Read more: Militarie Gun are doing it faster

Festival founder Rishi Bahl says, “Ten years is a long time. Most things that you were into 10 years ago have not survived, so to reach the 10th anniversary of Four Chord Music Fest is something we are very proud of. We really tried to make this one the biggest and best one yet and are stoked to spend the weekend with all of you at our brand-new, historical landmark of a location, The Carrie Furnace. Get out the sunscreen and bring the Advil. It is going to be a party.”

Tickets are on early bird GA + VIP presale now, and the general public on-sale begins Friday (Feb. 23) at 11 a.m. ET. See the full lineup below.

DAY 1 (Saturday, June 22)
A Day to Remember
The Story So Far
Senses Fail
State Champs
Four Year Strong
Microwave
Militarie Gun
Koyo
Eternal Boy
Driveways
Action/Adventure
Cliffdiver
Mallory Run

DAY 2 (Sunday, June 23)
All American Rejects
Something Corporate
Motion City Soundtrack
The Get Up Kids
Relient K
Taylor Acorn
Hunny
Patent Pending
Keep Flying
People R Ugly
House Parties
Goalkeeper
Don’t Panic
Old Neon

Read more: The Maine break down every album in their catalog

“There’s a sense of distance but also warmth to all our favorite songs, and that’s an element we wanted to bring to the album: a longing for a missed opportunity or chance or youth or what the past might have given you,” guitarist Jake Goldstein says. The new song comes with a campy music video that takes place at a talent show, directed by James Baby. Check it out below.

HUNNY also begin a tour this Saturday (Oct. 7). See all the dates below and grab tickets here.

HUNNY 2023 tour dates
Oct. 7 – Anaheim, CA – Chain Reaction
Oct. 8 – San Francisco, CA – Café Du Nord
Oct. 16 – Albuquerque, NM – Launchpad
Oct. 18 – Dallas, TX – Three Links
Oct. 20 – Austin, TX – The Ballroom @ Spiderhouse
Oct. 29 – New York, NY – Bowery Ballroom
Oct. 30 – Philadelphia, PA – Warehouse on Watts
Nov. 01 – Chicago, IL – Beat Kitchen
Nov. 02 – Cleveland, OH – Grog Shop
Nov. 04 – Toronto, ON – The Drake
Nov. 06 – Boston, MA – Brighton Music Hall
Nov. 19 – Mesa, AZ – Nile Theatre

From July 6-29, Sad Summer will welcome headliners Taking Back Sunday for their festival debut, as well as returning favorites the Maine, Hot Mulligan, Stand Atlantic, and Mom Jeans. Additionally, scene staples PVRIS will appear, along with emerging acts Sincere Engineer, Daisy Grenade, and Cliffdiver.

Read more: Fall Out Boy make their grand return with new single “Love From the Other Side”

But wait, there’s more: On select dates, Sad Summer will host a series of special guests, including the highly anticipated return of Head Automatica (the alt-pop project of Glassjaw’s Daryl Palumbo), post-hardcore supergroup L.S. Dunes, and longtime alternative veterans Motion City Soundtrack and Andrew McMahon In The Wilderness. 

Check out the full 2023 lineup below before tickets are available Jan. 27 at 10 a.m. local time here. 

Read more: How the Callous Daoboys ramped up the chaos and catchiness with Celebrity Therapist

On the EP’s lead single “Free Ride,” the Higher have proved once again that they know their way around a strong chorus while penning witty lyrics that’ll stay in your head for days. Original members Seth Trotter (vocals) and Robert “Reggie” Ragan (guitar) have never sounded more in sync, and the resulting EP reflects a labor of love that’s both tailor-made for die-hard fans and progressive enough to reach a whole new audience.

The Higher have such a distinct sound where you incorporate everything from R&B, funk and emo. With that being said, what went into developing your signature sound?

SETH TROTTER: We all listen to a bit of everything. Myself and Reggie listen to a lot of R&B, and we definitely still listen to the bands that are similar to our genre, but we usually like something that has a little more funk to it. We didn’t go into it saying, “This is how we wanted to sound.” We just wrote the songs and sounds that came to us. With us being ’90s babies, we grew up on boy bands, and a lot of that got brought into the mix to go into the pop-rock emo sound that was prevalent in the scene that we were in. 

Your hometown of Las Vegas has always been a central part of your imagery and lyrics. What is it about the city that continues to inspire you so much? 

TROTTER: We go off the vibes that Vegas gives. When you live here, you get to see the city in a different light than a lot of people get to see. We lived it day in, day out. Vegas is the land of debauchery to celebrate and escape, which I will even say the title track “Elvis in Wonderland” is about. It’s about getting lost in the debauchery and lost in the moment while trying to have the best night of your life. 

ROBERT “REGGIE” RAGAN: Adding on to that, the On Fire record was when we really started to embrace Vegas as a theme in the music, and I think that had to do with touring, going to other cities and realizing that we live in a really great city. 

[Photo by Alex Bemis]

Seth, if I’m not mistaken, you perform on Freemont Street in Vegas quite often with a cover band, right? 

TROTTER: I do the cover band thing all the time. It’s something that happened after our band [went on hiatus] because I wanted to keep singing. It’s fun to experience the people you run into, and it’s just a different world. We do everything from top 40 ‘90s stuff and hip-hop to classic rock. 

Elvis in Wonderland is your first new music in over 12 years. What was the journey like? 

TROTTER: It was very collaborative, and that has always been in our DNA. With this record, each song was written by a collaborative group of our bandmates, old bandmates and our producers. What’s great about this new record is that COVID inspired the band to reunite. We all had this time where we weren’t working, but were all writing separately and decided to meet up together in LA to see what would come. We wrote probably an album’s worth of music and took the best five that we felt were the most finished products, and I will say that all of these songs are cohesive with that the Higher sound but also different. 

