-Yos proceeded to liven the early ‘00s sleaze underground. Cutting an impressively Clash-like ducktails-and-black-leather greaser-punk profile, sole Sub Pop release Uppers And Downers offered a brace of sing-song rockers with big choruses that were instantly memorable. The candy-coated sheen (barely) obscured an Elvis-sneer within the ripped-denim hearts of such anthems as “Head Over Heels” and “Keepin’ On Keepin’ On.”

Read it: You can’t even find a note of Green Day. The closest thing to punk on that list? Former anarcho-punks-turned-anarcho-poppers Chumbawamba from the U.K. with their enormously successful, vicious parody of pub singalongs, “Tubthumping.” But its loud electro-dance groove was far from their Crass-inspired origins. 

Read more: These 10 bands prove that Cleveland was one of punk’s earliest capitals

Punk didn’t need gargantuan record sales or MTV and radio saturation play. It hardly had any of that before Green Day hit so massively four years earlier. Mind you, two prime movers of that commercial punk boom—Rancid and the Offspring—put out key releases this year. Scandinavia was churning out some records from Turbonegro, Backyard Babies and especially Refused that would revolutionize the punk-rock underground. There’d be flashes of classic punk from the Humpers, Turbo A.C.’s, Swingin’ Utters and New Bomb Turks. NYHC standard-bearers Agnostic Front issued probably their definitive album. And Fugazi continued to push musical boundaries. Alternative Press proudly presents the 15 best punk albums of 1998.

Turbonegro – Apocalypse Dudes

Suddenly, the glam and ‘70s metal elements in Norwegian “death-punk” kings Turbonegro got turbo-boosted. It can be firmy laid at the feet of new guitar hero Euroboy (Knut Schreiner), who looked and played like Mick Ronson’s corpse reanimated by a 50,000-watt hotwire jammed up its butt. The record featured the biggest, most FM radio-friendly production the band had received. It highlighted advanced songwriting couching their anti-social sense of humor within their shiniest pop hooks. Arrangements sported new frills such as congas, piano and acoustic guitar. Apocalypse Dudes made huge stars out of Turbonegro in Europe and took them just above the underground in America. But internal pressures still mounted, including singer Hank von Helvete’s heroin addiction struggles. The band broke up that December, 10 months following the album’s release.

Refused – The Shape Of Punk To Come

Swedish hardcore outfit Refused threw down a gauntlet with their third LP. The title alone should have held a clue—avant-jazz saxophonist Ornette Coleman issued a revolutionary 1959 album called The Shape Of Jazz To Come. But Refused asked a pertinent question, across Shape’s liner notes and in the lyrics to several songs, especially “New Noise.” Basically, how could punk and hardcore call itself “anti-establishment” when the sound was getting increasingly co-opted by the mainstream? Those “revolutionary” lyrics weren’t sounding so threatening anymore. Refused applied drum-and-bass production techniques, gene-splicing in post-hardcore, post-punk, techno and jazz elements. The combinations, alongside the widened dynamic range, were endlessly explosive, continually surprising. You could not map out what Refused were doing. Still, its heightened emotionalism birthed screamo. It destroyed the band from the inside out on the road in the U.S. as they struggled to promote an album that changed everything.

Backyard Babies – Total 13

“Rock Chaos” advised a blurb in the jacket’s corner. It’s absolute truth in advertising. The Hellacopters’ flash guitarist Dregen opted to leave that Stooge-rock outfit after their 1997 Payin’ The Dues album. He wanted to reactivate Backyard Babies, the band he formed in high school. Total 13 made them stars in Sweden and brought them to the rest of the world. Their precision with melding metallic bombast, punk simplicity and attitude and glam flash was like a New York Dolls/Motörhead jam session. Between the caveman pounding of the Johan Blomqvist (bass)/Peder Carlsson (drums) rhythm section, Dregen’s bazooka/Thunders lead work and Nicke Borg’s sore throat Mike Ness-isms? It’s no wonder that tuneful blasters such as “Look At You” and “Made Me Madman” grabbed the rock ‘n’ roll world by the shorthairs.

Rancid – Life Won’t Wait

Rancid came off the road promoting …And Out Come The Wolves wishing to fuck with the format a bit, though maybe not as drastically as Refused. They went almost immediately into the studio from the road. However, the studio changed locations several times, from San Francisco and L.A. to NYC and New Orleans. Hell, they even recorded in Kingston, Jamaica. All manner of special guests spice up the 22 tracks, from Billie Joe Armstrong to the Mighty Mighty Bosstones’ Dicky Barrett and members of Agnostic Front, D Generation, the Specials and reggae legend Buju Banton. The reggae influence was especially pronounced on the title track, though there were still plenty of old-school Rancid punk bashers, such as “Bloodclot.” Life Won’t Wait would be the last Epitaph Rancid release for a while, with the band moving to Tim Armstrong’s Hellcat sub-imprint.

Bad Religion – No Substance

Los Angeles’ originators of melodic thesaurus punk Bad Religion were now two albums away from Epitaph Records and founding guitarist/songwriter Brett Gurewitz, who left in 1994. Stranger Than Fiction and The Gray Race had both been successful worldwide under their Atlantic Records deal. Tenth full-length No Substance was highly anticipated as a result. It instead hit fans’ and critics’ ears like a damp squib. Hard to say why—BR still had plenty of guitar power, thanks to ex-Minor Threat/Dag Nasty hero Brian Baker. The production was top-notch, especially Chris Lord-Alge’s mix job. But songs such as “The State Of The End Of The Millennium Address” weren’t up to Bad Religion’s gold standard. Tellingly, no song here has remained in their live sets.

Dropkick Murphys – Do Or Die

Dropkick Murphys came barreling out of Boston in the mid-’80s with a loud, testosterone-pumped mixture of Cockney Rejects-style street punk with the Pogues’ Irish folk-punk stylings. Opening for the Mighty Mighty Bosstones across the U.S. as they promoted their breakout Let’s Face It certainly helped spread word about this mob. By the time they inked with Hellcat and Rancid’s Lars Frederiksen got them in the studio for their debut album, all of Do Or Die’s songs were locked-in and tighter than a snare drum. De-emphasizing bagpipes and tin whistles in favor of sky-punching power chords steered this from becoming a novelty. This would be vocalist Mike McColgan’s sole full-length with Dropkick Murphys. He’d resurface later in Street Dogs.

Fugazi – End Hits

D.C.’s post-hardcore kings Fugazi were now five albums old. Previous album Red Medicine from 1995 resulted in a grind of a world tour. Following an extended break in which they also wrote new songs, the band reconvened at Inner Ear Studios with Don Zientara to record what became End Hits. Taking their time with it, they experimented. with new recording techniques. Ultimately, Fugazi emerged with an LP as different from the rest of their discography as they were from the rest of the rock world. To hear, say, “Recap Modotti” barely utilize any guitar and continually build quiet tension that never quite releases was remarkable.

