First up though, Placebo are given the unenviable task of warming up the crowd. They take up this challenge ably, with frontman Brian Molko slinking his way round the stage, delivering his lyrics with his trademark drawl. Focussing their set on their latest record ‘Never Let Me Go’, they run through ‘Forever Chemicals’, ‘Hugz’ and the standout ‘Surrounded by Spies’, alongside classics ‘Kitty Litter’ and ‘The Bitter End’ before closing on ‘Infrared’. Placebo came and did their job with aplomb, being the impressive and reliable hand they’ve always been. 

You could be guilty of thinking they would be rusty, but My Chemical Romance come flying out of the traps and never let up. ‘The Foundations of Decay’, their first new song in eight years, opens proceedings to screams, and every lyric is sung back at the band to the point that it is hard to hear Gerard Way sing himself. Then comes ‘I’m Not Okay (I Promise)’ which causes bedlam in the crowd – The audacity of MCR to play one of their biggest songs second! This is a band who have way too many anthems to have only released four albums, and this was the first deafening reaction of many from the night. Way also discloses to the crowd that he has a ‘detonator’ which turns his voice into Megatron, and utilises it throughout at random times, making him sound both sinister and sillier.

MCR then take the audience on a whirlwind tour of their back catalogue, including ‘Make Room!!!’ from their ‘Conventional Weapons’ album, released just before their disbandment. The original arrangement for ‘Bulletproof Heart’ (originally named ‘Trans Am’), is also aired for the first time in 11 years. ‘Summertime’ lights up the stadium in a flood of phone lights, whilst ‘This Is How I Disappear’ opens the pits up again. Before ‘Famous Last Words’, Way gives a speech about the late Riley Gale from Power Trip, paying tribute and recounting how he started dressing like Riley subconsciously, even continuing to do so on stage – A fitting tribute to a great man. 

‘Teenagers’ starts off an incredible third act run, descending into ‘DESTROYA’ which sees Way slink his way around the stage as guitarists Frank Iero and Ray Toro play the hardest they do all night. ‘Mama’ however gets the loudest breakdown, as if the sound engineer has accidentally turned the volume all the way up. ‘Welcome To The Black Parade’ is predictably met by the biggest reaction of the night overall. This is the song where pits reopen, phone lights are held up again, lungs are emptied and tears are shed. ‘Black Parade’ is their signature song and receives every reaction that has happened throughout the night all at once, leading to a truly memorable moment.  

A two song encore of ‘Boy Division’ and ‘Helena’ close a night that many have waited years for. MCR have return to reclaim the top of the live scene throne, and it feels ludicrous to think that a band who took eight years off are still one of the best live bands in the world. Tonight saw no theatrics, no big concept, just four mates playing a rock show. As good as they played and sounded, the best part of the night is seeing how excited and happy they all are to be back on stage again, wide grins shared, hugs exchanged, and a band who are living in the here and now. Whatever comes next, this night will live in everyone’s memories for a long time. 

ADAM ROSARIO

With the announcement of their debut album, ‘A Funeral For Youth’, due to be released in September, Miss Vincent break down their inspirations for ‘Gravity’.

The Shirelles – ‘Will You Still Love Me Tomorrow?’

Old songs are going to be a bit of a theme, because Gravity is drenched in vintage influences. I love The Shirelles – that whole ‘girl group’ movement (a very out of date term, I know) brought out so many great songs with the most beautiful melodies, and harmonies that bring the songs to life. Shirley Alston has the most effortless, distinctive voice, and I get so much inspiration from listening to her. I read recently that this song was the first no.1 by a black female group, which makes it feel all the more significant.

https://www.youtube.com/watch?v=4955hA_hcB4

Bruce Springsteen – ‘No Surrender’

I’ve always liked Springsteen, but these past few years I just can’t get enough of his entire back catalogue. This song is such a great driving stomper of a rock song, which immediately comes to mind as an influence for Gravity. “No retreat baby, no surrender” is a killer hook to have in the chorus, and I love the way that each half of the chorus has different harmonies. I love straight up rock songs that don’t mess around and have an instantly memorable chorus, and this ticks all the boxes.

https://www.youtube.com/watch?v=MD3DdskaPhs

Sister Rosetta Tharpe – ‘This Train’

This one is less about a direct influence on the sound, and more about how it led me to approach writing certain parts. Sister Rosetta is one of the founding fathers of rock’n’roll, and her voice is one of the most soulful, natural sounds in the world. I honestly feel like I could listen to her sing the phone book and still love it. After all, a lot of her music is pretty religious, and I’m not religious at all – but even so it’s hard not to be reeled in by her voice. The way that she changes melodies halfway through a line, and occasionally adds an almost spoken word element to it is incredible. Whenever I’m struggling with vocal parts, I put some Sister Rosetta on, because she’ll get me right back on track.

Green Day – ’21st Century Breakdown’

This is a really underrated Green Day album in my opinion, and I love this track as an album opener. They’re the masters of the rock opera, which we all knew from American Idiot, but when this album came out I actively disliked for some reason. Then, when I went to see them on that tour (2009 I think?), something clicked and it all made sense. I’ve always wanted to write a song with very distinct sections that are totally different, but fit well together. ‘Gravity’ has a lot of that, and I can definitely hear the Green Day influence. We never want to be a pastiche of anything, but at the same time, sometimes influences shine through a bit clearer, which is definitely the case with this song.

Against Me! – ‘Bitter Divisions’

This is a song off the deluxe version of White Crosses, which is one of my favourite albums ever. Until recently I’d only ever heard the original album, so listening to the extra songs on the deluxe version was mind-blowing, I couldn’t believe it had taken me so long to hear them. This song really stuck out to me as a bit different from the rest of the album, but it still made total sense – and it had one of my favourite choruses that they’ve ever written. Lyrically it was a little brash but somehow still constructive, and I found it weirdly positive. It’s definitely informed my approach to writing lyrics.

Connie Francis – ‘Who’s Sorry Now’

I first heard ‘Lipstick on your Collar’ and that really got me into her music. Then when I heard this, it felt like a beautiful ballad, but with a rock’n’roll undertone. It’s short and sharp, and both her vocals, the harmonies and the backing vocals all come together so cohesively. I really channeled this song in the bridge of ‘Gravity’. When we were recording the album, I was going to hard on the vibrato because I wanted to sound like her, and the guys had to get me to rein it in. She’s definitely got some of the best vibrato I’ve ever heard.

https://www.youtube.com/watch?v=i9QEAtcz3o8

My Chemical Romance – ‘The Only Hope For Me Is You’ 

This is a weird one, because I don’t really like this album that much, but this song in particular has always stood out to me. It’s a huge stomping rock song and has one of the biggest choruses they’ve ever written, and if there’s one thing I love above all else, it’s big choruses. It also stuck out to me that it’s actually quite a plodding song, which I’ve always struggled to write. I generally gravitate towards fast songs, but with ‘Gravity’ I really wanted to rein that in and find a way of writing a massive chorus that was a bit slower. I remember seeing this live at Reading in 2011 (I think?), and it just sounded massive. That always stuck in my mind.