What did it feel like to get back into a jam space together for the first time in so long? 

TROTTER: We felt really old. [Laughs.] 

RAGAN: In all seriousness, it felt good. It was like riding a bicycle. We all were just ready to get these ideas to the finish line. “Free Ride” was done in 10 hours. 

What are you looking forward to most about your upcoming tour this fall with your scene counterparts Anarbor? 

RAGAN: Seeing old faces. We have so many fans that have been hitting us up on Instagram, so we’re just excited to see the old fans coming out. Anarbor is gonna draw people, and we’re excited to also make new fans. 

TROTTER: We’re both big fans of Anarbor, so when the opportunity came, we knew it was a perfect fit for us. I think our band still has that sound that will draw some of the newer fans while also giving a rebirth to the Higher’s older music as well.

Can you recall the most surreal moment you experienced in your career? 

RAGAN: We were playing a show in Tokyo, and myself and the drummer were walking around in Shibuya. There was a big video board up with music videos playing, and I remember saying, “Wouldn’t it be cool if we were up there?” Literally, it was like somebody heard me and our video popped up. This was like 2007 so I didn’t have a smartphone to take a video of it, but we were literally on the biggest screen in the most populated area of Tokyo. 

TROTTER: The screen was on the three-story Tower Records. Just seeing our CD on the endcap with the cardboard cutouts, we really felt like we came a long way. 

Read more: The best punk albums of 2006, from My Chemical Romance to +44

With his dates on Motion City Soundtrack’s Commit This To Memory anniversary tour wrapped, Rubenstein talked about getting back on the road with the band, blurring the lines between comedy and punk rock and why he never really left the scene behind.

What led you to music in the first place? 

The simple story is that at age 12, I saw Mötley Crüe on the cover of [a magazine]. I was like, “That’s it. I wanna do that.” There have been hiccups and hang-ups, but most of my adult life is just getting tattooed and being on tour. I got no complaints.

What made you take the jump into comedy?

Someone was putting together a TV show for Spike TV called Casino Cinema. They needed a gambling expert, and the guy they had made crazy demands, like, “You got to helicopter me in from Atlantic City.” [My friend] was like, “Hey, you run a poker room.” So I ended up on this TV show. I went for three or four years, and I was on TV once a week. One of the guests was Artie Lange. At the time, I remember very vividly, he was like, “You like doing TV?” I was like, “Yeah, I love it.” I remember the quote. He goes, “Shit ends, kid.” I was like, “All right, so how do I lengthen the career?” He was like, “You got to either start writing or doing stand-up.” Yeah, I took life advice from Artie Lange… probably the only person in the world who did that.

 [Photo by Ryan Brook]

You seem to really exemplify that idea of doing everything you can to engage people — podcasts, Instagram, touring and the like.

You have to do all those things. There’s a Mitch Hedberg bit about it where it’s like, “Oh, you do comedy? Oh, you cook. Can you farm?” It doesn’t get the respect. People will see a meme or a video or whatever and repost it without regard for the person who created it, who spent time making it. If that happens with music, there’s a whole army that’ll pull it off the internet or make you give credit or pay. That just doesn’t happen with comedy. A guy who does TikTok videos and a guy who has been busting his ass for 20 years doing late-night sets, they’re both in the same field.

Music fans also have a different attitude about supporting artists, I’d say.

That’s the cool thing about music fans. They do convert. I opened for Taking Back Sunday once. After that show, a bunch of people followed me, more so than any time I’ve opened for a big comic. I still sort of consider myself part of the scene. That’s one cool part of the scene. They’re loyal, and they pay attention to what’s going on. People know who I am sometimes because of Taking Back Sunday. That only happens in music.

One thing that I find really interesting about your career is that you do feel like you are part of the scene. You do comedy almost like a band run their career. Is that something you went about intentionally?

I don’t know, man. I grew up taking the train to CBs on weekends. I lived on Long Island, and I worked at Kim’s Underground in the city, a record store. I would lose money to go to work. I would skip school to go to the city to work. That’s just who I am. I’m a punk-rock kid at heart. I’ve talked about this too on some other people’s podcasts. We learned some really good things, and we learned some really toxic things [about the scene]. Punk taught me how to be cool to people.

[Photo by Zachary Burcar]

Comedy does feel like it has a community ethos. The social aspect seems important. So maybe comedians are like musicians in that respect?

They emphasize the hang, for sure. In most cases, the come-up is the same. In punk rock, you have Motion City and the Rejects become friends in ’01 or ’02. Fall Out Boy is in that crew and Limbeck. The tours are all the same. It’s all just variations of Rejects taking out Motion, taking out Fall Out Boy, taking out Limbeck. That’s the same in comedy. It’s that pay it forward kind of thing. I want to be on the road with the people I like to be out with, whether it’s Jesse and Tony from Motion City or it’s Liz Miele.

I wanted to ask you about your seven-inch EP. It’s very cool seeing a comedian do a seven. You even did it as a split and with the splatter vinyl. It’s super punk rock. Did you have an idea about blurring the line with music and comedy in doing it?

I just wanted to do a thing that felt authentic to me. All my stickers and stuff, a Man Is The Bastard rip-off, a Conflict rip-off. There wasn’t much thought into it more than it just felt natural to me.

 [Photo by Danya Artimisi]

Touring with Motion City Soundtrack also seems like a natural fit. How do you feel about this tour?