The Humpers – Euphoria, Confusion, Anger And Remorse

Eight albums in from their 1989 formation, all seemed all right on the surface these explosive Long Beach trad-punks. Euphoria, Confusion, Anger And Remorse was chock-full of such ballistic snot rockets as “Steel-Toed Sneakers” and “Devil’s Magic Pants.” There were even a few stylistic detours, such as the Spector-esque “Fucking Secretaries” and the ‘50s-styled “Peggy Sue Got Buried.” A Los Angeles Times profile saw the band and Epitaph Records mutually frustrated at their lack of career advancement, with the band refusing to reform waywardness that repulsed some club owners. Euphoria proved to be the Humpers’ final studio LP.

New Bomb Turks – At Rope’s End

Columbus, Ohio’s kings of grad-school garage punk were now four albums and countless singles into their loud and crunchy reign. Only the most casual of listeners would dig their union of ‘60s garage with hardcore overdrive and think of it as simplistic bashing. A careful audit of At Rope’s End would reveal the clever subtleties embedded within their caveman roar. Opening track “Scapegoat Soup,” for example, features a guitar lead buried in its mix utilizing a distortion box with dying batteries. The notes sputter and get severely truncated. It works. No one other than New Bomb Turks would’ve imagined that.

The Offspring – Americana

“The idea wasn’t to reinvent the wheel,” Offspring singer Dexter Holland explained to Guitar World magazine about the business-as-usual sound of fifth studio album Americana. “We expanded our horizons on our last record [Ixnay On The Hombre], and that’s OK, but I don’t feel like you have to be a completely different band on every record.” Which might explain why Ixnay hardly did the business Smash had. But Americana produced the band’s biggest hits, probably because it was more of the same. Seriously, the differences between 1994 breakthrough hit “Come Out And Play” and this album’s “Pretty Fly (For A White Guy)” were damned near negligible. Americana became their second biggest-selling album and their highest charting album at No. 2 on Billboard’s Hot 100.

Alkaline Trio – Goddamnit

Future Alkaline Trio fans may not have been all that surprised when listening to the Chicago trio’s 1998 debut album. It was certainly not as lushly produced as such later hits as Good Mourning, nor were the themes as macabre as later material. But longstanding singer/guitarist Matt Skiba and bassist/vocalist Dan Andriano and then-drummer Glenn Porter were mining that same infusion of Superchunk’s quirky pop structures with Ramones/Misfits power drive that remains their trademark. Gentle acoustic ballad “Enjoy Your Day” is a pleasant surprise, however. It was a promising start for what became one of the finest punk bands of the ‘00s.

Dillinger Four – Midwestern Songs Of The Americas

There was nothing like Dillinger Four or their debut album when Midwestern Songs Of The Americas was issued. It was punk-pop, but it was brutal as Motörhead. The result was a sort of trashy version of Hüsker Dü as they transitioned from their early hardcore to their Midwestern Buzzcocks mode. It roared yet sounded cheaply recorded all the same. They were righteously political yet had this absurdist humor. The latter led them to sampling a thrift store stereo sampler record. It’s their overall intelligence that ultimately dazzles. It led to song titles like “Super Powers Enable Me To Blend In With Machinery” and lyrics like, “But it’s the slow decay of the day-to-day/That says take your paycheck, accept your place and fade away.” This record should be in every home.

Swingin’ Utters – Five Lessons Learned

The fourth album from Santa Cruz’s old-school punks the Swingin’ Utters was a school in repurposing classic pogo-rock riffs. “The Stooge” dumbed down the chord progression from the Buzzcocks’ “Harmony In My Head.” Meanwhile “I Need Feedback” modified changes from the Stooges’ “I Got A Right” and the Damned’s “Neat Neat Neat.” But a bunch of new musical wrinkles got stitched into their sound, from “A Promise To Distinction”’s country touches to the minor-key ska of “Unpopular Again” and the Irish folk tinge to “Fruitless Fortunes.” Not quite the Swingin’ Utters’ London Calling but a definite sign of growth.

The Turbo A.C.’s – Winner Take All

If punk rock were a drag strip, New York City’s Turbo A.C.’s would be a nitro-burning rat rod. They were formed in 1995 by singer/guitarist Kevin Cole, bassist Mike Dolan and drummer Kevin Prunty as an amalgam of rockabilly, surf instrumentals, the Ramones and hardcore’s energy. The name was derived from the Turnbull AC’s, one of the fictitious gangs mentioned in the 1979 film The Warriors. Winner Take All was their third LP and might be their most representative. With ripping burners such as “Thunderbolt,” “Hit The Road” and “Mean Mistreater,” there’s no way it could lose.

Agnostic Front – Something’s Gotta Give

The longtime standard-bearers of NYHC, centered around guitarist Vinnie Stigma and vocalist Roger Miret, Agnostic Front had also been key to hardcore’s crossover metal sound. Miret and Stigma reformed AF in 1996 after a four-year absence with bassist Rob Kabula and drummer Jimmy Colletti. Now signed to Epitaph, the potent Something’s Gotta Give marked a return to their early hardcore sound. They had not lost an ounce of brutality nor locomotion over time. However, tracks such as anthemic single “Gotta Go” proved they were also capable of hard-bitten old-school punk rock. It was a fine return from the veteran warlords.

But Hause is best known for his solo career—blending the grit of punk with the storytelling of Americana folk rock with his backing band, the Mermaid. There’s not a blank space left on Hause’s punk cred card. But that doesn’t stop him from renouncing the idea of the “guilty pleasure.” 

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“I think that music should just be enjoyed,” Hause says. “We have enough strife and trouble in the world and people telling you what to do, what you can and can’t say. Let music just be something that comes on and you enjoy. Now that I have kids, watching what they love, I can’t imagine trying to steer them away. Bert and Ernie sing a song, and they’re pumped. Why would you pull that joy away from them? I’m not into that.” 

On his latest set of EPs, Patty and Paddy, Hause explores the spectrum of his musical tastes through the work of two of his favorite songwriters. On Patty, Hause delivers classic Patty Griffin songs with an added bar-rock bite. Conversely, he adds gentle restraint to raucous Dillinger Four songs on Paddy. Hause’s acoustic renditions of these D4 favorites allow Patrick “Paddy” Costello’s musicianship to shine like never before. The EPs were a product of Hause trying to stay creative during lockdown and document his adventures in home recording. They also reflect his tremendous range as an artist. He holds his own as both a tender singer-songwriter and a gruff vocalist belting out heartache and protest with coarse urgency. 

