Those 90s influences are immediately clear through the grunge elements in the ethereal first track ‘M4U’, with thick, folk-sounding guitars that wouldn’t be out of place on an MTV Unplugged record taking center stage over Avary’s usual piano driven melodies. These chunky acoustic strings matched with a buzzing bassline will make a reappearance sporadically throughout the record, such as in the sensual low humming of ‘Aloha, Hello’, which pairs them with alien synths in an almost weird west, folk vibe. The western/country elements given off by them when paired with these electronic sections feel so out of place at first, but they pair surprisingly beautifully with Avary’s usual style, making for a jarring but incredible start to the album.

‘Eyes 2 Skies’ takes things from the dirt to the air, with electronic drumbeats and robotic synthline blaring out over Bryce’s. Similarly, ‘Sing At The Top’, which features shades of his more traditional piano work, features these eerie, stomping electronic elements. As always, the vocals shine through, with Avary jumping from airy highs to silky lows with impressive ease. Airy, echoey electric guitars and what sound like warped and twisted violin strings on ‘Stuck Inside your Light’ invoke shades of Snow Patrol as Avary’s style stretches into the 00s.

One thing that must be mentioned here is how cohesive this record comes across despite being described by Avary as a compilation album of tracks from the years during and just after the pandemic. Despite the breadth of time the album covers, nothing really feels misaligned or out of place. Even the more folk/country elements some of those acoustic guitars bring out in the record feel welcome. With all the constant experimentation it does mean some of the best elements on the record sometimes go underutilised, such as those wonderful aforementioned acoustic guitars, but Avary keeps it varied in style and content just enough throughout the record that there’s still plenty to get stuck into.

The electronica that brings this album together breaks through into the forefront as we progress into ‘Do You See Your Dreamscapes In Your Dreams Before The Dreams Escape When The Sun Beams.’ (a pop-punk worthy title length if ever we saw one). Skipping, stuttering alt-pop synths, fuzzy vocals and guitars blast through a hard hitting chorus a la Passion Pit, only to cut down by the sitar and acoustic strings in the almost NIN-industrial inspired ‘Hope Is A Treacherous Drug I’m Getting High On’.  Both tracks represent perhaps the best usages of those 90s influences, the one-two punch of shrill synths and pounding electronic bass really showcasing how far Bryce is willing to experiment with his soundscape. The production pushes some of those lower bass notes to the back, which is a shame as Avary sounds as much at home in the darker, moodier moments of the record that benefit from them as he does the lighter ones, ‘Hope Is A Trencharous Drug’ being the best example.

More familiar ground mixes with the new in ‘Disco In Circles’, as for the first time in the record, Avary lets the piano take the lead. Warped by bass and electronic whirrs and whines, this is almost dystopian in sound, like an alternate history version of his previous release ‘Sweet Shivers’. The short but twisted lullaby-sounding ‘Off The Hinge’ rolls into the fuzzy ‘Vanillanor Figby’, Avary’s whispering vocals matching well with the dreamy pop ambiance. The sitar weaving its way through this track, as well as multiple other tracks is such an usual choice of recurring instrumentation, but like those folk strings it makes for a pleasantly unique sound throughout. ‘I Say, I Say’ finishes out the record and, along with ‘Aloha, Hello’, finally lets those basslines shine in a frantic closer, with stressed violins and Avary’s upper range put to the test with fantastic results.

Compiling upwards to 3 years worth of wildly varied tracks into a cohesive, comprehendible album is no easy feat, moving away from genres and sounds you have spent decades familiarising yourself with, just as hard. Much of ‘Shadowkasters’ was made in a period of isolation, and in a way, it feels separate from so much of The Rocket Summer’s discography; an isolationist piece that tells Avary’s story through the last few years of world events. Yet, Avary’s indefatigable energy is still there. The expressive, distinct vocals are there. Even the weighty pianos that lead so many previous tracks still lie under the surface of the record, interwoven with some incredible use of electronica. This is still a Rocket Summer album through and through, and though the style has changed, nothing of what has made Bryce Avary one of alt-pop’s most underrated artists has been lost, while so much has been gained.

