A look back on 10 classic pop punk bands’ “mature” albums

This edition of ‘In Defense of the Genre’ takes a look at ten times where a classic pop punk band ditched the youthful sounds that made them famous and released a “mature” album. I examine how those albums were received, what they did for the band’s career, and how they hold up today.

Mark Hoppus sang “ I guess this is growing up ” on the same album that featured multiple toilet humor skits and a birdcall called “ Dick Lips, ” and two years late he asked “ What ‘s my age again ? ” and claimed “ cipher likes you when you ‘re 23 ” as he himself had fair turned 27. In my preamble to ‘In Defense of the Genre, ‘ I wrote that I take publish with the idea that pop punk rocker is something you have to grow out of, but there ‘s no deny that there ‘s frequently something obviously juvenile about it. Bands in this worldly concern much start out very youthful, and even if you placid listen to these bands into adulthood, you probably got into them when you were young excessively. merely look at who attends your average Emo Nite ; it ‘s not a crowd of 50 year olds reliving their mid-30s. Pop punk rock bands may tend to start out young, but the genre has now been a popular form of rock music for over 25 years ( and has existed for even longer than that ) and a lot of the bands have been around for that amount of time or more. There are decidedly some Peter Pans out there, but a distribute of times, once a pop punk rock band ‘s been around for a while, they “ grow up ” and start listen to The Beatles or The Kinks or Fleetwood Mac or something and want to make an album that reflects where they ‘re at as people, and not equitable provide to the next coevals of 15 class olds attending Warped Tour ( RIP ). particularly in a writing style where the independent demographic is teenagers, making an album that ‘s intentionally not aimed at teenagers is constantly a tossup. sometimes, start punk rock bands would release a “ mature ” album and then go properly back to being Peter Pans. other times, they ‘d break up curtly after it ( and then, as bands do, credibly come back a few years late ). Sometimes the “ fledged ” album permanently alters the trajectory of the ring ‘s career, and in rare occasions it becomes one of the band ‘s most widely-loved works. And in all of the above cases, it can make people ask, “ that’s [ insert start hood ring here ] ? ” For this article, I ‘m exploring this phenomenon by taking a look rear at ten “ senesce ” albums by classic pop kindling bands. Since lists will always prompt questions about who was eligible, here ‘s some of the criteria : To qualify as “ authoritative, ” you had to release at least one meaning work at some point during pop punk rock ‘s dominant allele era ( permit ‘s say 1994 to 2005 ). You had to be most known as a pop music kindling ring, so no bands with relatively confuse pop punk rock pasts like the Goo Goo Dolls or The Lemonheads, and no non-pop punk rock bands from the “ pop punk rocker picture ” like The Format or Socratic or The Hush Sound. The “ mature ” album has to be from the same band, not a relate project, so no Taking Back Sunday/Straylight Run or Movielife/Nightmare of You, for example. And the lineage between the band ‘s more youthful pop music punk rock era and the “ mature ” album has to be clear, then nothing from bands like Say Anything or Jimmy Eat World who went through obvious evolutions but were always more than “ toss off punk ” and never truly made a jar pivot. You might argue that some of those examples should fit this criteria and/or that some of my picks don’t fit it, or that I ‘m leaving off a glaring omission or two, but this is just one person ‘s opinion and ten is a small number so feel free to leave any additions or complaints in the comments. Read on for the tilt, in chronological order … Green Day – Warning ( 2000 ) green Day already began distancing themselves from pop punk rock on 1997 ‘s Nimrod ( with songs like “ Time of Your Life ” and “ King for a Day ” ), but that album distillery had enough songs to keep it rooted within the genre ( like “ Nice Guys Finish last ” and “ The Grouch ” and “ Platypus ” ). But by its 2000 follow-up Warning — released a year after blink-182 ‘s Enema of the State made pop kindling bigger than ever — green Day all but abandoned the music genre wholly. tinge power chords were replaced by acoustic and clean electric guitars, and the result was a largely family and jingle pop record that pulled from The Beatles, The Kinks ( the title racetrack is an obvious court to “ Picture Book ” ), Bob Dylan ( the harmonica-fueled folk-pop of “ Hold On ” ), and early more classic, more “ adult ” music. “ Waiting ” has hints of “ Do You Want to Dance, ” and it sounds more like The Beach Boys ‘ translation than the Ramones ‘. “ Misery ” found Green Day doing their most genuine