I’m very excited. We’ve tried this already. We tried it in January, and COVID shut it down. It was a real bummer. Those are just good dudes I’ve known forever. I just heard that they didn’t have a first of three, and I gave it the full-court press. I was like, “Listen, I’m a better option than having another band open.” I don’t know how I convinced anyone of that. I do think that it makes sense. A lot of bands have done it throughout history, but I think it’s coming back into vogue a little bit. I guess they were feeling nostalgic, and they were like, “Well, it’s more nostalgia than having the guy we spent these years with opening the thing.”

The versatile Epitaph roster reads like a who’s who of innovative bands, allowing us to mention Parkway Drive in the same sentence as Joyce Manor. With that inclusivity in mind, we’ve brought together the 20 greatest Epitaph signings both past and present over the label’s 41-year tenure.

Read more: 20 greatest Fearless Records bands, from Underoath to iDKHOW

Architects

Architects made a dramatic shift with 2014’s Lost Forever // Lost Together and haven’t looked back since. Their first output on Epitaph distanced from the aural chaos of previous effort Daybreaker and heralded a new, slickly produced age charged with contagious screamalongs and gut-wrenching breakdowns. The outfit’s next three albums have followed that successful template into the stratosphere, cementing Architects as metalcore frontrunners on a mission to bring their genre to the attention of the mainstream.

Bad Religion

Bad Religion have maintained an enviable relationship with Epitaph Records since their debut, particularly because the label is owned by guitarist Gurewitz. Producing their first seven albums under the Epitaph umbrella, from 1982’s How Could Hell Be Any Worse? to 1993’s Recipe For Hate, the band stepped away from Gurewitz’s own outlet to produce four albums under Atlantic. The prolific LA crew then jumped back into the fold with The Process Of Belief. They have remained with the label for a further five records. Finding a consistent home to share your singalong melodic punk sensibilities is no mean feat over 40 years in the business, but Bad Religion have made it look easy by simply owning the joint.

The World Is A Beautiful Place & I Am No Longer Afraid To Die

If the Cure met Death Cab For Cutie in the corridors of the Metropolitan Museum of Art, they’d probably create the World Is A Beautiful Place & I Am No Longer Afraid To Die. The artists set out to prove exactly what their elaborate name suggests and succeeded with their 2015 sophomore album, Harmlessness, their debut on Epitaph. The record forces you to sit back and think about life, the world and everything in it. Two albums further down the line, we still don’t know who we are and what we want, but at least the World Is A Beautiful Place.

Bring Me The Horizon

From obscurity to mainstream, Bring Me The Horizon have become metal’s chameleonic superstars. The seismic shift from Count Your Blessings to the now-landmark Suicide Season in 2008 is in part attributed to their signing to Epitaph that same year, ushering in a broader and more marketable approach to their original sound. That all may have changed by the time their final Epitaph effort came about in 2013, but their rise to prominence in the heavy scene was overseen by the label’s support through to their acclaimed output Sempiternal, setting the tone for metalcore as a whole to follow BMTH’s lead into the unknown.

Every Time I Die

Every Time I Die‘s innovative approach to metal without boundaries or expectations is what set them apart. The label oversaw the outfit’s greatest efforts in From Parts Unknown, Low Teens and last year’s Radical. The Epitaph umbrella encouraged the rise of a thoroughly thrilling metal name from their signing in 2008 and remained beside them until the Buffalo, New York, band parted ways.

Millencolin

Picking up Millencolin in 1995 to release their output in the States, Epitaph established a long-running relationship with the Swedish skate-punks that has lasted over 25 years. While the outfit remained connected to sister label Burning Heart Records for their affairs in Europe since their debut, 2015’s True Brew marked a full-scale shift to the main Epitaph umbrella and thereby heralded a new era for Millencolin — one of neatly produced radio-worthy bangers to shake up what it means to be punk rock in the present day.

Mannequin Pussy

Joining the Epitaph fold in 2019 for their versatile third effort Patience, Mannequin Pussy have already proved themselves as ones to watch. With a flair for teeth-baring punk that can’t be ignored, the Philadelphia trio have found the right home to distribute their punchy anthems. Whether you have a soft spot for melancholic ballads or short but sweet ragers that refuse to hit the three-minute mark, Mannequin Pussy are your next obsession that’ll be on repeat all day.

Parkway Drive

Remaining loyal to the label that co-released their debut, Killing With A Smile, in 2005, the relationship between Parkway Drive and Epitaph has been a successful allegiance on both sides. For Parkway, they’ve received a consistent name under which to release some of metal’s most exciting albums in recent years, and for Epitaph, they’ve had the pleasure of supporting a successful outfit like Parkway for over 15 years. It’s a mutual understanding that’s gifted us with albums such as Ire and Reverence, for which we are eternally grateful.

Joyce Manor

Epitaph and Joyce Manor have enjoyed a successful allegiance over the years. It’s a relationship that started with their signing in 2014, just in time for third album Never Hungover Again. Dancing along the fine line between indie and pop punk that others fear to tread, the Torrance, California, set have elaborated upon their signature approach under the Epitaph name and released three albums laced with grit, melancholy and Barry Johnson’s lulling vocals.

From First To Last

Try to imagine the emo scene without “Note To Self” or “Ride The Wings Of Pestilence.” Impossible? Then we have Epitaph to thank for exposing us to pivotal tracks that raised a generation sporting eyeliner and skinny jeans. From First To Last burst onto the scene with their Epitaph debut Dear Diary, My Teen Angst Has A Bodycount in 2004, and things were never the same again. That is, until their sophomore album, Heroine, two years later. The outfit’s collaboration with Epitaph was brief but no less effective in launching them into emo stardom.

