Japan’s CHAI tend toward high energy and irrepressible positivity, all with a satisfying rock edge. Wink opens not with a bang but with full-body synthpop bliss.
Despite an initially lukewarm critical reception, Sum 41’s All Killer No Filler enjoys a place in the pop-punk pantheon as it hits its 20th birthday.
Canadian pop-punkers PONY release a debut, TV Baby, that hits close to home for millennials, and anyone who is a fan of 1990s alt-rock, pop-punk bands.
On their first album in 25 years, Too Much Joy offer up the first bona fide roll-down-the-windows, crank-up-the-car-stereo album of 2021. Welcome back.
Part social commentary and part fictional narrative, Green Day's American Idiot came out of nowhere and impressed with its biting political subversion, exploration of teenage angst, love, and uncertainty, and perhaps most importantly, brilliant structures, transitions, and overall cohesion.
Green Day's Dookie was the best rock album of 1994. Scores of critics admitted that, yes, this 14-track album full of speedy pop-punk tunes about panic attacks, boredom, and masturbation was quite catchy, but no one would've held it against them if they doubted that Dookie would have had staying power.
Catholic Guilt's "A Boutique Affair" taps into the zeitgeist of distance, isolation, while adding a spirit of uplift and community.
Cherry Red Records' six-disc Revillos compilation, Stratoplay, successfully charts the convoluted history of Scottish new wave sensations.
Steve McDonald talks about the year that produced the first Redd Kross EP, an early eighth-grade graduation show with a then-unknown Black Flag, and a punk scene that welcomed and defined him.