Hause’s EPs also continue the long tradition of the punk-rock cover song. From Laura Jane Grace and Miley Cyrus’ incredible cover of the Replacements’ “Androgynous” to Rancid and NOFX covering each other, the art of the cover song is one of the most purely fun aspects of punk rock. In honor of his two new sets of covers, Hause revealed his 10 favorite punk covers exclusively to APTV.

His list is stacked with everything from the Damned to Sick Of It All. Hause also reminisces over the joys of watching the Bouncing Souls instill waves of nostalgia into their audience with their take on “Just Like Heaven.” His choices feature a who’s who of punk royalty dishing out their versions of beloved songs written by other artists. They’re all essential listens for every punk fan, pop enthusiast and hardcore devotee. But there was one band who recently permeated Hause’s dream-state but are noticeably absent from his selections…

Your choices for best punk cover songs are amazing, but I’ll admit, Dave, I’m a little disappointed there’s no AFI on your list. You were just tweeting about playing with them, and they’ve covered a million songs. 

I thought about that. Besides Misfits, what have they covered? 

They’ve done “Halloween,” “Last Caress” and “Demonomania” by the Misfits. They did Guns N’ Roses “My Michelle.” They did David Bowie’s “Ziggy Stardust.” They also did the Cure’s “Just Like Heaven” and “Man In A Suitcase” by the Police. You tweeted about playing with them this week, so I was hoping they would have made your list of best punk cover songs. 

I had a dream where it’s the equivalent of if you’re an academic, having the dream that you show up to class, and you don’t have your homework. The dream started, and I was standing, looking at my hands and looked over, and AFI were playing, and Davey [Havok, singer] was twirling. Adam [Carson, drummer]’s playing, and they’re looking at me like, “Hey, it’s your part. You’re supposed to be playing rhythm.” I [noodled around] to see what key the song was in. Dave spun around and was like, “What are you doing?” And Hunter [Burgan, bass] and Adam just looked and were like, “Sing!” And there was a mic right there, so I just started singing a “whoa” because it was an AFI concert.

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So, you can’t really go wrong with a “whoa.” I was so bummed in the dream. I’m thinking like, “Oh, this would have been a good gig if they would have told me that I had to do this so I could prepare. I might have been able to keep up, but they didn’t tell me a setlist or that tonight was the night I was supposed to play. Now I’m going to look like a chump.”

Then between songs, Adam was like, “It’s OK, let’s just have fun tonight.” And I was like, “No, but I want the gig! I’ve got twins now. If I could join AFI, it would be really lucrative.” And he was like, “I don’t think that’s going to happen. You didn’t prepare.” This was the dream. That’s what I was tweeting about. That was the night before Halloween. I think it was the anxiety of the election. And everyone’s in a spooky mood. And here we go, AFI enter into the subconscious. But no, I didn’t remember their covers for this list, and I’m sorry, guys. I do think you’re wonderful, though.

With the Patty and Paddy EPs, the selections you chose to cover really complement your entire career. Your music lies in the middle of the spectrum between Americana folk and dirty punk rock. It’s fitting that you would cover songs by both Patty Griffin and Dillinger Four. Do you agree?

OIt was something we were going to do and then maybe just not do anything with. Just to be creative during this time where we can’t tour. One of the things that my booking agent suggested when I told him about it, he was like, “You’re probably the only person on planet Earth who loves [Patrick] “Paddy” Costello’s songs as much as you love Patty Griffin songs. Why wouldn’t you put this out? It’s so unique to your way of looking at songs and your interests when it comes to songwriters.” I’m as into Brandi Carlile as I am into Social Distortion. That was one of the things that emboldened me to go ahead and put it out.

With Patty Griffin, it’s a really tall hill to climb because so much of what she does is in that voice. The way that she delivers the lyrics is so heartbreaking. I don’t have that kind of voice. We had to reimagine her songs in a way that I could deliver more believably, without the incredible talent that she has in the vocal part.

With the Dillinger Four songs, I felt a little more confident because we took them so far out of the original source material. In fact, John Hiatt, who’s a world-class songwriter and his daughter, Lilly, is a friend of mine and an amazing songwriter. She sang on “Doublewhiskeycokenoice,” and he heard it. John Hiatt did. He was blown away by how good he thought the song was. To me, that means we did the job because a guy of that stature, who’s written hits and had a multi-decade career, heard the song and was like, “Yeah!”

The EPs have an unmatched level of intimacy within the recording. Was that intentional? Did you want these songs to sound as if they’re being performed in every listener’s living room when recording them? 

It wasn’t a goal that we set out with, but I think having the time and the focus [contributed]. Being in my own house, I could put my kids down for a nap and come out and sing, without distraction or pressure. It was a new thing. Every vocal I’ve delivered that you may have heard, if you listen to my music or my old band’s music, was all under scrutiny. It was all someone recording it in an expensive studio, or there was some pressure on it.

With this, there was none of that. There was just me and this microphone and me trying to figure out if it was even on and working. I could go back in and sing verses if I didn’t like how they came out, and it was just open-ended. Maybe that’s what brings a certain level of intimacy. 

As someone who loves Brandi Carlile and Social Distortion in equal measure, do you believe in the idea of a guilty pleasure? And if you do, do you have one? 

No, I don’t. I don’t even think about that anymore. For a couple of reasons. I’ve always been a fan of all kinds of music. I was raised on pop, raised in the ’80s. It was just as normal to have Bob Dylan or Dire Straits or Tom Petty on as it was to have Christopher Cross or Lionel Richie. I was a sponge for music, and my folks were into all kinds of music. That all was something I learned later—that you could like this, and you couldn’t like that. Now that the Internet is here, you can like whatever you want pretty much. 

But I know what you mean by “guilty pleasures,” though. I’m sure I could give you a long list of songs I think are great that people think are guilty pleasures. But I don’t feel guilty. I just like to listen to it.

While it’s apparent that pop punk began a definitive era 20 years ago, it’s also played a role in influencing the genre-fluid trends that we see musicians currently experimenting with in 2020. So let’s take a look back at the glory days of pop punk with 40 essential albums from the 2000s. 

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A Day To Remember – Homesick 

Produced by New Found Glory’s Chad Gilbert, A Day To Remember’s Homesick was recorded in their studio in Ocala, Florida. One listen to “The Downfall Of Us All” and you’ll understand why this record propelled the band to instant popularity. It didn’t hurt that the album featured many special guests from the likes of Mike Hranica (the Devil Wears Prada), Vincent Bennett (the Acacia Strain) and Sierra Kusterbeck (VersaEmerge), with many of the songs actually surfacing on Myspace prior to the official drop. Homesick featured less aggressive songs, touching on the trials and tribulations of touring that many don’t talk about. The newfound softness of this album allowed fans to view ADTR in a completely different light. 