Ramones – ‘Danny Says’

It’s no secret that I’m a complete Ramones obsessive. I’ve been to the museum in Berlin a whole bunch, and I even met Arturo Vega by chance in NYC years ago before he passed away. They’re the greatest band of all time in my opinion. This song is on ‘End of the Century’, which is often seen as a misstep in their career, mostly I think because they worked with Phil Spector. But there are some really high points on this album and this song is one of them – I love the way it builds and Joey’s vocal performance is one of my favourites. There’s an undeniable romance in so many of their songs, and they channel all of the ’50s doo wop and bubblegum bands that I love. They were a catalyst for me falling in love with that era of music, and everything I’ve ever written, or ever will write, will be influenced by them in some way.

Danny and the Juniors – ‘Sometimes’

This one was a toss up between this song and ‘A Thousand Miles Away’, because they’re two of Danny and the Juniors’ best ballads in my opinion. The harmonies in this one are just the best, though. Back in the golden days of rock’n’roll, if you wanted to make a song bigger and fuller, adding harmonies was one of your only options, because recording was still so rudimentary. Harmonies are such a bit part of the Miss Vincent sound, so when I hear good harmonies it really makes a song stand out for me. There’s a beautiful, melancholy romance to this song, and lyrically I think it had an impact on ‘Gravity’ – especially in the bridge.

The Gaslight Anthem – ‘1,000 Years’

I’m in a minority of Gaslight fans because I unashamedly love this album to death. It’s raw, understated and incredibly vulnerable. When I first heard this song, it got to the line, “I heard about a woman once, who did everything ever asked of her. She died last week and her last words were ‘it wasn’t worth it’” and all of the hairs on my body stood up. The chorus is so uplifting, yet somehow so melancholy. Brian Fallon’s way with words is inimitable, but it’s certainly had an impact on me.

Miss Vincent’s debut album, ‘A Funeral For Youth’, is out September 17th via Silent Cult and available for pre-order here.

We’ve seen reunions of bands we thought were long gone, experienced anniversary tours of our favourite albums, even lost some of our most beloved band members… You name it, we’ve been through it, and while it’s been a rollercoaster of emotion – life is life, after all, and it’s not always as perfect as we’d like – it’s each of these moments that have set up the industry for the decade to come.

The Punktastic team has chosen the 11 moments we think have changed the industry this past 10 years – for both better and worse. Check them out below!

Don’t forget to check out our Bands Of The Decade, Albums Of The Decade, and Bands of the Next Decade articles.

Contributors: Liam Knowles [LK], Romy Gregory [RG], Dave Stewart [DS], Tom Walsh [TW], Gem Rogers [GR], Yasmin Brown [YB], Fiachra Johnston [FJ]

Refused – Comeback (January 2012)

Refused released ‘The Shape Of Punk To Come’ in 1998, but split up the same year before it really had time to gather much traction. In the wake of the band’s demise, the album became a cult classic and is rightfully lauded by many as a masterpiece, the album title ringing true as it became one of the most influential hardcore / punk albums of all time. This meant that a lot of frustrated punks would never get the chance to hear these incandescent tracks live, leaving Refused as little more than a legend; an intangible concept on an immovable pedestal. Fast forward to 2012, and after a couple of years of rumours, Refused finally reformed and the live shows around this time carried all the politically charged fury, limitless energy and the glorious feeling of fresh relevance that the album had captured 14 years earlier, a feeling most bands wouldn’t be able to carry forward so long after creating the work. Granted, the albums they’ve released since, 2015’s ‘Freedom’ and 2019’s ‘War Music’, have had mixed reviews, but that initial comeback was an inferno that most people never thought they’d get a chance to witness, and nothing can undo that. [LK]

The Ghost Inside – Post-crash comeback show (July 2019)

In November 2015, hardcore heroes The Ghost Inside were involved in a tragic and fatal bus accident, seriously injuring the entire band and taking the lives of crew members and passengers of the other vehicle involved. Vocalist Jonathan Vigil had to undergo intense physical therapy in order to walk again, bassist Jim Riley lost part of his foot, drummer Andrew Tkaczyk even lost one of his legs. It couldn’t have happened to a nicer band, and it devastated fans and peers everywhere. Donations for the band started to flood in from around the globe, including a song Stray From The Path where every penny was given to the band to aid their recovery. Their record label, Epitaph, even stopped taking their cut from record sales so that the band could get every penny they needed. The love was just growing and growing, everyone yearning for some better news. So, in 2017 when they started hinting that they were still striving to get back on stage, that support jgrew even more. Each member of the band was physically improving, their mental battles being won every day, and everyone stuck right by them through their arduous journey to recovery. And then it happened – they announced their first show in 4 years, taking place in their hometown in July 2019. No support acts announced, no set list hints, nothing – just a date, a place and a time to arrive. Those lucky enough to attend were part of an outdoor show, a sort of TGI headlined mini festival, and when the band took the stage it was an emotional and powerful moment. There wasn’t a single person without goosebumps, regardless of whether you were there physically or watching a live stream. They performed like the injuries had never happened, and though it will have taken an incredible physical toll on them they sure as hell made it clear that they wanted to keep the flame alive. It was one of the most emotional and intense moments of the decade. The bus incident had the potential to destroy their careers, but their passion for music kept it alive. Undeniably inspirational. [DS]

Architects – Tom Searle’s death & the unifying of the metal community (August 2016)

The metal world is often heralded for the love and support within the community, and a blindingly bright light was shone on that community after the death of Architects guitarist Tom Searle became public knowledge. In August 2016 when drummer Dan Searle announced the tragic death of his brother, bandmate and founding member, it shook the entire genre. What was seemingly an out of the blue announcement for the world had actually been years in the making, with Dan explaining that his brother had been suffering from cancer for the last few years, choosing to keep it private and make the best of the time he had left. It also became apparent that ‘All Our Gods Have Abandoned Us’ was largely centred around Tom’s illness, turning the already stunning album into an emotional and poignant swan song. The outpouring of love and support that flooded Architects was truly beautiful, coming from both bands and fans alike. So many stories started to come to the surface, all of them highlighting how Tom was, and how unique a sense of humour he had. Not only that, but the way Architects handled it all was beyond admirable, seeing out the rest of their scheduled tour dates and dedicating everything they did to his memory – something they’re still doing to this day. Tom is still sorely missed by his former band members and by the metal community but his legend still lives on, his untimely passing demonstrating just how beautiful heavy music and those involved with it can be. [DS]

Arcade Fire – Winning Album of the Year (February 2011)