FIACHRA JOHNSTON

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

As the seventh album from the Texas-based producer, ‘Sweet Shivers’ could very easily have fallen into the trap of being too safe in its production, given the success of Avary’s last outing ‘Zoetics’. Alternatively, this could have been so experimental that it lost the frantic alt-pop, dance-til-your-feet-hurt energy that made ‘Zoetic’ such an exciting evolution to his style. Fortunately, there is a balance between these two extremes.

That energy is still present in songs like the opening track ‘Morning Light’, a bass-heavy song to start the day with, or ‘5 4 3 2 1 Z’, a funky yet melancholic number in which Avary explores concepts of music as an escape from the harshness of everyday life. There is more depth this time around, though – more nuance in the production and instrumentals that help these tracks escape some of the lifelessness that plagued Avary’s earliest experiments with electronic music. Songs like ‘Slomo’ mix trap-like drum beats with powerful guitar riffs and piano backing, resulting in a wonderful techno-organic mix of pop and alternative.

This album doesn’t skimp on softer tones, either. Songs like ‘Garden’, which opens with an old-school piano ballad reminiscent of some of Avary’s oldest works, and ‘Wannalife’, a folky, acoustic interlude that wouldn’t go amiss on a Noah Gundersen record, are sandwiched between these frantic rock numbers. These tracks act as a momentary pause for reflection, both for us and for Avary, and provide some context for this introspective journey the album sets us on. Indeed, some of the best tracks on ‘Sweet Shivers’ are the ones Avary slows down on, such as ‘Apartment 413’ – a more restrained, piano-driven affair compared to the rest of the album.

The result is a record that is a tribute to the history that has come before it. It’s an amalgam of old styles that both sonically and lyrically leans into Avary’s message of progression through retrospection. These are all songs that could theoretically have been on any of The Rocket Summer’s previous discography, but the tighter production makes for an album that is proof you don’t have to reinvent the wheel to create something fresh and exciting.

‘Sweet Shivers’ is the most personal project Avary has put out to date, but its desire to reference previous works doesn’t burden it with cheap nostalgia. Rather, it’s an evolution through the recognition of the past, a new take on old styles – and with so much previous work to go from, there is plenty of variety, making for a truly diverse album. There is perhaps a sense of finality to this album through its standing as a  tribute to the past, and you would be forgiven for wondering where things go from here. Given how often Avary finds new ways to surprise his audience, this is most likely far from the end – rather a rest stop to celebrate where we’ve been, before whatever comes next.

FIACHRA JOHNSTON

Now, I know what you’re thinking. Starting a new series in August? The sun must have melted our brains – and you’re quite right. What with the heat and festival season, it’s been a struggle. But as always, it’s the music that’s got us through and these tracks are warming our hearts more so than the blistering heat.

So grab your headphones, unwrap that Choc Ice and settle yourself in for the inaugural Punktastic Presents: Playlist.

Oh, and don’t forget to follow the playlist to keep up to date with our additions as we go through the month.

Blondie – ‘Dreaming’

Channel 4’s recent screening of Trainspotting 2 gave us a reminder of how good Blondie’s ‘Dreaming’ is. As Renton, Sick Boy, Spud and Begbie continue to scheme and search for their place in the world, 20 years on from the original, Debbie Harry’s angelic vocals speak of always wanting something better. Despite its 1979 release, the escapism of the words “dreamin’ is free” still resonate in the shitshow that is 2019.

TOM WALSH

IDLES – ‘Mercedes Marxist’

I’m a late convert to IDLES. I’ve always been pretty dismissive of them. They felt like a psuedo-political gimmick at a time I was actively avoiding politics. But, much like how i can’t get away from politics, I can’t deny IDLES. They’re just too fucking good. There’s a subtlety behind most tracks – both lyrically and sonically – and Joe Talbots delivery is stunning, as he spits out every venomous word. Angry, anthemic and angsty, ‘Mercedes Marxist’ follows that formula and its clear that IDLES remain on top form.