Alkaline Trio – From Here To Infirmary

The third album from Alkaline Trio was completely show-stopping. Inspired by the phrase “from here to eternity,” From Here To Infirmary took on a new meaning with its fiery composition and reckless identity. This record proved to be a real turning point for the Trio, allowing them to undoubtedly come into their own and establish themselves as more of a rock band. As their first release under Vagrant Records, it proved to be a heavy-hitter that solidified their sound. From Here To Infirmary successfully showcased their unique sense of humor, memorable transitions and addicting energy. The result allowed them to become a blazing force with their new music.

The All-American Rejects – Move Along

Move Along was only the second album from the All-American Rejects. It gained much recognition from “Dirty Little Secret,” “Move Along,” “It Ends Tonight” and “Top Of The World.” With themes revolving around heartbreak and loneliness, Move Along attracted audiences who wanted to get deep in their feelings while also rocking out to great tunes. The catchy choruses and overall feel-good sound of this album resulted in its ultra-success while also landing spots in television shows and movies, including One Tree Hill, She’s The Man and Smallville. With their likability at an all-time high, the All-American Rejects were in for the ride of their life. 

All Time Low – So Wrong, It’s Right 

So Wrong, It’s Right was released through Hopeless Records in 2007, and it’s still a staple 13 years later. The iconic “Dear Maria, Count Me In” led the All Time Low to the top while still embodying classic pop-punk. So Wrong, It’s Right consists of a healthy mix of upbeat bangers (“Poppin’ Champagne”) and breathtaking ballads (“Remembering Sunday” featuring Juliet Simms) that perfectly satisfy their fans.

Allister – Last Stop Suburbia

Released under Drive-Thru Records in 2002, Allister satisfied fans with Last Stop Suburbia and ended up selling over 80,000 copies. Last Stop Suburbia was four months behind their original release date but eventually delivered fast-paced pop punk that people just had fun listening to. Craving an escape from reality, Allister succeeded in transporting listeners into a happy, carefree state of mind. Fan favorites from this pop-forward album included “Radio Player,” “Overrated” and “Somewhere On Fullerton.” The latter was even featured on Disney’s Extreme Skate Adventure. With that said, Last Stop Suburbia doesn’t fail to give us ultimate nostalgia today. 

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Anarbor – Free Your Mind 

Free Your Mind by Anarbor is loaded with catchy choruses, fulfilling harmonies and advanced themes that intrigued audiences. The band mastered the kind of music that your body subconsciously just starts moving to. One of the most popular tracks, “You And I,” appeared in Scooby-Doo! The Mystery Begins shown on Cartoon Network. Around that time, Anarbor also made a music video for “The Brightest Green.” Ultimately, the attention that they received for Free Your Mind greatly propelled their popularity to uncharted heights.

The Ataris – So Long, Astoria 

Inspired by The Goonies, which is set in Astoria, Oregon, the Ataris released fourth album So Long, Astoria in 2003. Songs such as “In This Diary,” “The Saddest Song” and “The Boys Of Summer” reflect on meaningful memories that spark nostalgia and spell out stories that tug on your heart strings, speaking on multiple near-death experiences that frontman Kris Roe had faced throughout his life. Straying away from typical topics, Roe drew from all aspects of his own personal experiences. It shaped the record into something that no one had ever heard. This maturity truly set the Ataris on another level that the world wasn’t ready for. 

Avril Lavigne  – Let Go 

In 2002, Avril Lavigne gave us “Sk8er Boi,” “Complicated” and the rest of her killer album, Let Go. The pop-punk LP told the story of her road to pursuing music, which captured millions of people who bought it. However, the making of this album wasn’t the smoothest ride, as Lavigne struggled to musically find her way. She wasn’t satisfied with songs such as “Complicated” lyrically because she felt it didn’t properly showcase her writing skills. Despite her concerns, it ended up being a major driving force to shape her into the star she is today. 

Bayside – Bayside

Bayside‘s 2005 self-titled album featured impulsive vocals and defiant drums along with several shining moments from guitarist Jack O’Shea. Typically known for their racing rhythms and energetic blasts, Bayside slowed it down in a rare instance, revealing emotion and vulnerability that fans didn’t get to see too often.

blink-182 – Take Off Your Pants And Jacket

After coming down from the success of Enema Of The State in 1999, blink-182 released their fourth album in 2001 called Take Off Your Pants And Jacket. The album’s title alludes to the act of masturbation, carving out a path for the adolescent and rebellious nature of the tracks. Once more, Take Off Your Pants And Jacket saw blink-182 pushing boundaries and using crass humor (see: “Fuck A Dog”) to win over listeners on their chart-leading album. With themes including teenage love, parties and issues that have followed them into adulthood, blink-182 didn’t fail to be lyrically unapologetic on this catchy classic.

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Bowling For Soup – A Hangover You Don’t Deserve 

A Hangover You Don’t Deserve by Bowling For Soup came in with all guns blazing in 2004. The album was praised and recognized for its exceptional writing and unconventional music videos. Their leading track and Top 40 hit “1985” solidified them as a staple in pop punk. With a Grammy nomination already under their belt, Bowling For Soup weren’t going to stop at anything to heighten their popularity. Their witty lyrics, head-banging breakdowns and wicked humor didn’t disappoint.

Boys Like Girls – Boys Like Girls

Classic teenage themes such as love, jealousy and breakups propelled this eponymous Boys Like Girls album to unbelievable heights. Popular songs such as “Thunder” and “The Great Escape” opened up opportunities, leading them to headline their own tour in 2007 called Tourzilla and co-headline a tour with Good Charlotte called Soundtrack Of Your Summer tour in 2008. On their debut, Boys Like Girls made the kind of songs that you don’t mind getting stuck in your head for weeks. Their straightforward pop-punk sound is completely effortless, drawing in listeners from the get-go. 

Cartel – Chroma 

Chroma’s rioting riffs, captivating chord progressions and motivating melodies set Cartel up as a force to be reckoned with. From high school friends to respected bandmates, they poured their heart and souls into their debut album, breaking barriers that they never thought possible. “Say Anything (Else)” and “Honestly” were inspired by personal events vocalist Will Pugh experienced, which pushed the album to sell over 3,000 copies in the first seven days of its release. If his heart-wrenching breakup triggered by his upcoming tour wasn’t enough, he found out that his ex-girlfriend was happy in a new relationship, which set him over the edge—but it resulted in a musical masterpiece.  

The Dangerous Summer – Reach For The Sun 

The Dangerous Summer’s Reach For The Sun encapsulated intimate thoughts and struggles, opening up in new ways that fans hadn’t experienced from the band—just listen to “Surfaced” and “Where I Want To Be” if you’re skeptical. Frontman AJ Perdomo’s crisp, clean vocals were just the cherry on top for this electric record, with the album catching the attention of new audiences across the globe and surprising those who were already fans as it became something they didn’t know they needed.