Ah, 2011: Where Rebecca Black was soon to rise to infamy and we still trusted Facebook. The grunge of the 90s and the heavy rock and nu-metal of early 00s were very much echoes of their former selves, the holy quartet of The Strokes, Vines, Hives, and White Stripes had left their eternal marks on the industry, and emo and pop punk had hit their peak and were entering the silver age. Yet a new beast loomed on the horizon. As Billboard pointed out in their own end-of-decade retrospective, the rise of modern indie in the 2010s had a marked effect on the rest of the genre, on how rock music was produced by artists and how it was viewed by fans. While there are many events to draw examples of this from, Arcade Fire becoming the first indie rock band to win Album of the Year at the 2010 Grammys was perhaps the tinder that started the fire burning. With a swell of support from magazines like Pitchfork (at the time having an astute focus on indie), Arcade Fire’s third album, ‘The Suburbs’, became a sleeper hit near the end of 2010, leading to the Canadian group picking up the the award in February of 2011 and their most acclaimed album yet, jumping forty places on the Billboard 200 to number 12. Suddenly, bands like The National, Alt-J, Two Door Cinema Club weren’t just the outsider new kids or eternal B-players in the business, they were the norm, reaching the top of the charts and headlining festivals globally. Indie bled into other genres, into alternative, into pop-punk… In a hilariously cyclical twist it bled into genres that the original understanding of indie rock ended up inspiring. It was in our homes, corrupting our children, making them all vaguely melancholic and longing to stare off into the distance from the balcony of an apartment, cigarette twirling in their mouth, all in black and white. Whether it was to your taste or not, the coming of indie was huge turning point in the rock industry, and this moment was the linchpin of it all. [FJ]

Gallows – Frank Carter’s departure (July 2011)

Gallows broke the mould in UK hardcore. The chaotic live shows coupled with a bold, innovative approach to songwriting made them one of the most exciting punk bands in the country, even drawing comparisons to the Sex Pistols. Led by the enigmatic front man Frank Carter, the Watford five-piece produced the visceral ‘Orchestra of Wolves’, a tour de force of bile boiling hardcore, before creating the masterpiece concept sophomore album ‘Grey Britain’. However, with heightened exposure and an exhausting touring schedule, Gallows were always flying close to the sun. After being dropped from Warner Brothers, post-‘Grey Britain’, there was radio silence and the sporadic live shows didn’t feature even the hint of new material. Then in the summer 2011, Carter announced he would be leaving Gallows. Subsequent interviews described a band pulling in different directions with guitarist Steph Carter telling Alternative Press that his brother wanted to be a “big, successful, straight-up rock band, like Queens of the Stone Age”. Frank would go on to form the ill-fated Pure Love before returning to heavier roots and gaining heightened success with Frank Carter and the Rattlesnakes. Gallows would remain and enlist Alexisonfire’s Wade MacNeil on vocals, recording a further two albums, and while the change was passable, it would never quite reach the excitement and quintessential British sound of the band’s early work. Just as explosive as they entered the punk world, it was only fitting that this is the way it would end. [TW]

Green Day – Reading + Leeds anniversary performances of ‘Dookie’ (August 2013)

As the annual Reading and Leeds Festivals prepared to host their 2013 edition, it was a tumultuous time for Green Day. Almost a year had passed since Billie Joe Armstrong’s infamous intoxicated rant at the iHeartRadio Festival in Las Vegas and reception of what would be an ill-advised trio of albums had been considerably lukewarm. After such an illustrious career, this start was now on the brink of collapsing. However, 2013 presented the 20th anniversary of ‘Dookie’, a masterpiece of snotty punk alienation that turned three working class kids from the Bay Area into global stars. It was a record that was a catalyst in the immersion of a thousand punk bands. In the almost monsoon conditions in Leeds, a newly-sober Armstrong led the celebration of this iconic album. Played in its entirety, the performance seemed to completely reinvigorate the fading aura of Green Day, the timeless classics of ‘Welcome to Paradise’ and ‘When I Come Around’ cutting through the pouring rain and the rare airings of gems such as ‘Sassafras Roots’ and ‘Coming Clean’ taking us back to those endless 90s summers. The run of shows over 2013 and 2014 took Green Day back to basics and gave them time to consider the real ethos of the band. The overthinking had gone by the time ‘Revolution Radio’ was released in 2016, a throwback to the Insomniac-era anger that had lacked in anything post-American Idiot. These ‘Dookie’ shows reminded everyone just how special this band is to so many people and while in Leeds, at least, we were all head to toe in liquid mud, those 45 minutes felt like being bathed in warm sunshine. [TW]

My Chemical Romance – Return (October 2019)

It seems strange to think that we’re both starting and ending this decade with My Chemical Romance alive and kicking. For a while, it felt like we’d never witness our favourite emo band on stage ever again; a bittersweet resignation that comes with understanding that while it hurts, it is for the best for everyone. MCR fans spent the past 6 years since the initial break up feeling grateful for the time we had with the band, and despite rumours flying around, we never really believed we might get them back. But just a few months before the decade draws to a close, following the slow yet clear dropping of hints across social media, MCR came back to us. The announcement saw polarised responses – this is, after all, a band that saw accusations of becoming sell-outs thrown at them from all directions following the release of ‘Welcome to the Black Parade’ – but ultimately, the people that matter most – the fans – couldn’t be more ecstatic to see the reunion fo their favourite band. This is a band that you can genuinely say saved lives, even during their six-year hiatus, and their reformation not only comes with the potential for new, exciting music, live shows, and interactions, but also the potential to reach new kids and revive the MCRmy of 2005. It’s a late entry, but this reunion is undoubtedly one of the most important moments of this decade. [YB]

Linkin Park – Chester Bennington’s death (July 2017)

Linkin Park was the gateway into music for a lot of the PT team, myself included. They compounded a love for heavy music, hip hop and art, and while we may have drifted away from them after the third album, ‘Hybrid Theory’ and ‘Meteora’ can easily be said to be the reason behind our love of this art. When we were angsty, uncertain teenagers, they provided the words that made the most sense to us. They guided us when we felt unsure or felt unappreciated, so when Chester Bennington died in 2017, it didn’t just break the hearts of Team Punktastic, it broke the heart of music lovers worldwide. Chester was a kind, compassionate singer who struggled with depression for most of his life. He didn’t shy away from that, accepting it and speaking openly, becoming a pseudo-advocate for openness and mental health awareness. In a time where it was unusual for men to talk about how they really felt, Chester did so with frank honesty. It’s becoming less unusual for bands and musicans to talk about their struggles but Chester was ahead of his time. I personally believe that, without Chester being open about depression, we wouldn’t have a generation who talk honestly about it now. So Chester, thank you for opening the door. Thank you for the music. Thank you for letting us know it’s okay to not be okay. [AJ]

Taking Back Sunday – Reformation of the original lineup (March 2010)