Motion City Soundtrack

Sometimes in a long-running relationship, a break is necessary for both personal and collective growth. This also applies to the artist-record label allegiance, as proven by Motion City Soundtrack’s lasting connection with Epitaph since their 2003 debut, I Am The Movie. After the resounding success of their first three albums, jam-packed with pop-punk mastery, the group departed the label for the release of their fourth effort in 2010. However, they rejoined two years later with Go as if nothing had changed, remaining loyal to their original label through a brief hiatus.

Adult Mom

A breath of fresh air for the Epitaph roster came with the arrival of Adult Mom in 2021, the rising New York set armed with raw, unapolgetic lyricism that you need in your life now. Joining the label for Driver, the trio formed by Stevie Knipe address their founder’s genderqueer identity amid deeply emotional tracks and relaxing melodies, growing from what was once intended as a solo project into a full band.

Pennywise

Joining fellow Californians Bad Religion under the Epitaph umbrella for their self-titled debut in 1991, Pennywise’s signing firmly established the label as a landmark in punk representation. For their ninth album, the productive outfit turned to a surprise MySpace release in 2008 but soon returned to the label’s fold with 2012’s All Or Nothing and beyond. Enduring drastic member changes, returns and personal tragedy, Pennywise have shared their journey with Epitaph. In turn, Epitaph have shared the joy of Pennywise’s signature brand of punk chaos with us for over 30 years.

Converge

While Jane Doe may have been Converge’s breakthrough release, 2004 follow-up You Fail Me finally reached the mainstream charts with the help of Epitaph Records. Five storming albums later, the band have used their time at Epitaph to explore their theatrical inclinations and genre-melting concepts without restrictions, putting creative freedom before commercial success but consistently reaching the charts regardless. Consistently unpredictable and refreshing, the heavy realm would be a far less exciting place without Converge.

I Set My Friends On Fire

A true scene upbringing would be nothing without the precedent of I Set My Friends On Fire, established by their 2008 Epitaph debut You Can’t Spell Slaughter Without Laughter. Where glittering electronics meeting abrasive metalcore screams would fail on paper, the outfit made such a chalk-and-cheese hybrid work to spectacular effect, and Epitaph found the right audience for it. While short-lived, their collaboration with the label produced one of the scene movement’s most iconic albums.

The Linda Lindas

The Linda Lindas are no inexperienced outfit. The recent Epitaph signees inject punk into present-day singalongs, all while empowering women and POC to follow their dreams. The four-piece were spotted by Amy Poehler at a show in 2019 and asked to star in and record for the soundtrack to feminist Netflix movie Moxie. After a string of Netflix features, the Linda Lindas were signed by Epitaph in 2021, and their anticipated debut album, Growing Up, is out April 8.

Touché Amoré

Touché Amoré shifted to Epitaph Records for their most deeply personal album to date, Stage Four, addressing vocalist Jeremy Bolm’s mother’s passing. Signing to a label such as Epitaph appeared to grant the band newfound musical freedom that would continue into 2020’s storming Lament, creating two of their best albums and elevating Touché Amoré to the stages where they and their addictive anthems belong.

letlive.

For a band so pivotal in the experimental metal scene, it’s hard to comprehend that letlive. produced only four albums in their 15-year tenure, the latter half of which were released under the Epitaph umbrella. Synonymous with the development of the post-hardcore world toward soulful inflections while clutching onto its raw punk roots with all its might, the LA outfit signed to Epitaph in 2011 for what would be their final two records. They’ve since become iconic metal landmarks beyond their split in 2017.

The Ghost Inside

Gaining traction after 2010 sophomore effort Returners, the Ghost Inside headed to Epitaph for their first major label release two years later. Produced by A Day To Remember’s Jeremy McKinnon, Get What You Give perfectly encapsulated the band’s metalcore mission and paved the way for their most successful outing Dear Youth in 2010. Five years later, their tragic tour bus crash changed everything, threatening their future as a band. Fortunately, the band returned stronger than ever for their 2020 self-titled, supported by the Epitaph label and their loyal fanbase.

Rancid

When it comes to the American branch of authentic punk, Rancid are the blueprint. No sooner had they released their first EP in 1992, the Berkeley set signed to local California label Epitaph Records for their self-titled debut full-length a year later, opening their history books with four career-defining albums packed full of their own brand of contagious punk anthems fused with ska sensibilities and pop punk energy. Frontman Tim Armstrong created Epitaph subsidiary Hellcat to release their next five outings, where the Epitaph parent label has consistently underlined the career of an iconic outfit synonymous with the evolution of punk into its many descendants.

Read more: Nirvana’s 1992 cover captures a band breaking into the mainstream

In England, Fatboy Slim’s “Praise You” single hit No. 1 on the British charts. Eminem’s The Slim Shady LP unfurled Feb. 23. And just as radio was getting land-locked by his and Kid Rock’s caucasian rap and the more metallic variant practiced by Limp Bizkit, blink-182 dropped Enema Of The State June 1. The charts and MTV were now safe for pop punk once more. Come Nov. 2, Rage Against The Machine issued The Battle Of Los Angeles, smacking America in the face with a brace of revolutionary left-wing politics and abrasive guitar fury. Time and Rolling Stone both named it the year’s best album.