interpretation of romany music, complete with accordion, horns, strings, organ, and a mandolin solo from Billie Joe Armstrong. The entirely thing that in truth kept the album sounding like green Day at all was Billie Joe ‘s unmistakable sneer. Despite producing some hits ( the title track, “ Waiting, ” and what is the album ‘s best song, “ Minority ” ), Warning was dissentious at the time. It got mix reviews, was n’t equally democratic as the ring ‘s ’90s hits or as some of the early pop punk rocker bands who were starting to eclipse them ( like blink-182, who they toured with while supporting this album ), and it was followed by a long period without new music that included a best-of and a rarities compilation. At the time, it looked like the end. As we know now, it obviously was n’t. With its Pop Punk Goes The Who approach and well digestible critiques of the George W. Bush era, American Idiot reinvented the band as rock ‘n’ roll opera stars and made them even more celebrated than they were in the Dookie era. For better or for worse ( credibly worse ), Idiot sent Green Day on the trajectory they ‘re still on today. And in hindsight and in comparison to some of the eye-rolling music they ‘ve released in Idiot ‘s wake, Warning has kind of emerged as a night cavalry of Green Day ‘s discography. even the political comment of “ Minority ” is n’t closely angstrom heavy-handed as the stuff that came after, and Warning overall is kind of this base, tucked-away jewel with some of the sweetest melodies Billie Joe ever wrote. They ‘re officially dad rock these days, so it ‘s not like they ever fell into the common stunted-growth popular bum trap, but they besides never returned to the blowy, jangling sounds of their inaugural speculation into adulthood. Warning remains a one-of-a-kind album in their discography. The Get Up Kids – On A Wire ( 2002 ) The Get Up Kids were already leaders of the ’90s Midwest emo scenery before Enema of the State brought pop hood to a wider audience than always in 1999, but you ‘d be forgiven for thinking TGUK ‘s own 1999 album Something to Write Home About was just the latest album to ride Enema ‘s coattails. ( When in fact it ‘s a authoritative of both emo and toss off punk and TGUK ‘s best work. ) The Get Up Kids credibly did n’t want to be associated with the TRL-ification of punk, so alternatively of writing another album like Something to Write Home About, its follow-up was a complete 180 that sounded more like Wilco ‘s alt-country, R.E.M. ‘s jingle, and Beatlesque piano pop than anything you ‘d call pop punk rocker or emo. ( It besides was n’t out of nowhere ; co-frontman Matt Pryor was already exploring these sounds in his underestimate side project The New Amsterdams and even Something To Write Home About had some ballads that hinted at On A Wire. ) As is much the case when toss off punk/emo bands pivot to a more indie rock-friendly sound, The Get Up Kids could n’t catch a break. Get Up Kids fans were pissed off at the new management, and the people who already hated the band hated this album besides. A mostly-likeminded follow-up album ( 2004 ‘s Guilt Show ) came and then The Get Up Kids called it quits a year after that. The Get Up Kids ‘ road to convalescence has not been a smooth one. They reunited in 2008, released the Simple Science EP in 2010, and the really-not-bad-but-mostly-ignored-or-panned-anyway There Are Rules full-length in 2011, and The Get Up Kids inactive by and large had it rough until the emo revival hit and they started doing shows that saw them playing Something to Write Home About in fully. The good will towards them continued as they broke a long silence once again with 2018 ‘s Kicker EP and then even more so with the unblock of their 2019 album Problems, which combined the punchiness of STWHA with the maturity of On A Wire and felt like the STWHA sequel that fans had spent 20 years hoping to ultimately get. That said, On A Wire never deserved to be chastised the way it was, and listening to it nowadays, it in truth holds up. Opener “ delinquent ” always kinda sounded like the middle establish between Something to Write Home About and Yankee Hotel Foxtrot, and was constantly precisely about deoxyadenosine monophosphate good as the highlights of both of those albums besides. It was besides constantly the album ‘s clear highlight, but the other songs on On A Wire are no slouches either. The world might not ‘ve been ready for this album in 2002, but do n’t call it a trip today. Saves the Day – In Reverie ( 2003 ) possibly The Get Up Kids were n’t going to get TRL adult, but their aimless labelmates Saves The Day seemed like they might after they released 2001 ‘s Stay What You Are and its breakthrough unmarried “ At Your Funeral. ” They got scooped up by Dreamworks, who were presumably trying to repeat the success they had with Bleed American at the time ( they