Over the past year, Taking Back Sunday have been celebrating 20 years as a band, although the lineup hasn’t always been as it stands right now as we move into the next decade. From 2003 to 2010, founding member and co-writer of the band’s debut album ‘Tell All Your Friends’, John Nolan, left the band to pursue other projects, but returned in 2010 to start a whole new journey as their guitarist. While the albums that were released in the 7 years Nolan was working elsewhere are arguably some of TBS’ best to date, it wasn’t until his return that it really felt like Taking Back Sunday again. TAYF is a persistent fan favourite, and Nolan’s return led to an authentic reunion tour followed by a 10 year anniversary tour and, this year, a 20 year anniversary tour that saw the album played live in full every single night. It’s only really in hindsight that we can see the impact that this reformation had on the success of the band and the intensity of the fanbase, and admit that Taking Back Sunday was just never really the same without John Nolan. It was one decision, but it changed the entire future of this band. And I ask this question sincerely: Can you imagine a TBS show without Adam Lazzara’s southern drawl introducing “John Nolan on the gee-tar”?! [YB]

Frightened Rabbit – Scott Hutchison’s death (May 2018)

What is there to write about Scott Hutchison that hasn’t already been said? Scott was a phenomenally talented musician and artist who wrote raw, soul-baring music in both Frightened Rabbit and his solo project Owl John, and the outpouring of love after his passing in May 2018 showed how he touched countless lives from afar. For so many, the lyrics Scott wrote vocalised their struggles with depression and anxiety, making them feel heard and less alone. There are endless stories of acts of kindness Scott regularly undertook, such as a heartfelt note of support sent to a fan going through a difficult time, that show his remarkably generous nature. Scott’s death still remains devastating in that he was unable to overcome the issues his music helped many others weather, but his legacy is defined by the wonderful light he brought into many of our worlds through his music and his art.

I was in Glasgow around a month after Scott’s death and gathered up the strength to listen to ‘The Midnight Organ Fight’, an album I hold dearly close to my heart, for the first time since the news. I walked the early morning streets of the city and thought of him, and when the line “as manic gulls scream “It’s okay”” kicked in, a flock of seagulls suddenly circled overhead. I won’t pretend it was much more than a small, yet startling, coincidence, but it was a sign that, as Scott once said, “when it’s all gone, something carries on”. Scott’s spirit will forever live on in his music, his art, and in the charity set up in his memory by his family, Tiny Changes. [RG]

Bonus moment: A personal and awkward encounter between our very own assistant editor, Andy Joice, and NOFX (May 2014)

This is more of a personal moment (hey, no one said they had to be genre affecting). And no one said they had to be positive either. This moment goes back to May 2014 in a small hotel in Belgium I was camped out in for Groez Rock. As we check in, an American sidles up to us, looks at a flan left on the reception counter and says, “Mmmm, Cake”. Before I can think of a snarky response, I look up to realise it’s El Hefe of NOFX. Now, we assumed that if Hefe was in the hotel, the rest of the band were likely to be skulking around too and he wasn’t just there for a free slice of flan – and sure enough, come the morning, he was eating what looked like corn flakes and croissants for breakfast. Later that day, after a few beers in the village, we walk back into the hotel, only to realise the entire band were behind us. After holding the door open for the band, Fat Mike turns to me and asks where the toilet is. I’ve got no idea, so I looked him squarely in the eyes, pointed at a door and proceeded to bolt up the stairs as fast as my legs would carry me. It was at that point, I heard him say, “that’s the fucking closet”. I almost died – partly from running up stairs, partly from misdirecting one of my musical idols to a cupboard. To this day, I still don’t know if he found the toilet. [AJ]

So here it is for the last time this year, and indeed this decade – The Punktastic Playlist has been updated. Go check it out and read a few words on some of the musical selections from Team Punktastic.

Merry Christmas

Cory Wells – ‘Broken’

I’m a sucker for most things acoustic, so when I heard the beautiful voice of Cory Wells and the gut wrenching tones of Broken, I was hooked. I was lucky enough to see Cory support Dashboard last month and his passion and highly relatable songs are breath taking. This album is likely to be a staple of my emo diet for a long time to come.

PENNY BENNETT

Origami Angel – ‘Doctor Whomst’

A late entry in the album of the year race, Origami Angel’s stunning debut album ‘Somewhere City’ makes hard work for listeners trying to pick out a single standout song, given that every song is not only technically impressive, but is also catchy as hell. However, with a chorus starting with the line “I think i’m starting to like myself / I think I’m right where I need to be”, ‘Doctor Whomst’ is guaranteed to be a sure favourite with live audiences. With a trademark ‘Gami frantic guitar picking intro, the song builds into its ginormous chorus that you’ll struggle to get out of your head for weeks. Emo has never sounded so positive, nor fun.

ROMY GREGORY

Michael Cera Palin – ‘If It Makes You Happy’

There’s a lot of fantastic covers out there. I’ve got at least two covers playlists that are on regular rotation. But Michael Cera Palin’s cover of ‘If It Makes You Happy’ is up there as one of my favourite tracks of the last few years. I don’t know what it is about it – sure, the original was subtly pensive but still had an element of joviality to it. But this cover, good grief. Doubling down on the pensiveness and adding a thick dollop of angst, it hit’s you where you really feel – the emotions. While the original was about enjoying the little things in the moment, the delivery of Elliott Brabant’s vocals give it a new edge, as if looking back at the little things long after the moment has passed. It’s wonderfully emotive and gives it a melancholic and nostalgic feel that lasts for hours.

ANDY JOICE

Great American Ghost – ‘Ann Arbor (Be Safe)’

You may not have heard of Great American Ghost before, but if you like your metalcore hard, venomous, and devastatingly heavy then they’re a name you should take note of. After their recent stint as part of the 2019 Never Say Die Tour, they’ve earned themselves a horde of new fans, wooing them all with their skull-crushing breakdowns and seething anger. ‘Ann Arbor (Be Safe)’ was their set closer, and for good reason. Listen to it and you’ll understand why – just make sure you’re sat down for the closing breakdown. One of my favourite heavy discoveries of the year.

DAVE STEWART

My Chemical Romance – ‘Helena’

This may seem like an odd pick for me, the lad that always picks the heaviest tracks for the playlist month after month. Yeah, I like my music as heavy and aggressive as possible, but I have a softer side. I spent a large chunk of my formative years as an emo kid, and I was a loyal and borderline obsessive fan of My Chemical Romance. I still have a soft spot for the band and for that record in particular, and their recent news of reformation has awoken that emo kid within me, and he’s subconsiously trying his hardest to make my fringe grow back. This is my favouite track off my favourite of their records. PLEASE ANNOUNCE A UK SHOW!

DAVE STEWART

With the rise of streaming, the 2010s have seen the subtle merging of genres, making what might be the most interesting decade for alternative music yet. With that in mind – and with a lot of difficulty narrowing down the potential candidates – the Punktastic team have taken a look back over the past decade and picked our favourite albums of the era.

Check it out. The most unmissable albums of the decade according to Punktastic.

Don’t forget to read our Bands Of The Decade and Bands Of The Next Decade articles.