The punk underground couldn’t care less. It was busy priming the world for rock’s future. Millennial garage-punk, about to swamp the mainstream two years hence, saw its future royal couple the White Stripes issue their first full-length statement, still pretending they were siblings as they headed to divorce court. Dead Moon, the Hellacopters, Guitar Wolf, the Reatards and Cheater Slicks all released strong LPs that made noise. Classic punk got well represented by U.S. Bombs and the Black Halos. Amen fused hardcore with nü metal, Anti-Flag asked “Rage Against What?!” on their third album and Bikini Kill’s Kathleen Hanna reinvented herself as a playful electro musician with Le Tigre. Meanwhile, a ghost from punk rock’s past reincarnated itself. And God was their return welcome…

Blondie – No Exit

It was utterly stop-you-in-your-tracks unforgettable the first time you heard it: a chugging, insistent guitar intro, finally detonated by some of the most recognizably explosive drums in all of rock. And that deadpan voice, intoning an ode to the unattainable female: “She’s like a millionaire/Walkin’ on imported air/Ooh, it makes you wanna die…” Blondie, the first band to break out of CBGB into the pop mainstream, were back. “Maria” was the perfect Blondie comeback single, almost rivaling “Dreaming” in its perfection. The rest of No Exit, the accompanying LP, came close. But none was “Maria.” It lives forever.

Amen – Amen

“They’re more pissed off than we ever were,” Sex Pistols guitarist Steve Jones remarked at the time. Singer/mastermind Casey Chaos ignited Amen in Los Angeles in 1994, after his old band Disorderly Conduct disintegrated. Come their second album, they were an assault weapon with an ever-changing lineup backing Chaos’ tonsil-shredding vocals. Over rampaging riffs that melded the most brutal parts of hardcore, industrial and nü metal, Chaos attempted to scream down a cruel world, especially an America soon to be savage, militaristic and ultra right wing. He saw it coming, and it sickened him to his marrow. A truly, beautifully ugly record.

U.S. Bombs – The World

“Lotta’ paranoia everywhere/Take a look out yer door,” U.S. Bombs singer Duane Peters bawled over Kerry Martinez’s Mick Jones chords, as the Orange County punk traditionalists began their fifth album in as many years. “If it ain’t the tube, it’s the paper news—third world war,” he continued. Increasingly, U.S. Bombs sounded as if they were taking it upon themselves to be the Clash if the real thing weren’t coming back. The World was their most political album yet. It perfected their Give ‘Em Enough Rope musical attack as Peters predicted war on the horizon, even if that horizon was three years away.

The Black Halos – The Black Halos

The Black Halos arose from Vancouver, British Columbia, the herald of a new sleaze-rock wave about to grip the punk-rock underground. Backyard Babies’ Total 13 and Turbonegro’s magnificent Apocalypse Dudes the previous year fired the first shots. Now came a quintet who seemingly marinated in the runoff juices of the Stooges, New York Dolls, Dead Boys and Rolling Stones, with maybe some Motörhead for seasoning. With Billy Hopeless drawling like a narcotized Stiv Bators in David Johansen’s old feather boa, and Rich Jones and Jay Millette’s black-leather guitar attack, such The Black Halos tunes as “Retro World” and “Fucked From The Start” thrilled immeasurably.

The Donnas – Get Skintight

Their 1997 debut presented them as a lo-fi female Ramones. The following year’s American Teenage Rock ‘N’ Roll Machine remade them as a pre-millennial Runaways. Get Skintight seemed to perch somewhere between those two poles. Numbers such as “You Don’t Wanna Call,” with its Shangri-Las/Shadow Morton high drama, could easily have been warbled by Joey Ramone, with a slight gender change. Then boogie riffers such as “Searching The Streets” and “I Didn’t Like You Anyway” crawl into the sonic picture, giving guitarist Allison Robertson’s inner Lita Ford free rein. Produced by Redd Kross’ Jeff and Steve McDonald—perfect!

Anti-Flag – A New Kind Of Army

“Anti-Flag does not mean Anti-American.” So reads a disclaimer crawling across the bottom of the Pittsburgh political punk powerhouse’s second studio full-length. “Anti-Flag means anti-war. Anti-Flag means unity.” With the Justin Sane/Pat Thetic/Chris Head/Chris #2 lineup fully in place, A-F fully set their mission: filtering vintage Clash through a sieve constructed from early hardcore and latter-day pop punk. It sharpened their critique of American society, militarism and oppression. “Too smart to fight/Too smart to kill for you,” Sane cried on the title track, echoing slogans on the fold-out poster. And too smart to fall prey to typical traps, as well.

The White Stripes – The White Stripes

It seemed shockingly new upon first listen. And yet, there had been precedents for this loud garage duo, still telling the world they were brother and sister. Flat Duo Jets’ two-man raunchabilly was the White Stripes’ most immediate precedent, along with the shaman-like punk blues of the Gun Club and Jon Spencer Blues Explosion. But this weird record, done entirely in shades of red, black and white, including Jack and Meg White’s clothing, was fresh in a time ruled by jock-infused rap-metal. Meg’s monolithic bashing and Jack’s ultra-fuzz guitar and wailing wall vocals on tunes like “The Big Three Killed My Baby” truly healed the sick and raised the dead. Future looked bright red…and white, and black.

Le Tigre – Le Tigre

It was good to know that Kathleen Hanna wasn’t going to be silenced by Bikini Kill’s 1997 dissolution. Initially begun with friends Sadie Benning and Johanna Fateman to tour behind her electro Julie Ruin debut solo LP, Le Tigre evolved into its own beast. The name was derived from a list of hypothetical band names Hanna compiled in 1994. Le Tigre, the band and the album, was a lot more fun and playful than Bikini Kill. Basically a set of lo-fi electronic playground chants, the fun atmosphere served as a sugar-coating for Hanna’s ongoing discourse on feminist and LGBTQIA+ issues. Just color this version more dance floor-oriented, with much repetition and occasional lashings of fuzz guitar.