ANDY JOICE

https://youtu.be/IoxivC5GVAU

Solence – ‘Death Do Us Part’

The follow up to the equally cinematic ‘Heavy Rain’, Solence are rapidly proving to be one of the most exciting up and coming bands of 2019. Death Do Us Part is as dramatic as the name implies, bringing both darkness and light together with a driving beat and gigantic chorus. Bring on an album (soon, please).

GEM ROGERS

Northlane – ‘Talking Heads’

I’ve always been a big fan of Northlane, but there’s something about this track in particular that left me speechless after the first listen. They’ve always been heavy and groovy, but not quite like this. It’s sinister, unpredictable and brimming with hooks – this is one of Australia’s finest exports on top of their game.

DAVE STEWART

Tiger Army – ‘Devil That You Don’t Know’

I want to live in the America that Nick 13 imagines. A country populated with Cadillacs, diners and endless dusty roads. Tiger Army’s ‘Devil That You Don’t Know’ is a jiving, swinging slice of Nick 13’s patented pychobilly punk. Whether Nick is referencing the current political climate when his howls of “they say that the devil that you know, is better than the one you don’t know”, or whether it just comes to him on those long drives through California plains. Either way, it lays down the marker for the bands forthcoming sixth album.

TOM WALSH

InMe – ‘The Next Song’

‘Overgrown Eden’ was my ‘Hybrid Theory’. It was my gateway into alt music. Comparing ‘The Next Song’ to anything off ‘Overgrown Eden’ is like comparing apples and oranges. What it lacks in obvious angst, it makes up for in subtly, depth of character and a technical prowess that comes with fifteen years of experience. Silky, soothing and soaring high enough to crack a seagull in the beak, Dave McPherson’s voice is as strong as it’s ever been. There’s something delicate but punchy about the melodies that melds itself perfectly to the incredibly versatile vocals.

ANDY JOICE

Sleep Token – ‘The Offering’

No one knows who Sleep Token is or when he’s going to release new music, but when he does it’s nothing short of spectacular. This track in particular is stunning, effortlessly weaving soft and sultry vocal tones with delightfully heavy guitars and groove-soaked drum work. I’m addicted to the mystery, and you should be too.

DAVE STEWART

The Menzingers – ‘Anna’

The Menzingers are back and ready to build on the success of 2017’s cathartic ‘After The Party’. ‘Anna’ is classic ‘Zingers with instantly catchy hooks, schmaltzy, twee lyrics about wanting a beloved friend to return home and endless references to their beloved Philly. For a band that kind of meandered for a number of years, they are finally making their mark as every millennial struggling with getting older’s go-to driving band. Album number six is due out in the autumn and we’re already goddamn pumped.

TOM WALSH

The Rocket Summer – Blankets

Gem Rogers

Bryce Avary is one of a kind. When it seems impossible to put your emotions and deepest feelings into words, Bryce is able to step in and make even the most impossible and tumultuous places in our minds make sense, and new single ‘Blankets’ is one of his most beautiful creations yet. Evoking the kaleidoscope of colours that accompany seventh album ‘Sweet Shivers’, it is a foot tapping, gliding electro-pop song, loaded with delicate harmonies and hopeful joy. The world would not be the same without The Rocket Summer, and ‘Sweet Shivers’ is set to be just as defining as the albums it follows.

“Sometimes I’ll hear a song or smell a certain smell or just some sort of deja vu moment happens and it causes a sense of missing something that’s deep within me but I can’t really put my finger on what it is. Creating a feeling that maybe part of me drifted away from myself without ever really realizing it was happening at all along the way.” Avery explains.

‘Gone Too Long’ reflects Avary’s persistent passion to create, as he’s said he’s “in a perpetual state of making new music.”  He explained the decision to release a new song ahead of the ‘Do You Feel’ 10 Year Anniversary Tour by saying, “To me this tour is like we’re looking back and looking forward at the same time. You know, it’s kinda like break dancing and then fully dropping into the splits; one leg back, one leg forward, jazz hands in the air.”