Oathbreaker – ‘Rheia’ (2016)

Oathbreaker’s 2016 opus ‘Rheia’ would turn out to be the last thing they released before an as-yet unfinished hiatus, but good lord did they leave us on a high point. The Belgian quartet, headed up by the captivating and enigmatic Caro Tanghe, served up a bewildering and gut-wrenching slab of post-black metal delivered with all the fury and indignation associated with the hardcore and punk scenes in which they cut their teeth. The one-two punch of ’10:56′ into ‘Second Son of R’ is one of the most impactful openers in alternative music history, soaring from sombre serenity into unbridled panic with very little warning, and the rest of the album that follows is stellar right up to the last gasp. The band recently teased a comeback with a single released through Adult Swim, so hopefully it won’t be long before we see a proper follow up to this breathtaking album. LIAM KNOWLES [LK]

MOST NOTABLE TRACKS: Second Son of R, Needles In Your Skin, Immortals

Rolo Tomassi – ‘Time Will Die And Love Will Bury It’ (2018)

To say that Rolo Tomassi have undergone a transformation over the years is somewhat of an understatement. From their beginnings as mathcore synth-heavy makers of noise, they’ve slowly but surely refined their craft into what it is today, creating moody and flowing sonic soundscapes that have the power to both summon demons and slay them. Their 2018 record ‘Time Will Die And Love Will Bury It’ is a masterpiece, not just setting a career high bar for their own discography but hugely raising it for all of their peers, too. It’s one of those albums that begs to be listened to from beginning to end in order to fully appreciate the sheer beauty of the ebb and flow of the album. From the black metal-tinged onslaught of ‘Rituals’ to the soaring epic walls of tone in ‘A Flood Of Light’, the record masterfully drifts in and out of the aggression and the serenity like child’s play, taking you on an intense and often magical journey through musical genius. This isn’t just one of the best records of 2018 – it’s one of the best of the entire decade. Simply extraordinary. DAVE STEWART [DS]

MOST NOTABLE TRACKS: The Hollow Hour, Rituals, A Flood Of Light

The Dillinger Escape Plan – ‘Dissociation’ (2016)

The influence that The Dillinger Escape Plan has had on extreme music is entirely undeniable. They established themselves as rule breakers and equipment breakers from a very early stage, stunning audiences and panicking venue owners all over the world with their unmistakable brand of chaotic, raw and mind-bending noise. They started out as a band doing things differently and became legends over time, every album release further cementing their legacy. ‘Dissociation’ was their final record, marking 20 years of the bands existence and putting a heavy and definitive bookmark at the end of their phenomenal career. From the white knuckle rollercoaster of ‘Limerent Death’ and the shrilled stabs of ‘Honeysuckle’ to the subtle and serene title track, and the bipolar mind bender ‘Surrogate’, it rounds off their career in the best way possible. It not only shows how much they grew as musicians over the course of their career, but it also effortlessly showcases that they’re still very much in touch with their roots and haven’t lost a shred of the unpredictability that brought them to everyone’s attention in the first place. A frenzied, intense and poignant final note for one of the most unique bands of this generation. [DS]

MOST NOTABLE TRACKS: Limerent Death, Symptom Of Terminal Illness, Honeysuckle

The Heavy – ‘The Glorious Dead’ (2012)

Combining hard-rock and soul, on paper, sounds awful and it would be, had the quartet from Somerset not spent the past five years perfecting it. Despite not being a metal album, The Heavy deliver just that with their third album – a weighty fusion of genres that is as unpredictable as it is enjoyable. Samples from old grindhouse horror in ‘Can’t Play Dead’, wailing backup vocals mixed with teeth-chattering percussion in ‘Same Ol’’, and the kind of riffs that reverberate in your chest on ‘What Makes a Good Man’ make for the kind of album that feels all over the place, but whose core ideas connect ten energetic tracks into something truly pulse-pounding. It’s bluesy, it’s pompous, but somehow also wonderfully self-reflective and introspective when it wants to be. It’s a style no band has been able to replicate, and it remains The Heavy’s magnum opus seven years on, an unmissable sound of the decade. FIACHRA JOHNSTON [FJ]

MOST NOTABLE TRACKS: What Makes A Good Man?, Same Ol’, Curse Me Good

Idles – ‘Joy As An Act Of Resistance’ (2018)

This doesn’t need explaining. It’s not often a punk album gets nominated for a Mercury Award but that’s exactly what happened with Idles sophomore album ‘Joy As An Act Of Resistance’. Politically charged from the outset, it contains all the cynicism from their debut ‘Brutalism’ and even more societal observations. What it adds in spade is singsong choruses. The likes of ‘Danny Nedelko’ and ‘Samaritans’ offer stunningly visceral social observations but contain choruses you can picture arena sized crowds screaming, while ‘Never Fight A Man With A Perm’ has the perfect combination of wit and venom, not to mention some feet stomping rhythms. It wasn’t really considered for our Album Of The Year in 2018 but it should have been. And it should have won. ANDY JOICE [AJ]

MOST NOTABLE TRACKS: Never Fight A Man With A Perm, I’m Scum, Danny Nedelko

Gojira – ‘Magma’ (2016)

Nobody, not even the most determined of metalheads, could make a case for technical progressive metal being the most accessible of genres. Although popular in its own way, it has always felt like something that will remain more of a niche sound – that is, until Gojira came along. The band have been masters of their craft since their beginnings nearly 20 years ago, but 2016’s ‘Magma’ is their true piece de resistance. Brimming with gut churning heaviness and an introspective darkness, there is tremendous pain reflected in many places – driven by brothers Mario and Joe DuPlantier losing their mother – building in phenomenally powerful layers, topped by Joe DuPlantier’s haunting vocal performance. It offers a more ‘radio-friendly’ version of their progressive metal, if radio-friendly could ever be the right word for such a crushing sound; with beautifully constructed riffs and melodies, it’s only right that this was the album to elevate this magnificent band to festival headliners. Quite frankly, we don’t deserve metal this good – but boy are we glad we’ve got it. GEM ROGERS [GR]

MOST NOTABLE TRACKS: Silvera, Stranded

The Hotelier – ‘Home, Like Noplace Is There’ (2014)

Unrelenting in its voice of despair, tragedy, reminiscence, pain and its desperate attempts to heal, ‘Home, Like Noplace Is There’ is framed by the frantic, yet poetic, lyricism of Christian Holden, begging you to sit up and listen. The anguish of their cries throughout the record, from the “So if I call / Should I beg? / Because I’m desperate here” in ‘An Introduction To The Album’ to the “I felt weaker when I bent, beaten to the end / Folding on myself, too damaged to mend” in ‘Discomfort Revisited’, are almost too uncomfortably raw to intrude upon, yet leave listeners unable to look away from what is about to unfold.