The Reatards – Grown Up, Fucked Up

Memphis, Tennessee, one of the cradles of rock ‘n’ roll and soul music, has always had a distinctive take on punk. From the all-female Klitz and Tav Falco’s Panther Burns in the late ‘70s to the blitzkrieg trash-fest that was the Oblivians, Memphis punk’s always been looser, garage-ier, more lo-fi. The Oblivians inspired 15-year-old James Lee Lindsey, Jr.’s metamorphosis into Jay Reatard, multi-tracking primitive scuzz-blast demos himself on a four-track cassette machine—screaming, playing guitar, beating a bucket for “drums.”

Oblivians guitarist Eric Friedl was so impressed, he signed the Reatards to Goner Records, leading Reatard to form an actual band—bassist Steve Albundy and drummer Elvis Wong. Grown Up, Fucked Up was actually the second Reatards album. It showed Reatard’s evolution into the more sophisticated garage punk that typified his solo work and future project Lost Sounds—still scuzzy, angry and assaultive but with deepening melodic and compositional smarts. It marked the first time many would hear one of millennial punk’s most important voices.

Guitar Wolf – Jet Generation

Was it possible for rock ‘n’ roll to get louder, more crude and distorted than Guitar Wolf’s 1997 Planet Of The Wolves? Yes, it was called Jet Generation. Matador Records claimed in the accompanying press release that mastering engineers called back after the label sent a CD-R for one track’s inclusion on an in-store sampler: “The levels exceeded the theoretical maximum possible on compact disc audio. In other words, Jet Generation is the loudest CD in history.” Perhaps. What is quantifiable was that it was as exciting and primitive as every other Guitar Wolf record—rock ‘n’ roll at its most troglodyte.

…And You Will Know Us By The Trail Of Dead – Madonna

Austin, Texas’ …And You Will Know Us By The Trail Of Dead—essentially Jason Reece and Conrad Keely, each alternating on drums, guitar and vocals—are the intersection of punk explosiveness and prog ambition. They’d clearly been absorbing lessons from Sonic Youth, My Bloody Valentine and Fugazi. A copy of Refused’s The Shape Of Punk To Come may have been floating around as well. Second studio full-length Madonna, T.o.D.’s first for mega-indie Merge, was as epic a distillation of the band’s molten live fury as was possible in a proper recording studio, minus the guitar-smashing theatrics they’d adopted.

Cheater Slicks – Refried Dreams

Refried Dreams was the sixth studio full-length for the now 12-year-old garage-scuzz trio Cheater Slicks, who relocated from their native Boston to Columbus, Ohio, in 1996. They’ve remained there since. By this point, they’d proven they needed no bass guitar to sound full and glorious. Brotherly guitarists Tom and Dave Shannon’s contrast of fuzz and clarity over Dana Hatch’s caveman drumming filled every sonic nook and cranny. It was cool hearing the songwriting sophistication they’d developed. Opening track “In This Town” had a tinge of Phil Spector to it, while “I Think I’m Coming Down” could have been Lee Hazlewood jamming with the Rolling Stones during Aftermath’s recording. Yeah, they were that good.

Dead Moon – Destination X

Portland garage royalty Dead Moon—much like the Ramones, AC/DC, Motörhead or the Cramps—perfected their exquisite take on rock ‘n’ roll with 1988 debut LP In The Graveyard. It remained consistent throughout their entire career, including on this, their eighth studio LP. Everything was recorded in mono, the masters cut by leader Fred Cole on the very lathe that had rendered the Kingsmen’s “Louie Louie.” Everything centered around wife Toody Cole’s insistent bass pulse locking in with drummer Andrew Loomis’ graveyard drums. Fred would then lay his crunchy guitar and expressive vocals, wailing a potent, crispy midnight blues. 

The Hellacopters – Grande Rock

Modern garage blitzkrieg-ists the Hellacopters were relentless in their mission to remove Detroit 1969 from Australia and reinstall it in their native Sweden as its musical capital. With guitar demon Dregen now firmly back in the Backyard Babies’ fold, keyboardist Anders Lindstrom (under the nom de six string Boba Lee Fett) was tracking dueling Epiphones with mainspring Nicke Andersson. Grande Rock—named for the Grande Ballroom, where the MC5, the Stooges and all other late ’60s Motor City power-rockers cut their teeth—saw the production elevate stratospherically. It was their most fully realized release to date, containing such exemplary tunes as “The Devil Stole The Beat From The Lord.” Still, they needed to be broken of their notion that merely playing KISS riffs at Ramonic velocity with R&B swagger equaled Detroit punk.

AFI – Black Sails In The Sunset

Founding AFI guitarist Mark Stopholese exited after 1998’s A Fire Inside EP. It featured covers of the Cure and Misfits that were head-scratchers to anyone only cursorily paying attention to the California act thus far. With Jade Puget—contributor to third LP Shut Your Mouth And Open Your Eyes—fully installed as their guitarist, AFI set about proving those covers were no fluke. Black Sails In The Sunset fully gave in to the creeping horror-punk darkness. It was chock-full of eerie drama and black shadows. It was a harbinger of AFI’s millennial ascendancy. Alternative Press’ Jason Heller dubbed it “their first epic.”

Visiting Seoul? Check out a local indie band in a hipster neighborhood. Catching an African safari? Surely the nearest city is home to at least one rock band. And there might not be a region of the world where the scene is faster growing than Latin America. 

Read more: 11 alternative albums that prove good things come to those who wait

At risk of sounding anymore like a travel agent, let’s take a moment to pause and celebrate the global alternative talent. Here are some names you surely know and a few new ones that will enrich your music library. 