The Rocket Summer released their most recent album, ‘Zoetic’, earlier this year.

Twin Wild – Jagermeister Stage

Opening the Jaegermeister stage at Warped were newcomers Twin Wild and with only two singles under their belt, we were intrigued to see how their performance would go down. Unlike many of the acts on the bill today, there were no dramatics, no mosh pits and no egos. Instead, the early birds at Alexandra Palace were treated to some great British rock music with just a hint of an indie twang. Soon to be recording their debut album, 2016 looks to be an exciting year for Twin Wild. 

Black Foxxes – Kevin Says Stage

Being the first band on the smallest stage is a tough slot, especially when that stage is slumped away in the basement under the beautiful architecture that is Ally Pally, but Black Foxxes turn out to be easily the most exciting band of the day. Whilst Warped Tour prides itself on its diversity of music on offer, it’s bands like this playing raw and honest material that make a line-up something special. Having only been around for two years and a single E.P. released – Black Foxxes are able to control a room with singer Mark Holley’s gravely twisted story-telling.

While the audience slowly drifts in as more and more people enter the venue, the performance stays punchy throughout. Reminiscent of the ringing instrumentation of The Xcerts’ ‘Scatterbrain’ mixed with the vocal style of Pianos Become The Teeth’s Kyle Durfey, Black Foxxes are something exciting to come out of this scene and something to genuinely put your faith in. Songs like ‘River’ bring a touching compassion through lyricism with the power to turn you into a miserable slump while singing your heart out. It’s ferocious and ballistic and it’s raw as hell. 

Tigress – Kevin Says Stage 

Returning to Warped Tour under a different moniker, Tigress (previously known as The Hype Theory) hit the Kevin Says Stage to show us all what they’ve been up to over the past year. And, whilst the new material has a lot of potential to be huge, heart-pounding alternative anthems, the performance overall doesn’t leave the impression we were expecting. Having taken a more synth based route, they rely heavily on backing tracks and effects pedals, most of which are controlled by singer Katy Jackson, which in turn restricts her from being the performer we know she can be. For a band who are attempting to give themselves a clean slate and new chances, they’re gonna need to step up a little more to impress. 

The Word Alive – Monster East Stage

For an act coming from overseas, playing on only half a stage, running 20 minutes late, in one of the largest and most prestigious venues in the UK, The Word Alive prove there’s no time to waste, getting the crowd down on the ground then up in the air by the end of their second song. Musically brilliant and expertly executed, the musicality in their set is one of an experienced band, and with members like drummer Luke Holland there’s no wonder why this metalcore outfit have seen such rapid success.

Keeping in mind the band are embarking on a US tour literally the day after Warped UK there is nothing held back. Drops filling the vast room and shrieks to match Chino Moreno, there was a lot to be impressed by in their set and when crowd-favourite ‘Life Cycles’ comes in there’s nothing to stop the now large crowd from getting involved and ready to start a day full of music. 

The Rocket Summer – Monster East Stage

It’s been far too long since The Rocket Summer graced the UK shores and having spent three years working on the follow-up to 2012’s ‘Life Will Write The Words’ this Warped UK performance is a special treat. Disappointingly, the crowd is extremely thin due to the fact Fearless Vampire Killers are performing at the same time. That said, Bryce Avery still has bundles of energy and passion which spreads joy to everyone who had made the effort to see him perform. Despite a slightly unusual rendition of ‘Walls’, the set is full of gleeful hits such as ‘So, in this Hour’ and ‘Do You Feel’ and if anything we can’t stop smiling from start to finish. Plus, with hints at returning next year alongside the new album it looks like we can all welcome The Rocket Summer back into our lives.

Man Overboard – Monster East Stage

Considering the hot topic of the death of pop-punk, it’s a pleasure to see what are the ‘defenders of pop-punk’ grace us with their infamous presence. What is a shame is the disappointment of a show they put on. Despite a hefty back catalogue of crowd-pleasers to drill through, Man Overboard are not a live band it seems. Both vocalists sacrifice genuine audibility for hair flicks and fist punches and respond rather timidly to the small turnout.