From the one-two punch of scrappy punk in ’The Scope Of All This Rebuilding’ to the almost-ethereal ‘Housebroken’, ‘Home..’ is masterfully paced from start to finish, always knowing when to pause when it seems like everything is about to implode. Whilst conveying various mental health crises masked in upsettingly close to the bone metaphors, the Hotelier also succeed in making a record that broaches topics such as gender dysphoria, the systemic failures of the state, and police brutality. ‘Home…’ also nods to long-term fans of the band with subtle references to their earlier material in ‘An Introduction’ (“we are all alone” / “Grab a hold, I know I said to not”) and in particular in ‘Discomfort Revisited’, borrowing the first verse and melodies of ‘Southern Discomfort’. The Hotelier’s growth as artists and the evolution of their songwriting on ‘Home…’ is never more apparent than on these two songs. The infinite looping of the traumas of life are alluded to in the album’s final moments as a guitar reprises the beginning notes of ‘An Introduction…’; the album beginning exactly as it started. ‘Home…’ offers listeners no salvation, but serves as a reminder that you too can weather the extreme storms life can sometimes bring and make it through to tell your story. ROMY GREGORY [RG]

MOST NOTABLE TRACKS: An Introduction To The Album, Your Deep Rest, Dendron

Arcane Roots – ‘Left Fire’ (2012)

Realistically, any one of Arcane Roots’ three albums could easily have made this list. Picking one is like choosing your favourite puppy from the litter of labradors next door, but this time, it falls to the trio’s 2012 debut ‘Left Fire’. Clocking in at just 33 minutes, it was nevertheless a fearsome display of their capabilities; the intense technicality, the irresistible frenetic energy, the harmonies that swell like the ocean on a stormy day… It’s the perfect album to lose yourself in completely and utterly, and despite its musical complexity never feels inaccessible or overdone. Such was the genius of Arcane Roots, who sadly called it a day in 2018 – but not, at least, before leaving us with this slice of perfection to enjoy forever. [GR]

MOST NOTABLE TRACKS: You Are, Habibty – Extended, Rouen

Twin Atlantic – ‘Free’ (2011)

It’s so rare to find an album where every single track hits home in some way. This might not be the case for everyone when they listen to ‘Free’, in fact, for many it’s probably not – the harsh Scottish accent I understand might be too much for some – but for me, since the very first time I listened through, I knew this record would be with me for a long time. Now it’s the end of the decade and ‘Wonder Sleeps Here’, ‘Yes, I Was Drunk’ and ‘Serious Underground Dance Vibes’ are still three of my top favourite songs… pretty much ever.

With this record there are memories of dark winter nights, first loves, and a feeling of belonging. ‘Free’ has a song for falling both in and out of love, offering a warm hug through the latter. It has a song for when you’re angry and need to shout it from the rooftops. It has a song for when you’ve never felt happily and a song for when you finally learn to love yourself. As the album title suggests, it takes you on a journey following which you will undoubtedly come out the other side feeling a sense of liberation.

Free’ is not just one of the best rock albums of this decade, but to me, at least, it’s one of the best rock albums of all time. To create something that builds memories for your fans is a powerful thing, and Twin Atlantic have proven on more than one occasion that they have the ability to do this, though never more so than with ‘Free’. YASMIN BROWN [ YB]

MOST NOTABLE TRACKS: Wonder Sleeps Here, Yes, I Was Drunk, Serious Underground Dance Vibes

twenty one pilots – ‘Vessel’ (2013)

“The sun will rise and we will try again”, sings frontman Tyler Joseph at the start of closing track ‘Truce’. It’s a simple yet powerful phrase that six years later still holds as much weight as it did upon the release of the band’s third album ‘Vessel’ back in 2013. This line alone encompasses everything that this record stands to achieve. It’s comforting and supportive. It acknowledges pain but equally it acknowledges our ability to push through it without belittling the stark reality of depression that many of us have faced over the course of our lives.

The reason so many of us can relate to twenty one pilots – and to ‘Vessel’ in particular – is their uninhibited approach to topics that were, upon its release, still massively stigmatised in mainstream music. To talk so openly (albeit through the use of metaphors) about self-harm and suicidal ideation was, and still is to an extent, brave. It’s something so many of us experience on a daily basis and yet we feel alone in that because so few of our idols have addressed it. That’s why when ‘Vessel’ was released, those who experienced these thoughts, feelings and urges finally felt a little more understood, and through that, many could hope to heal, too.

‘Vessel’ came before tøp hit arenas; they had little expectation in terms of who this record might reach, and yet the lives of those it did reach were made so significantly better for the songs that live within its confines. Whatever you may think of twenty one pilots now, ‘Vessel’ has been one of the most important records of this decade for the band’s fans, and that’s something no one can deny. [YB]

NOTABLE TRACKS: Holding Onto You, Guns for Hands, Truce, Screen

Boston Manor – ‘Welcome To The Neighbourhood’ (2018)

As twenty-something year olds living through the turn of another decade, there’s a lot we’ve experienced in our lives. Society has changed monumentally since we were kids, and politics are more polarising than ever. Millennials are so riled up about some things, yet so apathetic about others, and it’s hard to articulate how we feel and why we feel it.

Boston Manor have somehow perfectly tapped into this total confusion with their sophomore album, Welcome to the Neighbourhood, building on a fictional world that’s based on our stark, painful reality, and telling a story from within it. This album is a message from peer to peer, highlighting issues to the point that makes you want to do something about it. It’s angry and passionate because we are angry and passionate, and it’s impactful for the exact reason that there’s no bullshit here. It’s an album that tells it like it is, and as you make your way through each flawless track, you find yourself wanting to make a difference.

As someone in my late-twenties – someone that, along with others my age, often gets reduced to “Ugh, millennials” – this record leaves me feeling empowered enough to go out there and do something. Anything at all. Released in 2018 it’s a late arrival in the running for most important album of the decade, but there’s no doubt that it absolutely deserves a spot on this list. [YB]

MOST NOTABLE TRACKS: Halo, The Day I Ruined Your Life, Flowers in Your Dustbin, If I Can’t Have it No One Can

Fucked Up – ‘Glass Boys’ (2014)

‘David Comes to Life’ (2011) may have fared better commercially and ‘Dose Your Dreams’ (2018) may have been more critically acclaimed, but for Fucked Up fans missing the tightness of the band’s early singles, ‘Glass Boys’ (2014) was the band’s best album of the 2010s. Whilst the Toronto sextet said they wanted to do away with the concept album and rock opera tendencies of their second and third albums, what they delivered was an autobiographical concept record about their own anxieties over having potentially become thirty-something sellouts. The guitars lost the overly radio-friendly sheen that producer Shane Stoneback brought to them on ‘David…’ and each song featured four (count them!) drum tracks. Highlights included ‘Sun Glass’, ‘Paper the House’, and the poignant title track. ‘Glass Boys’ was a moving meditation on the tension between youthful ideals and adulthood’s commercial imperatives, whose songs are now sadly eschewed from Fucked Up’s live sets. GREG HYDE [GH]