BABYMETAL – Japan

Metal fans stateside are well aware of rock’s most unsuspecting duo. BABYMETAL capped a run of singles in 2020, including working with Bring Me The Horizon on the soaring “Kingslayer,” solidifying their place in the scene. The thrashing guitar work coupled with the unworldly vocals of Suzuka Nakamoto (Su-metal) and Moa Kikuchi (Moa-metal) creates a unique juxtaposition that’s tough to turn off. BABYMETAL always find a way to make their metal accessible.

Hyukoh – South Korea

The funky pop-rockers from South Korea might be most comparable to the Red Hot Chili Peppers. But even that’s a stretch for a band that are uniquely their own. Hyukoh erupted in popularity after appearing on the Korean variety program Infinite Challenge. Poised for a breakout, their worldwide tour was postponed because of COVID-19. If the stage comes calling soon, expect Hyukoh to bring down the house. 

Las Ligas Menores – Argentina

Strictly English speakers couldn’t guess what Las Ligas Menores sing about. Yet, there’s something so universal about the sound, even with the lyrics in a different language. The Argentinians jam like early 2000s indie rockers. Think Motion City Soundtrack. There’s a clear kick to their sound, but it’s on the soft edge of punk. The band clearly make the rounds, too, performing at Coachella in 2017. This crew are one of Argentina’s more popular young acts and continue to draw attention a decade into their run.

Tonight Alive – Australia

The Australian natives helped shape the 2010s scene in many ways. Their music regularly reflected what’s trendy, evolving from the pop-punk days of What Are You So Scared Of? to the more complex, heavier Underworld in 2018. Tonight Alive were regulars on the biggest tours, and their “Little Lion Man” cover remains one of the best Punk Goes tracks in existence. But it’s singer Jenna McDougall’s social activism that might stand out the most. A vocal advocate for many, she always seems a step ahead of even the most progressive movements. 

The Flob – Vietnam

The band’s name sounds like something of out of a black-and-white horror movie. But the only thing scary about the Flob is how earwormy their track “Em Oii” is. The funky fivesome play with an obvious love for the craft. But it’s the vocals of Trần Gia Lộc that stand out, possessing an angst that makes some of the great American emo singers seem dull. You don’t need to understand Vietnamese to jam with the Flob. 

Vale Of Amonition – Uganda

Vale Of Amonition blend heavy metal and spoken word, a combination that’s made them one of East Africa’s most popular rock acts. Their music is dark, both in its composition and its lyrics. But it’s a fair sound for a band formed at the end of Uganda’s violent period in 2009. They’ve stayed the course, providing an emotional outlet for a rapidly changing country. 

Chunk! No, Captain Chunk! – France

The easycore giants fooled many with their 2016 track “Blame It On This Song” and subsequent hiatus. It felt like Chunk! No, Captain Chunk! were calling it quits—no more chunky guitar chords, jolly lyrics and the subtle French accent that made the band so enduring. Thankfully, during the pandemic, Chunk! No, Captain Chunk! found time to craft another album. Their new track “Bitter” is a sign of great things to come.

Dengue Dengue Dengue – Peru

It’s hard to find a band that celebrate their local culture more than Dengue Dengue Dengue. Their 2019 album, Zenit & Nadir, unwraps the gifts of Afro-Peruvian history, displaying all the treasures in a variety of songs unique unto themselves. The rhythms are catchy, with instrumentals so crisp and elevated. For Daft Punk fans still sad about their split, Dengue Dengue Dengue definitely fill a void. 

Flamingods – Bahrain

From Bahrain and London, the four-piece rock band expertly reflect their diverse background. Old souls will appreciate the band’s psychedelic influence. But fans of edgier stuff will sense a dark undertone. Think of Flamingods’ sound as equal parts Flaming Lips and the Cure. There are layers to this seriously talented band.

Mashrou’ Leila – Lebanon

Master storytellers Mashrou’ Leila are the voice of the voiceless in a gorgeous country, rich in history and ripe for cultural rifts. Like Fugazi in D.C. basements or Nirvana in Tacoma clubs, the band make the world listen to the anger and angst of its people. But these people are caught in the crosshairs of gunfire, cultural wars and corrupt governments. The band don’t just perform—they makes you feel their pain.

Fortunately, even in the wake of widespread technological innovations, some basic routines haven’t changed. While you may no longer be dropping a dollar per new single to drown out your family or friends, playlist curation is still no joke… Especially when you’ve got a decade’s worth of summer-flavored jams begging for your attention and nostalgia.

Read more: Oliver Tree helps us laugh through the pain on “Life Goes On”–listen

We’re here to take away the stress of milling through Spotify so you can focus on your travel plans instead. Here are 15 2000s alternative hits that made and will continue to make the perfect additions to any road trip playlist.

System Of A Down – “Chop Suey!”

This August marks 20 years spent with System Of A Down’s “Chop Suey!” And if August Burns Red’s 2020 rendition is any indication, it still hits just as hard as it did in the summer of 2001. Nostalgia is hardly the only thing this playlist addition has going for it, though. With its frantic and volatile energy, this track is an effective substitute for that second cup of coffee. One more pit stop out of the way…

Weezer – “Island In The Sun” 

Admittedly, you can never go wrong simply streaming the entirety of Weezer’s “Green Album.” After all, it’s only one of the best pop-punk records to come out of 2001. If you’re specifically on the lookout for summer vibes, though, there’s just no beating “Island In The Sun.” Thematic title aside, this song offers an easy, breezy energy that’s best consumed with the windows down.

Avril Lavigne – “Sk8er Boi” 

Point of view: You’re cruising and singing along to some of your favorite songs with your best friends. All of a sudden, you’re hit with that instantly recognizable guitar riff that even MGK can’t let go (no pun intended). What do you do? Sing along at the top of your lungs, obviously, because there’s no resisting a good rock out to Avril Lavigne’s “Sk8er Boi.” Just be forewarned: You may find yourself at your final destination donning a backward hat and tie.