Dillinger Four – Civil War 

The making of Dillinger Four’s fourth album, Civil War, released in 2008 through Fat Wreck Chords, lasted for several years, which only heightened the anticipation for its initial release. The politically driven album spelled out unexpected transitions to ensure their audience was kept on their toes along with showcasing a modern maturity. Dillinger Four certainly delivered, and Civil War proved worth the wait. Clearly, the band had an unconventional process creating this record, but it eventually came out in its intended way. 

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Fall Out Boy – Take This To Your Grave 

Debuting as a band signed with Fueled By Ramen never hurts, and on Take This To Your Grave, Fall Out Boy’s early pop-punk sound charted them high around the globe while boosting them to over a half of a million copies sold in the United States alone. With career kick-starting songs such as “Dead On Arrival,” “Grand Theft Autumn/Where Is Your Boy” and consistent set-closer “Saturday,” Fall Out Boy have proven that they’re absolutely eternal.

Four Year Strong – Rise Or Die Trying 

Only their second album, Four Year Strong broke barriers with their statement record Rise Or Die Trying in 2007. This album featured legendary tunes including “Heroes Get Remembered, Legends Never Die” and “Bada Bing! Wit’ A Pipe!” that sucked people in with their happy hardcore sound. Their grounding vocals and mosh-worthy moments are completely unparalleled, exposing an energy that cannot be contained. From their beloved hardcore screams to their sought-after breakdowns, Four Year Strong had everyone talking.

Good Charlotte – The Young And The Hopeless

Being only the second album by Good Charlotte, The Young And The Hopeless was a win. Their record label nearly dropped them due to the poor sales of their previous album, making this one essential for their career. Brothers Benji and Joel Madden,were responsible for writing most of the chart-shattering album, with recognizable tracks including “The Anthem,” “Lifestyles Of The Rich & Famous” and “Girls & Boys,” just to name a few. Even after cycling through three different drummers during The Young And The Hopeless era, their album seemed to conquer the crowds with its high energy, brash beats and true angst. 

Green Day – American Idiot 

The album that famously swept the nation was none other than American Idiot. After an unexpected lack of sales from their previous release, Green Day came back with a vengeance on their “punk-rock opera.” American Idiot tells a story of the “Jesus of Suburbia,” depicting young people growing up during turbulent times in the early 2000s. The politically-charged album made a long-lasting statement that’s followed the band throughout their career, and their immense success from American Idiot even led them to develop their own Tony Award-winning Broadway musical of the same name.

Hawthorne Heights  – The Silence In Black And White 

Hawthorne Heights debuted as a band in 2004 with their album, The Silence In Black And White, which was the highest-selling debut album for Victory Records at the time. Some of their famous songs from the album include “Niki FM” and “Ohio Is For Lovers,” giving fans a glimpse into their hometown lives. Their edgy lyrics and pronounced passion leveled up this record to an unprecedented standard. They knew what worked for them and perfected their sound even more through punching power chords and vivacious rock vocals. 

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Hit The Lights – Skip School, Start Fights 

Hit The Lights came out with their second album, Skip School, Start Fights, in 2008, which was a year after their original vocalist left. Although they experienced member shakeups, they still came out on top with songs such as “Drop The Girl” and “Don’t Wait” featuring All Time Low’s Alex Gaskarth. With lyrics referencing all things growing up and their trend-setting electronic nuances, Hit The Lights were ahead of their time. Although it caught some people off guard, their groundbreaking creativity spoke volumes.  

Home Grown – Kings Of Pop

Released in 2002 by Drive-Thru Records, Kings Of Pop was only the third, yet last, album by Home Grown. The band sneakily hid three additional tracks at the end of the album after “Disaster” to give their fans something special to hold on to since it would be their last time coming out with new music. Their satisfying sound and uncut edges empowered this diamond in the rough to shine bright that properly concluded Home Grown’s iconic musical legacy. 

Less Than Jake  – Anthem 

Anthem was the first album to include new member and sax player Peter “JR” Wasilewski, which began to shape them into the band we know today. To name the album, the members wrote down random words and crossed them off one by one until “anthem” was the last one left. Anthem goes against the grain, similar to the way they named the album. With the exceptional success of songs such as “The Science Of Selling Yourself Short” and “Surrender,” Less Than Jake had managed to one-up their already exceptional accomplishments.

Mayday Parade – A Lesson In Romantics 

Mayday Parade were born from combining Kid Named Chicago and Defining Moment. After some success with their first EP, they released their debut, A Lesson In Romantics, with Fearless Records in the summer of 2007. Its stellar production, captivating hooks and overall elevated sound deemed this record an instant win. In addition, the album was credited for its exceptional songwriting, brutally honest themes of heartbreak and broad range of emotion that fans of all ages can relate to at some point.

Midtown – Forget What You Know

On Midtown’s final album, Forget What You Know, the Gabe Saporta-fronted act successfully stayed true to their roots and delivered a product that fans could hold on to forever. Released without a record label, Midtown proved the strength of their independence and excited fans with an album full of pure punk. Comprising 15 tracks, the closer “So Long As We Keep Our Bodies Numb We’re Safe” packed an emotional punch as it clocked in at about 13 minutes and gave fans the ultimate parting. 

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 Motion City Soundtrack – Commit This To Memory

Produced by Mark Hoppus (blink-182), Commit This To Memory by Motion City Soundtrack was released in 2005 through Epitaph Records. The band wrote a part of the album in their hometown of Minneapolis and finished it up in Los Angeles. During this time, vocalist Justin Pierre was in the midst of battling severe alcoholism, which made this writing and recording process anything but simple. Between balancing AA meetings and attending studio sessions, Commit This To Memory was filled with incredulous layers that granted the band newfound respect. Although it was a bumpy road, they managed to find some light by creating an album that even Pierre said was his favorite. 

The Movielife – Forty Hour Train Back To Penn 

The Movielife‘s third and final album, Forty Hour Train Back To Penn, was released through Drive-Thru Records back in 2003. The album was centered around different stages of relationships, calling attention to love, heartbreak and everything in between. The last hoorah for the Movielife wasn’t one to miss. Their East Coast twang and classic pop-punk sound that made them colossal left fans with an album to remember. 

New Found Glory – Sticks And Stones

Sticks And Stones is arguably one of the most popular albums by New Found Glory to this day despite it being released in 2000. In fact, it was so successful, it landed the band in American Pie 2. Legendary songs such as “My Friends Over You” and “Head On Collision” impressed audiences across the globe and even fellow musicians. It ended up catching the attention of four teenagers from Maryland who were inspired to call their band All Time Low as well as Mark Hoppus. The latter led New Found Glory to follow their release supporting blink-182 on one of their summer tours. 

