The Wonder Years’ The Greatest Generation is a vulnerable document of the struggle of living with pain and suffering and the desire to overcome it through loving relationships and empathetic communities.
Jets to Brazil’s Orange Rhyming Dictionary received generally good-to-great reviews and is now considered a pivotal record in the evolution of emo and indie rock.
The Early November’s Twenty is an innovative retrospective album exploring memory, nostalgia, and aging. Ace Enders and drummer Jeff Kummers talk about its creation.
The Promise Ring’s Nothing Feels Good became one of the first emo records to break through on college radio, paving the way for the next wave of 2000s emo.
Taking Back Sunday’s Tell All Your Friends shows emo for what it is: a sonic representation of what it really feels like to be an American teenager.
Pinegrove’s 11:11 is the extolled group’s most sober collection of songs—a literate latticing of personal sorrow and environmental collapse.
Grungy shoegazers Big Vic wade through a fog of guitar noise in search of clarity on their debut album, Girl, Buried.
Kitner’s Shake the Spins lives up to its hype as a debut LP that breathes fresh life into genres like emo and indie rock in dire need of resuscitation.
Weezer’s Pinkerton was released 25 years ago today and it was a critical and commercial flop. But in the intervening years, it’s become a beloved emo rock classic.
Why won’t Weezer admit that the “embarrassing” unfinished Songs from the Black Hole rock opera are the rudiments of 1996’s (eventually) critically acclaimed ‘Pinkerton’?
Green Day’s fan-favorite set at NYC’s Hella Mega Tour offered a grand-standing reminder that we’re still breathing.
Leisure Sport’s sound leans toward indie rock and power pop. The combination of exhilarating drums and layering guitars creates an atmosphere that fits sunsets on the beach or the top of a mountain.