MOST NOTABLE TRACKS: Sun Glass, Paper the House, Glass Boys

The Rocket Summer – Zoetic (2016)

On his sixth studio full length, The Rocket Summer – aka multi-instrumentalist Bryce Avary – changed the formula. Injecting these eleven tracks with a more electric, dark vibe resulted in something completely unexpected from the man more known for his gentle, acoustic sound, but one thing is key – the heartfelt familiarity and beauty of his lyrics remains, and ultimately, it all comes together for some of the greatest work of his career so far. Avary’s words are at times the most comforting of embraces, or at others, a steady hand of support, dancing through this often energetic and always vibrant release; from the echoing harmonies of ‘Help Me Out’ to the truly gorgeous pop chorus of ‘FL, CA’, this is an album that quickly finds itself embedded in the heart and soul, offering a boost of life to anyone in need. Avary is an artist who has continued to grow and shine through the last decade, and we can’t wait to see what the next one has in store. [GR]

MOST NOTABLE TRACKS: You Are, You Are, Help Me Out, FL, CA

La Dispute – ”Rooms Of The House’ (2014)

La Dispute released three albums in the 2010s and although ‘Wildlife’ (2011) remains the one most well-liked by die-hard fans, the band’s most accomplished storytelling and musicianship featured in ‘Rooms of the House’ (2014). The album portrayed the downward trajectory of a young, blue-collar, Midwestern couple’s relationship from the viewpoint of their household objects. It cut between various points before, during, and after their break-up across a timeline spanning 1956 to 2009. Frontman Jordan Dreyer’s delivery made you really want things to work out for the couple, but there was a constant sense of doom underpinning a narrative played out across an unforgiving economic landscape where job opportunities were few and alcohol addictions were cheaper alternatives to cocaine habits. Despite the epic timeline, the domestic setting leant a feeling of intimacy to the songs that was lacking from the almost as great ‘Panorama’ (2019). [GH]

MOST NOTABLE TRACKS: First Reactions After Falling Through the Ice, Scenes From Highways 1981 – 2009, For Mayor in Splitsville, Extraordinary Dinner Party

Oxbow – ‘Thin Black Duke’ (2017)

The only album of this decade from the veteran San Francisco avant-gardists comprised eight songs depicting the inner torment and external confrontations faced by the titular duke (possibly an alter ego of preceding Oxbow album ‘The Narcotic Story’ (2007)’s protagonist Frank Johnson). Inaccurate comparisons to Faith No More were made in reviews that discussed the album’s sound upon its release, with one far more shrewd online comment saying it sounded like The Jesus Lizard playing Bond themes. Either way, the album took listeners on a disturbing narrative journey from catchy single ‘Cold & Well-Lit Place’ (which gained the band BBC airplay) through to the Jean-Paul Sartre-alluding ‘Other People’ and devastating closer ‘The Finished Line’. It may be less abrasive than albums like ‘Fuckfest’ (1989) and ‘King of the Jews’ (1991) but the songwriting displays a maturity and world-weariness that those works lacked. ‘Thin Black Duke’ remains Oxbow’s most profound, satisfying, and multi-layered album yet. [GH]

MOST NOTABLE TRACKS: Cold & Well-Lit Place, Other People, The Finished Line

Touché Amoré – ‘Stage Four’ (2016)

‘Stage Four’ (2016) is the most moving album of Touché Amoré’s career and was one the best albums of 2016, dealing as it did with the death of front man Jeremy Bolm’s mother from cancer. The songs dealt with the various stages of grief in an admirably honest way, from the regret over various things left unsaid to a deceased loved one in ‘Flowers and You’ and ‘Palm Dreams’, to a bereaved atheist’s acceptance that while there may be no afterlife, there may instead be a spirit world on ‘Skyscraper’. The elegiac sounds made by Nick Steinhardt’s and Clayton Stevens’s guitars bolstered the lyrical content considerably, with the Godspeed You! Black Emperor influences on the latter’s playing style in evidence here far more than ever before. ‘Stage Four’ remains one of the most touching albums ever made about grief, released in a year when its songs’ sadness seemed to reflect many accompanying political upheavals. [GH]

MOST NOTABLE TRACKS: Flowers and You, New Halloween, Palm Dreams, Water Damage

My Chemical Romance – ‘Danger Days: The True Lives Of The Fabulous Killjoys’ (2010)

My Chemical Romance becoming the posterboys for modern emo came as little surprise to anyone – they wore their eye liner thick, clothes black, and wrote lyrics that dripped venom and sorrow in equal parts. With ‘Danger Days’, however, they took all the grandeur of glam rock – vocalist Gerard Way having previously cited Bowie as a massive influence in his life – and rolled it in the dirt of that first basement show they ever played. The result? Gritty punk rock with soaring choruses, glittery melodies and synthy accents that shattered the hinges of the broken and damned box they were put into to showcase a band capable of achieving a more uplifting sound. Not to say their lyrics became less introspective, but it shifted the spotlight to more positive aspects and wrapped it in storytelling and concept – all delivered in Gerard’s Billy Corgan-esque vocal. This album is fun, danceable and a true testament of what this band is capable of. RENETTE VAN DER MERWE [RVDM]

MOST NOTABLE TRACKS: Vampire Money, Party Poison, Planetary (GO!), Na Na Na (Na Na Na Na Na Na Na Na Na)

Bring Me The Horizon – ‘Sempiternal’ (2013)

Regardless of how you might feel about Bring Me The Horizon post ‘That’s The Spirit’, it’s impossible to deny the impact of their 2013 album, ‘Sempiternal’. Not only was is released to critical acclaim, but it also won ‘Best Album’ at Alternative Press’s 2014 Awards and placed at no.11 on the Billboard charts – not bad for a band who had been ridiculed since their inception back in 2004. Regardless of its acolytes, ‘Sempiternal’ is a sonic masterpiece. It felt bigger than everything they’d done prior, hell, it felt bigger than what any other metalcore band was doing and it definitely felt like they’d gotten rid of the chip on their shoulder and fully embraced a sound that was their own. With the addition of electronic elements and more variety in Oliver Sykes’ vocals, the album felt ambient, cohesive, refreshing and, most importantly, accessible. ‘Sempiternal’ will no doubt go down in history alongside the best metal albums of our time. [RVDM]

MOST NOTABLE TRACKS: Sleepwalking, Shadow Moses, Can You Feel My Heart, And the Snakes Start to Sing

Microwave – ‘Death Is A Warm Blanket’ (2019)