The Offspring – Rise And Fall, Rage And Grace

After a near five-year hiatus, the Offspring came through with their eighth album, Rise And Fall, Rage And Grace, which was released through Columbia Records in 2008. The four strong singles from the album included, “Hammerhead,” “You’re Gonna Go Far, Kid,” “Kristy, Are You Doing Okay?” and “Half-Truism.” The album’s release led to the band being compared to Green Day and was recognized for its spitfire energy and unexpected ballads triggered from their time off. From exploring deep topics to expressing lighthearted emotion, the Offspring provided a diverse record that everyone could have a stab at. 

Paramore – Riot! 

Riot! gave Paramore the platform that rapidly launched them to fame. Having only been their second album, they blew the roof off with songs such as “That’s What You Get,” “Hallelujah” and, of course, “Misery Business.” Reflecting its title, the writing process for Riot! has been described as a consistent flow of uncontrollable emotions that led into this unforgettable record. The band poured urgency and passion into the album, leading it to its undeniable success. Riot! was Paramore’s ultimate breakthrough, which fans still worship today as if it was just released. 

Read more: Watch MGK and Travis Barker start a ‘Riot!’ with classic Paramore cover

Relient K – Mmhmm

Mmhmm was Relient K‘s fourth full-length, which was released at the end of 2004 through Capitol Records. Perfectly combining Christian music with punk, “Be My Escape” and “Who I Am Hates Who I’ve Been” launched the band into super stardom. Staying true to their religious roots, Mmhmm was entrenched with inspiring lyrics and uplifting melodies paired with pure optimism. Although their music portrayed an elevated mood, they managed to integrate a sense of realness throughout.  Having supported bands such as Simple Plan and Good Charlotte on tours during that time, Relient K truly set themselves up for success.

Set Your Goals – Mutiny! 

Set Your Goals dropped their first-ever album with Eulogy Recordings, Mutiny!, in 2006. Debuting their now-recognizable gang vocals and steady breakdowns, Set Your Goals came in as an explosive force in pop punk. On their debut, Set Your Goals strayed away from common themes of heartbreak and focused on more complex topics, including forced influence, risk-taking and authenticity that left people wanting more. This release was followed by several U.S. tours with bands such as Crime In Stereo and Ignite, including a European run with acts such as the Steal. It’s safe to say that Mutiny! truly put them on the map, and having been influenced by bands such as Lifetime and CIV, Set Your Goals were able to curate their own pop-punk-meets-hardcore sound that makes them so unique.

Simple Plan – No Pads, No Helmets… Just Balls 

On Simple Plan’s debut, it wasn’t hard for the album to catch the attention of many with hits including “I’m Just A Kid,” “Addicted” and “Perfect.” No Pads, No Helmets…Just Balls exudes vibrancy and vigor while sharing relatable messages regarding relationships and anxiety. And of course, it includes their childish banter that we all know and love. With their star-studded album featuring blink-182 vocalist Mark Hoppus (“I’d Do Anything”) and Good Charlotte’s Joel Madden (“You Don’t Mean Anything”), it’s safe to say that Simple Plan made a major statement on their first-ever album, which set them up for the success they reap today.  

Something Corporate  – Leaving Through The Window 

Something Corporate’s Leaving Through the Window took a total of three months to record across two different states. The core of the album was built off the lyric “I want to save you,” which acted as the inspiration for the overall knockout. Not to mention, the band pleasantly surprised listeners with string instruments glimmering throughout. “I Woke Up In A Car,” “Punk Rock Princess” and “Hurricane” were some of the most notable tracks from this ageless album.

The Starting Line – Say It Like You Mean It

On Say It Like You Mean It, the Starting Line’s impressive lyrics and forward-thinking composition had everyone knowing their name. The songs on the album were equivalent to a friend helping you through hard times, which attracted listeners from all walks of life. It’s these feats that made the album a success and scored them opportunities to tour with New Found Glory, Taking Back Sunday, Yellowcard, Good Charlotte and more. Ultimately, Say It Like You Mean It‘s pronounced positivity and beaming beats curated their fanbase.

Read more: 15 classic scene compilations from Drive-Thru Records to ‘Punk Goes’

Sugarcult – Palm Trees And Power Lines 

Hailing from the Golden State, Sugarcult released their fourth album, Palm Trees And Power Lines, and it was an undeniable hit—with the album’s name being inspired by the classic California scenery. From party to professional, Sugarcult introduced their fans to a more mature and serious side of themselves through this record while still managing to have a blast along the way. Additionally, “Memory” and “She’s The Blade” were both featured on MTV following their release. 

Sum 41 – All Killer No Filler 

All Killer No Filler got the recognition it deserved with its diverse and dynamic nature. Hit songs such as “Fat Lip,” “Motivation” and “In Too Deep” took the pop-punk world by storm, and Sum 41‘s undeniably relatable lyrics successfully secured their long-lasting fanbase through their punk-rock journey. From writing one of the songs on the toilet to the album going platinum, Sum 41’s journey to this massive achievement was unique to say the least. Having been influenced by Green Day, All Killer No Filler allowed Sum 41 to truly establish their identity as a band with their pop-punk/skate-punk sound that makes them so recognizable. 

Taking Back Sunday – Tell All Your Friends 

Touching on mental health and relationships, Taking Back Sunday’s vulnerability pierced through on their debut album, Tell All Your Friends. Guitarist/vocalist John Nolan was open about how the album was based on true events. Specifically inspired by a newly ended friendship with Brand New vocalist Jesse Lacey, Tell All Your Friends had everybody talking. With fan favorites including “Great Romances Of The 20th Century,” “Cute Without The ‘E’ (Cut From The Team)” and “You’re So Last Summer,” Taking Back Sunday were able to stay plenty busy on tour following its release. 

We The Kings – We the Kings 

Formed back in high school, We The Kings wrote iconic songs such as “Check Yes Juliet” and “Skyway Avenue.” These were just some of the favorite tracks that came out of their self-titled album that started it all. This debut record infatuated listeners with vocalist Travis Clark‘s inviting tone and the band’s overall uplifting spirit. Audiences positively received their first album, stimulating the creation of a major Myspace fanbase. This held them through the test of time, even following the death of the social media platform.

Yellowcard – Ocean Avenue

Inspired by their sun-soaked hometown of Jacksonville, Florida, Yellowcard graced us with their fourth album, Ocean Avenue, in 2003. Most recognized for the title track, “Ocean Avenue” was ironically almost cut, as they were struggling to finish the chorus. This musical debut with Capitol Records ultimately catapulted their pop-punk sound into the mainstream. Songs from the album were featured on One Tree Hill, Charmed, Sleepover, Smallville, The O.C. and more. Clearly, it was ingrained in our brains during the early 2000s in the best way.