Despite the lack of excitement Man Overboard are able to bring, songs like ‘Love All Your Friends’ and ‘Montrose’ are still sing-a-long magic in any situation and manage for a small celebration in what is one of the most popular modern pop-punk acts fighting as hard as they can to play the music they love – it’s awkward and there’s a sharp tension to the room, but you’ve got to respect the artists for what they do, and that’s play wholesome, friendly pop-punk. 

Frank Carter & The Rattlesnakes – Jukely Stage

With a reborn love for hatred, Frank and his entourage, The Rattlesnakes, are exactly what this line-up needed in the anger department – too many hardcore breakdowns can be boring after a few hours. There’s a huge expectancy of carnage that follows Frank Carter wherever he goes and it’s only fitting that he plays ball and turns the over-sized venue into an over-sized circle pit. By the time Frank jumps into single ‘Juggernaut’, there’s a spiral of people making their way round the crowd and it seems as though Frank’s new project is worth the wait.

It’s something easy to comment on seeing Frank Carter perform live, yes he’s nuts, yes he just told the crowd to move without saying please. But the only reason he is able to have this control over an audience is his innate ability to create adrenaline-fuelled punk rock. ‘Blossom’ is a heck of a debut for the man and with sold out tours all over Europe it’s no surprise that tonights set is a belter. Finishing his set with ‘I Hate You’, it’s awe-inspiring to see an act who can play like rockstars and perform like headliners. 

Creeper – Kevin Says Stage

When there’s a security guard on the door of a stage, trying to cram in everyone eager to see a band, you know it’s going to be something special. Southampton punks Creeper are welcomed by an uproar from fans and the next half an hour is a blur of flying bodies, a room of raised fists and sing-a-longs louder than the band themselves. Frontman Will Ghould is as flamboyant and fabulous as ever, whilst tracks such as ‘Honeymoon Suit’ and ‘VCR’ cause sweat to drip down the walls. It’s an exciting time for UK underground bands right now and Creeper are practically skipping down the path to success.

Moose Blood – Jagermeister Stage

Having dominated Warped in the US over the summer, it only felt right that Moose Blood joined the UK bill, and what a reaction they receive. It would appear the UK crowds are somewhat proud of this Canterbury emo outfit, as they perfectly perform tracks from their debut full-length ‘I’ll Keep You In Mind From Time to Time’ whilst heads bop and sing to the heartfelt lyrics. The great thing about Moose Blood is they don’t need ambitious stage performances or gimmicks, they’re as honest as they come and that is exactly why we’ve all fallen head over heels for them.

Young Guns – Jagermeister Stage

Having stormed back onto UK soil with album ‘Ones and Zeros’ this summer, Young Guns are well and truly making their mark as one of the great British bands of our current generation and their evening slot on the Jagermeister stage only proves this. Strobing lights accompany tracks such as ‘I Want Out’ and ‘Infinity’ whilst Gustav and the rest of the band bounce around the stage, their energy infectious on the crowd. With a line-up boasting hardcore bands galore, it is refreshing to see a powerhouse such as Young Guns deliver a set of passion and talent, without the need for breakdowns. 

Heck – Kevin Says Stage

Heck… It’s been a few years they’ve been taking apart venues and constructing their own stages between every song like they’ve got the attention span of a toddler, getting bored of what they made after a few minutes. I can’t think of a better stage to destroy than the Kevin Says Stage. While an army of emotional teenagers are upstairs watching Black Veil Brides, it’s a sweaty topless picture of chaos in the basement.

Charging through their growing setlist Heck, despite their ‘we’re mental’ gimmick, are actually a bit of a musical spectacle. It’s sloppy in all the right places and polished where it needs to be. It seems guitarists Jonny and Matt are telepathically linked, able to call and receive from one end of the room to another, more surprising considering their few months break form the stage. All of this said, there is a note of emptiness to the set. After a hefty legal battle over their previous name (Baby Godzilla) the band have had some time out to write and focus on producing more music. The appeal of being an incendiary live act can only take you as far as your songwriting. 