Isn’t it something when a band transitions from one genre to another and does it really well? When Microwave left the uplifting melodies of ‘Stovall’ and ‘Much Love’ behind to dive into the brooding sound of their third album, ‘Death Is A Warm Blanket’, it resulted in what seemed like a totally different band. Yet, despite having embraced the dark side, it is still the same four guys from Atlanta who tell stories through their music, write clever lyrics and melodies with heart. Nathan Hardy’s vocal range remains impressive and his voice acts like a firefly, bright and illuminating against the moodiness and urgency of the instruments. ‘Death Is A Warm Blanket’ is not only sonically impressive and diverse – the intro to ‘Float to the Top’, as an example, has all the jazzy makings of a lounge song while they lean further into post-hardcore or grunge on other tracks – but it’s the album we need right now. The anger and hopelessness of an entire generation encapsulated in 10 tracks. [RVDM]

MOST NOTABLE TRACKS: Leather Daddy, Mirrors, Float to the Top, Part of It

Against Me! – ‘Transgender Dysphoria Blues’ (2014)

There are albums out there, occupying shelves in record stores or bytes on streaming platforms, that are all about lyrical content, and ‘Transgender Dysphoria Blues’ is one of those albums. It touches on vocalist Laura Jane Grace’s journey to where she is today, and the brutal honesty about her pain becomes a thing of beauty through her powerful storytelling. It’s wrapped in the punk rock beats, jangly guitars and anthemic structures we’ve come to adore from Against Me!, but ultimately ‘Transgender Dysphoria Blues’ is a stellar record because of the anger, the sorrow and the bravery of someone living with gender identity disorder. Laura Jane Grace, as one of the first transgender musicians in punk rock, is a bastion of light for anyone in the LGBTQ+ community and this album is her reaching hand to pick you up off the floor when you’ve fallen down – what the hell is more punk rock than that? [RVDM]

MOST NOTABLE TRACKS: Transgender Dysphoria Blues, Drinking With the Jocks, Paralytic States, Black Me Out

SWMRS – ‘Drive North’ (2016)

The first studio album under the new name from Californian rockers, SWMRS, but most certainly not the last. To me this album signifies the passion the band have to make a change. To most this was the first they heard of SWMRS and I believe it was a stand out album that is still being name dropped 3 years on. Each song on this album links well with the next which makes for easy listening every time. This album is a pinpoint within the bands’ career and is a testament to what they are capable of. KIRSTY FOX [KF]

MOST NOTABLE TRACKS: Harry Dean, Drive North, BRB, Palm Trees

Deaf Havana – ‘Old Souls’ (2013)

In perhaps one of the most surprising evolutions of the decade, Deaf Havana emerged in 2013 with their magnum opus (in this writers’ eyes) and unashamed tribute to the one and only Bruce Springsteen with ’Old Souls’. A far cry from their preceding album ‘Fools and Worthless Liars’, Deaf Havana embraced the expanded musicianship in their arsenal head on, creating an album resonant with dense orchestration, rich harmonies and expertly-crafted choruses. From the get-go with the barn-storming Americana of ‘Boston Square’, ‘Old Souls’ drips with tenderness throughout, due in no small part to James Veck-Gilodi’s heart-on-sleeve lyricism. With such poetically crafted lines such as “because I view my life through a telescope / that I built from a bottle and a slippery slope” in ‘Speeding Cars’, Veck-Gilodi’s self-deprecation woven throughout ‘Old Souls’ speaks directly to anyone who has tendencies to doubt themselves. Whilst not the most warmly received of Deaf Havana’s releases, particularly after the success of ‘Fools and Worthless Liars’, ‘Old Souls’ is perhaps the best, yet most criminally underrated, straight-up rock record from a British band in the decade. [RG]

MOST NOTABLE TRACKS: Everybody’s Dancing and I Want To Die, Speeding Cars, Kings Road Ghosts

Four Year Strong – ‘Enemy Of The World’ (2010)

If any album could possibly define summer, it’s surely this one. Coming in early in the decade to start things strong, Four Year Strong’s ‘Enemy Of The World’ was one hell of a sophomore release (covers album ‘Explains It All’ doesn’t count… sorry) for the band who blasted onto the pop punk ‘easycore’ scene three years earlier, and there’s not a single low point to be found on this lively and joyous 40 minute tour through the world of FYS. Within seconds of hitting play, it feels like being transported back to a happier time, when the only thing that mattered was friends and happiness – whether that time ever actually existed or not, the memories evoked are clear as day. Four Year Strong weren’t just about bright riffs and a punchy attitude, though, and their emotive lyrical strength shines on tracks like ‘One Step At A Time’. Then, of course, there’s the album artwork. The words you’re looking for to describe it are ‘majestic’ and ‘breathtaking’, just FYI. Made to be played loud and sung along to even louder, ‘Enemy Of The World’ defined an era of music, and it only takes a quick glance at the size of the jubilant crowds bellowing the words to ‘Wasting Time (Eternal Summer)’ at any festival to realise just how well loved this album is – and it deserves every scrap of it. [GR]

MOST NOTABLE TRACKS: Wasting Time (Eternal Summer), ‘One Step At A Time’, It Must Really Suck To Be Four Year Strong Right Now

We’ve slept on it and quite frankly, much like the rest of the emo population of the world, we are Not Okay (I promise).

Bands come and go, but few leave an emo shaped hole in the way that My Chemical Romance did back in 2013 (albeit temporarily filled by the resurgence of Fall Out Boy the very same month). We’ve spent the past six and a half years finding ourselves pulled into a Black Parade trance every time we hear that fateful ‘G’ note, and with rumours flying around from every direction, it’s been hard to know what to believe.

Ultimately, we all believed it was over for good, and while we missed them, we were at peace with their decision to put themselves first.

Now, of course, that peace has been disturbed, and with one single show announcement, we’re left with a million more questions as to what this means for the future of My Chemical Romance.

Will there be more shows? New music? Another ten years to look forward to?

We sure hope so, but in the mean time, we’ll be going back to 2004 and listening to ‘Helena’ on repeat, praying for a UK announcement some time very soon, and dreaming of LA.

The band started an internet storm when they revealed a teaser video earlier this month, with many falsely assuming a reunion.

‘The Black Parade / Living With Ghosts’ will be available from the 23rd September 2016.

Here are those previously unheard tracks that will make up ‘Living With Ghosts’:

01 The Five of Us Are Dying (rough mix)
02 Kill All Your Friends (live demo)
03 Party At The End Of The World (live demo)
04 Mama (live demo)
05 My Way Home Is Through You (live demo)
06 Not That Kind Of Girl (live demo)
07 House of Wolves, Version 1 (live demo)
08 House of Wolves, Version 2 (live demo)
09 Emily (rough mix)
10 Disenchanted (live demo)
11 All The Angels (live demo)

Pre-order the record now via the band’s website.

Writing on Facebook, the band addressed the video and overwhelming response to it. You can see the post below.

So there you have it, the band are reissuing their career-defining album, ‘The Black Parade’, which was released in 2006. We will of course bring you more information on the release as it comes in, but for those who missed it, you can see the video below.

It premiered on Radio One just now, and a music video for the song can be heard using the player in this article.

Preorders for the Greatest Hits are live now over this way.

https://www.facebook.com/MyChemicalRomance