Read more: 10 artists who brought the alternative scene to your favorite TV shows

The Killers – “All These Things That I’ve Done” 

Have you ever lived if you haven’t chanted, “I’ve got soul, but I’m not a soldier,” alongside your friends with cult-like precision? The Killers’ Bowie-inspired 2004 track, “All These Things That I’ve Done,” is the epitome of a feel-good summer jam. But on top of the vibes, it puts forth a lyrical narrative that would rival most audiobooks. What’s more, the concept is based on the lived experiences of MTV personality Matt Pinfield. Talk about an elaborate throwback. 

The All-American Rejects – “Dirty Little Secret” 

Don’t think for a second that Avril Lavigne is the only artist bringing irresistible intro riffs to your driving playlists. The All-American Rejects’ high-energy, summer hit, “Dirty Little Secret,” will take you back to 2005 in three seconds flat. The best part? It demands two sets of hands on air guitar so you won’t have to fight your passenger for the glory.

Motion City Soundtrack – “Everything Is Alright” 

What better way to get in the summer mood than with an uplifting message backed by pop-punk theatrics? Motion City Soundtrack’s “Everything Is Alright” will give you just that. Aptly described by vocalist Justin Pierre as a self-directed “pep talk,” the track is a surefire way to liven up even the most tedious road trips. Just try to finish it out without a smile plastered to your face.

Read more: 10 alternative songs that explore the highs and lows of mental health

Jack’s Mannequin – “Dark Blue” 

Ask anyone about tracks that epitomize 2000s alternative summers and Jack’s Mannequin’s “Dark Blue” will garner more than a few mentions. Colorful without sacrificing poignance, the piano-driven track bolsters relatability in a way that’s just refreshing. It’s one of those songs that, even over a decade later, you can’t help but sing along to. Halsey will tell you…

Gym Class Heroes – “Clothes Off!!” 

It’s been 15 years and Gym Class Heroes’ “Clothes Off!!” remains just as much of an earworm as the summer it dropped. Following up on the overwhelming success of “Cupid’s Chokehold” the previous year, the track brought on Fall Out Boy’s Patrick Stump for another round of perfectly accenting guest vocals. With its blend of alternative hip-hop, funk and rock, this song is sure to be a crowd-pleaser in any context.

Cobra Starship – “Snakes On A Plane (Bring It)” 

While on the topic of alternative eclecticism, we’re morally obligated by pop-punk code to mention Cobra Starship’s “Snakes On A Plane (Bring It).” Fortunately, the 2006 summer sensation of a collaboration is a totally appropriate list entry. Seriously, is there a better track to jam out to with friends than one that brought together Cobra Starship, Gym Class Heroes, the Academy Is… and the Sounds? Also, the premonition aspect is a good reminder that road trips are always preferable over flying.

Read more: 10 debut records from 2001 that still crush 20 years later

Paramore – “crushcrushcrush” 

Given that Paramore’s Riot! has no skippable tracks, this particular recommendation was a bit difficult to narrow down. After a totally scientific, not-at-all-for-pleasure listen, though, we’re confident in saying that “crushcrushcrush” is the ultimate road trip playlist addition. This edgy-as-hell, 2007 summer anthem instantly captured our hearts with its punchy energy. And, of course, no one will be left out of the singalong since we all got it down on Rock Band.   

Mayday Parade – “Jamie All Over” 

Bonus points if you’re driving out to see Las Vegas. Regardless of your destination, though, a Mayday Parade singalong is certain to make the time (and miles) fly by. And what better choice than a foundational summer hit that predates the band itself? With its quintessential variety of emo-leaning, 2000s pop punk, “Jamie All Over” will take you right back to the sweltering days of Warped Tour.

The Maine – “Everything I Ask For” 

It’s unsurprising that the Maine’s “Everything I Ask For” is a must-add for any alternative playlist. After all, the summer tune kicked off their iconic debut record on just the right note. Don’t think that means you have to play it up top, though. In fact, we’d recommend saving it for later so that dose of energy will hit when you really need it. 

Read more: 10 lead singles from the 2000s that define these iconic album eras

Cute Is What We Aim For – “Practice Makes Perfect” 

Cute Is What We Aim For certainly divided the scene in 2008 with their sophomore album, Rotation. Even so, there’s no denying that the lead single, “Practice Makes Perfect,” is a shimmering beacon of pop-punk positivity. It’s the perfect playlist addition for anybody who wants to throwback to the neon heyday but has already listened to “The Curse Of Curves” one too many times. 

The Academy Is… – “About A Girl” 

Much to the dismay of Almost Here and Santi-era superfans, the Academy Is…’ Fast Times At Barrington High earned the band a new level of fame in the summer of 2008. Of course, it was the leading single, “About A Girl,” that seemed to be at the helm of their popularity surge. That was for good reason. The catchy, pop-leaning display of relatable (albeit awkward) romanticism is impossible not to vibe with. Regardless of where you stood at the time, now that the dust has settled, this song makes for the ultimate road trip singalong.

Boys Like Girls – “Love Drunk” 

We might have hoped that Boys Like Girls would give us a longer run prior to dissipating. But at least we have Love Drunk to remember them by. The band’s highly anticipated sophomore album brought a number of upbeat hits that captured the essence of summer ‘09. We can’t bring ourselves to look past the title track, though. With its infectious hooks and anthemic quality, you may just find yourself listening to “Love Drunk” on repeat as you get into vacation mode.

What are your 2000s alternative road trip essentials? Let us know in the comments below!