CONTRIBUTORS
Scott Heisel [SH]
Brittany Moseley [BM]
Jason Pettigrew [JP]
Cassie Whitt [CW]

!!!
The outfit (pronounced as three consecutive monosyllables, like “chk chk chk,” “pow pow pow,” “uh uh uh”) have continued to fly the funk flag over the course of 17 years. Their fifth album, Thr!!!er, will be issued by Warp in late April. [JP]

33.3
The last time this minimalist jazz band logged into their Myspace was in 2008, and there profile leaves much to be desired. However, aesthetics-usa.com offered a bit more info: 33.3 had a short-lived history, releasing two albums. [BM]

2nd GEN
The nom de plume of electro-terrorist Wajid Yaseen, 2nd Gen signed to Mute Records in 2001 for the release of his migraine-inducing second album, Irony Is. In 2006, he teamed up with Alice Kemp for a similarly uncomfortable project called Uniform and from all indications, he’s still making a racket and getting paid for it. [JP]

THE ACTION TIME
Taking their cues from indie nü-soul construct the Makeup (and maybe the Stooges), this British outfit recorded one album, The Action Time Versus The World, before disappearing into the ether and a dole queue. [JP]

RYAN ADAMS
We profiled this alt-country songwriter when his first solo album, Heartbreaker, came out. He's since become pretty massive in the alt-country world, releasing a whopping 12 full-lengths since then as well as marrying former teen pop star Mandy Moore. He recently started a punk band called Pornography who are releasing their debut EP on Record Store Day this year. [SH]

ADULT.
The Detroit-based electro-duo of Nicola Kuperus and Adam Lee Miller are still making great tracks. Last year, electronic label Ghostly International issued the duo’s debut album, 2001’s Resuscitation, for the first time vinyl. [JP]

THE AISLERS SET
The San Francisco indie-pop group seem to have had more resonance with the Brits in their tenure, which includes several releases (most of which were 7-inch singles.) The band toured Europe last November. [CW]

ALICE TEXAS
In the mid-’00s, singer-songwriter Alice Texas, aka Alice Schneider, had a record produced by Bad Seeds/Grinderman drummer Jim Scalvunos, Love is All Around, available for free download on Myspace. Today, we don’t know where Alice or her record went.[JP]

AMEN
Founder/frontman Casey Chaos has amassed a catalog of over 100 songs recorded by him and drummer’s drummer Shannon Larkin. The singer is currently deciding what the fate of those tracks will be. In addition, Chaos has teamed up with Gary Holt (Exodus), Nick Olivieri (Mondo Generator), Dave Lombardo (Slayer, Philm) and producer Ross Robinson for a currently unnamed project. [JP]

AMERICAN HI-FI
They earned their place in the early-’00s pop-punk world with their single “Flavor Of The Weak,” but surprisingly enough, the band are still making music. According to their Facebook page, the guys are in the studio recording a new album. [BM]

TIFFANY ANDERS
The Los Angeles native, whose debut album was produced by PJ Harvey, is still recording music, according to her Myspace. Then again, her last login was in August 2011… [BM]

ANDREW W.K.
The man who puts the “art” in “party” hasn’t let up his schedule, ever. Since we wrote about him 12 years ago, AWK has been touring, recording, motivational speaking, hosting a television show, running a nightclub and taking time to oversee the wedding of at least one AP editor. Seriously, dude makes NATO forces look like slackers. [JP]

THE ANNIVERSARY
This emo-pop quintet took a turn for the classic rock in 2002 with the awesome Your Majesty, then flamed out in 2004 due to creative differences. They've remained dormant ever since, but many of the members have stayed busy in other bands, including the Only Children, Extra Classic and Dre (the short-lived solo project from keyboardist/vocalist Adrienne Verhoeven). [SH]

AT THE DRIVE-IN
Ironically, these post-hardcore legends went on hiatus the same month this issue went on sale, when they were at the peak of their momentum. The band splintered into two camps, the Mars Volta and Sparta, before finally reconvening for a series of somewhat well-received reunion shows last summer. Sparta are still active, but the Mars Volta have officially broken up, according to singer Cedric Bixler-Zavala. As for ATDI doing anything in the future, it's doubtful, but never say never… [SH]

THE BELLRAYS
This band was given a full page next to Coldplay’s tiny blurb. We expect what we called “the best punk band Detroit never had” went on to do tremendous things. Our findings: they’re still active, at least. [CW]

BLACK DICE
The band who started as an angular hardcore quintet before morphing into a groovy effect-laden beast have slimmed down to a trio of brothers Bjorn and Aaron Copeland and Aaron Warren. Their sixth album, Mr. Impossible, was released last spring. [JP]

BLACK REBEL MOTORCYCLE CLUB
Peter Hayes and Robert Been remain at the core of this menacing, noisy and remarkably influential psychedelic band. Their seventh album, Specter At The Feast, was released March 19. In addition, guitarist/frontman Been has been performing with the Call, the ’80s alt-rock band his father Michael Been formed. [JP]

BLECTUM FROM BLECHDOM
This electronic music duo from San Francisco are still together making music, albeit relatively infrequently. Check out sphlargh.com for sporadic updates. [SH]

BLOWTOPS
The positively unhinged garage/scuzz-rock outfit from Buffalo, New York, called it a day in 2009, after four LPs, approximately a dozen 7-inches and a double 7-inch tribute set. [JP]

BRIGHT EYES 
Conor Oberst went on to become a saint figure for melancholic hip kids everywhere through his various projects (Desaparecidos, Monsters Of Folk, The Mystic Valley Band, etc.) after getting a massive 20-word write-up in this issue. Something to think about during our next “Lover I Don’t Have To Love” cry session. [CW]

BROADCAST
Tragedy hit this respected British electronic band when lead singer Trish Keenan died in 2011 after contracting swine flu. Their last album, the soundtrack to the film Berberian Sound Studio, was issued by Warp this past January. It’s been reported that sole member James Cargill is working on a new album with vocal performances by Keenan prior to her illness. [JP]

CALLA
Probably best known for their split EP with the Walkmen, this Brooklyn-via-Texas indie rock band have been on hiatus since 2007. They did manage to release six full-lengths before their demise. [SH]

NEAL CASAL
This New Jersey singer/songwriter ended up joining the Cardinals, the backing band of fellow 100 Bands classmate Ryan Adams, in 2005. He's also recorded with the likes of James Iha, Willie Nelson and Rufus Wainwright. His most recent solo album, Sweeten The Distance, came out in 2011. [SH]

CINEMATIC ORCHESTRA
This British electro-jazz ensemble released their first music in five years in 2012, titled In Motion #1. Former AP associate editor Tim Karan was likely super-stoked. [SH]

COLD
After disbanding in 2006, the original lineup reunited in 2008. They released their fifth album, Superfiction, in 2011 proving that some people still care about Cold. [BM]

COLDPLAY
They fell into obscurity following the 100 Bands issue never to be heard from again. Moving on… [CW]

DEATH CAB FOR CUTIE
Seven albums, a platinum record and a few Grammy nominations later, Death Cab For Cutie have managed to successfully navigate the blurry line between indie darling and popular artist. [BM]

RICHARD DEVINE
Kevin Devine’s big brother, currently suffering from an inferiority complex as a recluse in the woods in Georgia.* [CW]
(*We made this up.)