Reel Big Fish – Monster West Stage

Well, is there really ever any doubt Reel Big Fish are going to be the most entertaining act of the day? Of course not. Despite becoming an act booked almost as a sure way to keep crowds amused for an hour, Reel Big Fish are a captivating live act. With big personalities and bigger songs, the 20 year-old band have no problem pulling off something brilliant in the slot that’s given to them.

‘S.R’ takes up 10 minutes of the performance, and after four versions are played, what was a tiresome gimmick, turns into everyone’s favourite song and something the crowd of misfit hardcore fans can bond over.

Dressed in their usual slapstick, mod-ska attire, their musicality is far from comical. From ‘Trendy’ to ‘Take On Me’ the 6-piece ska heroes fire through a hit-filled setlist to warm up the crowd for their two headliners, although it could be argued that neither can compare to the sheer excellence that is the Reel Big Fish.

Anti-Flag – Jukely Stage

Fresh off an American, Oceanic and Asian tour and at the first date of a European tour in support of new album ‘American Spring’, Anti-Flag headline the Jukely stage to revellers aplenty all raring to hear the thought-provoking songs of their youth as well as songs from the new album that punch as hard as ever in response to what has been the most politically challenging year for some time. Following on from Frank Carter and his Rattlesnakes, Singer Justin Sane keeps the adrenaline pumping through songs like ‘Die For Your Government’ and ‘Turncoat’, injecting his usual activist personality into their between-song-dialogue.

Sporting garments form various charities and causes it’s obvious this bands fuel is still in abundance. ‘American Spring’ addresses a lot of relevant and global issues and Anti-flag make it their role to both inform and entertain. New songs like single ‘Brandenburg Gate’ are less trashy and more stadium sing-a-long without taking away from the impact of the lyricism. It’s obvious these guys are far from done. Anti-Flag put in what is arguably the best headline performance to a disappointingly sized crowd.

Asking Alexandria – Monster East Stage

Here it is, the long-awaited performance from Asking Alexandria after their first UK show with new vocalist Dennis Stoff was cancelled earlier in the year, and what is their biggest ever UK headline performance. Opening with new single ‘I Won’t Give In’ the band gives us a surprisingly impressive performance in terms of production value, performance and audience engagement. Sadly, this is all we get. From this point on it’s a mediocre performance from a band not ready to headline a festival of this size. Dennis struggles through any previous work, especially songs like ‘The Final Episode’ and ‘The Prophecy’. Despite Dennis’s high range, his movement between clean and screamed vocals isn’t up to the standard of the rest of the band.

For their first performance on UK soil, Asking Alexandria captivated the nervous crowd and gave a clean-sounding rendition of their previous set. This is largely down to the wealth of live experience had on their stint at US Warped Tour, although an unforgivable element of this performance is the cheap use of backing track. It’s expected for an act of this stature playing in a venue as vast as this to have some backline production, but complete lip-syncing of some songs and a backline so loud that the vocalist is inaudible at times is not only embarrassing, but disrespectful to fans that came to hear how the new line-up sounded live. Dennis has a long way to go to earn the respect of longtime fans of the band.

MAX GAYLER & TAMSYN WILCE

“I wanted to make a record that sounded like doors being kicked in and bombs going off,” Bryce Avary tells the magazine, speaking of his drastic shift in sound.

It makes the first release from the yet-to-be-named new album, due in early 2016.

“At the root of it,” Avary confesses, “the song was written as an attempt in my own heart to have an allegiance to everyone amidst the anger and bitterness that can tempt me with how severely messed up this place and we all can be. I wrote it during a brief moment of clarity where I was seeing beyond all the garbage and saw how every soul looks similar to mine: unpleasant, flawed, good, related.”

Photo by: Braverijah Gregg