DILLINGER FOUR
One of the greatest—and laziest—punk bands of the modern generation, Dillinger Four have put out a whopping two albums since being included in 2001's 100 Bands special, the most recent, Civil War, coming out in 2008. They play about two shows a year, give or take one, and they're almost always in Minnesota. Still, the songs are so good that we always consider road-tripping. [SH]

DISCO D
In 2007, Disco D, né David Aaron Shayman, committed suicide at the age of 26. Besides making his own music, he also produced tracks for artists such as 50 Cent, Nina Sky and Trick Daddy, and recorded commercial tracks for Best Buy, Comedy Central, Nickelodeon, Sprite and Xbox. [BM]

THE DISHES
Kiki Yablon, the guitarist we interviewed for this piece went on to become a music editor at the Chicago Reader (a position she quit in 2010). As for the Dishes: They broke up in 2004, with members going on to play in Red Eyed Legends and Camaro Rouge, among others.
update: We received word from Yablon that she was music editor when tapped to be in the issue and went on to be editor-in-cheif. She is now a dog trainer. [CW]

DOVES
History is repeating itself for this U.K. ambient pop ensemble, who announced a break in 2010. They say that if ever they do return, it will be a completely fresh start. That wouldn’t be a first for the band, who restarted from scratch as Doves after they lost their second LP and equipment as former incarnation Sub Sub in a studio fire. [CW]

ECHOBOY
Multi-instrumentalist and producer Richard Warren appears to have not released any music with Echoboy since 2006, but has been working heavily as a solo artist and producer in more recent years. [CW]

ENSIGN
This long-running New Jersey melodic hardcore unit has been relatively inactive since their 100 Bands inclusion, their last proper full-length, The Price Of Progression, coming out two months after this issue was on newsstands. They're not broken up, though; they play shows here and there, and the last time we saw them (at Krazy Fest in 2011), Mikey Erg was playing drums for them. (That makes something like 397 total bands he's played in, by the way.) [SH]

THE FAINT
Electro-clash innovators the Faint had a couple really awesome years following their 100 Bands feature, releasing the genre benchmark Danse Macabre later that year and touring the hell out of it (including opening for No Doubt). A few mediocre albums followed, though, and now the band are in the process of rebooting a little bit. Saddle Creek reissued Danse Macabre in a deluxe edition package last year, and it still sounds as killer as it did in 2001. [SH]

THE FIREBIRD BAND
The on-again, off-again project of Braid guitarist/vocalist Chris Broach released a handful of records throughout the past decade, but none have gotten as much attention as Braid's ongoing reunion, which will result in a new full-length later this year. [SH]

GODSPEED YOU BLACK EMPEROR!
The post-rock band of brothers (seriously, there are a lot of them) released Allelujah! Don’t Bend! Ascend! their first album in more than a decade last October. [BM]

GOOD CHARLOTTE
The Madden bros make regular red carpet struts of late and these dudes are still churning out tunes (intermittently, and with more electronics now) with four out of five of the members featured in 2001 still intact. It’s all done with the help of a lot less hair gel these days. [CW]

GWENMARS
This Los Angeles alt-rock trio have been quiet for quite some time. They made a Myspace page in 2006 that was last logged into in 2009, so it's safe to say they're done. [SH]

HALF COCKED
With a name like that, is it any surprise Half Cocked are no more? They released three albums before splitting up a year after the100 Bands issue came out. [BM]

HEY MERCEDES
Formed out of the other three-fourths of Braid (sorry, Chris Broach!), Hey Mercedes had a solid few years on the Vagrant roster, putting out two great albums, 2001's Everynight Fire Works and 2003's Loses Control. They played their last show in Chicago in April 2005 (and it was awesome, by the way), but they occasionally re-form for one-off gigs. The focus is definitely on Braid for the time being, though. [SH]

HIGH ON FIRE
These fume-rock kings have continued to ply their mix of decibels and disaster for more than 15 years in ways that most bands simply can’t. Their first album, The Art Of Self-Defense, was reissued last year on Southern Lord, which should easily take your mind off of how that reunited Black Sabbath album might sound. [JP]

THE HOPE CONSPIRACY
Shortly after being featured in this issue, Hope Con played a show in San Diego that resulted in a crowd member getting injured and subsequently suing the band. An out-of-court settlement later, and the band were cleared—but in debt to their record label, Equal Vision, to the tune of $10,000. Not exactly the easiest hurdle to overcome. Unfortunately, the band's momentum has pretty much been nonexistent since, although they did release a totally killer LP in 2006 called Death Knows Your Name, and its follow-up, 2009's True Nihilist EP, wasn't bad either. Come back, Hope Con! Hardcore needs you. [SH]

NEILSON HUBBARD
The 40-year-old Mississippi native is still doing the singer/songwriter thing and has four solo albums under his belt. [BM]

IDLEWILD
These Scottish rockers don't have much in the way of a U.S. fanbase anymore, but they're still popular in the U.K., where they racked up a few gold and silver albums throughout the past decade. They've been on hiatus since 2010. [SH]

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Born Ugly Got Worse

On the Slow Death’s debut album, Born Ugly Got Worse, frontman Jesse Thorsen and his not-always-merry men hit all the melodic-punk sweet spots; the shouted-along vocals, bobbly bass-lines and fast-out-of-the-gate anthems about relationship squabbles (“Sleeping Somewhere Else”) and drinking (“Phantom Limbs” and “Sorry Sam,” among others). Some nice touches of ’90s alternative pop are added in, bringing to mind the Replacements, Lemonheads and early Soul Asylum. It’s nothing that hasn’t been heard before in small, all-ages live punk spaces in the Bay Area, Gainesville, Florida, or Chicago, but it still rocks. Being from Minneapolis, the Dillinger Four comparisons are going to follow the Slow Death around like a lost puppy, so they decided to acknowledge the connection by inviting D4’s Paddy Costello to play guest bass. Talk about embracing your obvious influences and adding a kick-ass bottom end to your album, all at the same time. Nice one, guys.

Kiss Of Death http://www.kissofdeathrecords.com

“Ticks Of The Clock”