besides scooped up AFI, The All-American Rejects, and … Sparta ? ? ), but alternatively of getting anything like Bleed American or Stay What You Are, Dreamworks got In Reverie, which had possibly a total of 90 seconds that qualified as pop bum. Chris Conley gave in to his Beatles compulsion, mastered a soaring falsetto, and started writing songs with bright, chiming guitars and atypical ( for pop music kindling ) chord structures and progressions. It might ‘ve seemed jar, but Chris was 18 when he released the first gear Saves The Day read and 23 for In Reverie. Is it any wonder he was more interest in The Beatles than Lifetime ? Dreamworks of course did not get what they thought they had signed on for, and when the label was absorbed by Interscope a few weeks after In Reverie ‘s passing, Saves The Day ( unlike Jimmy Eat World, AFI, and The All-American Rejects ) were dropped. ( fortunately, Vagrant welcomed them back. ) Saves The Day never actually “ returned to form ” — if anything, they sometimes made even more adventurous music after In Reverie — but they did largely return to punchier, more accessible rock ‘n’ roll music and In Reverie has remained a clear-cut outlier in their discography. Stay What You Are and its even more pop hood harbinger Through Being Cool remain the band ‘s most classical and most love albums, but In Reverie has amassed a fad following over the years and deservingly so. It ‘s Saves the Day ‘s Pinkerton, and like Pinkerton, it requires a little more patience, but the bribe is worth it. It ‘s a pop punk/emo band going through a Beatles phase without inevitably sounding “ Beatlesque. ” It does n’t in truth sound like any other album, within start punk/emo or otherwise. And unlike some of the other albums on this list, I think we possibly still have n’t seen the end of In Reverie ‘s bequest. blink-182 – blink-182 ( 2003 ) blink-182 showed flashes of maturity earlier on in their career ( “ Adam ‘s Song ” ), and you could tell from the slower tempo and more serious themes of Take Off Your Pants and Jacket songs like “ Story of a alone Guy ” and “ Stay together for the Kids ” that wink were itching to break out of their juvenile shell by 2001. But that album was hush called “ take off your pants and jacket ” and it still had the gutter humor song “ happy Holidays, You Bastard, ” so obviously there was even some atmospheric pressure to stick to the band ‘s adolescent M.O. And even on the serious songs on that album, these late-twentysomethings were distillery singing about grad school concerns like promenade and parents getting divorced. ( It was besides kind of creditworthy of them to use their platform to give consolation to the kids who were listening and suffering from broken homes or depression, but it calm might not have resonated as much with the people who were actually the age of the members of blink-182. ) After TOYPAJ came out, Tom DeLonge was formally ready to get serious, but at first he felt like he needed to work outside of blink-182 to do then. He launched his side visualize Box Car Racer ( with Travis Barker on drums, guest vocals on one song by Mark Hoppus, and production by patronize wink confederate Jerry Finn ), whose sole 2002 album was influenced by post-hardcore bands like Refused and Quicksand and saw Tom exploring lyric themes like politics and 9/11. On its very first base sung, he sang “ sometimes I wish I was young. ” At least this time he was being upfront about it. Box Car Racer ended up being a surprising success, and it gave blink-182 the courage they needed to make that kind of album themselves. The resultant role was their 2003 ignoble album, which is like Box Car Racer on steroids. The dark, heavier, post-hardcore vibration of BCR remained, but with Mark and Tom ‘s songwriting styles clashing and Travis even writing a little bit excessively, they came out with an album that was even more adventurous than BCR. In addition to the heavier stuff, they besides worked in spacier, U2-ish sounds ( which Tom would far explore in his post-blink-182 band Angels & Airwaves ) and showed off their strong love of The Cure. Robert Smith actually guested on the album and co-signed the band ‘s newfangled sound ( “ cipher knows what kind of songs you are going to write in the future and cipher knows the full electric potential of any ring. I in truth like the music you sent me, ” he told them ), but the album ‘s best Cure-ish song actually is n’t the one with Robert Smith. It ‘s “ Always, ” a authentically sweet post-punk beloved song that holds up angstrom well as “ Lovesong ” or “ Friday I ‘m In Love. ” The ignoble album did n’t succeed just because it ditched popular bum for more respect styles of music ; it fused together several styles of music in a manner that still sounds original over 15 years late. And with lyric themes like isolation, death, dipsomania, and paranoia, it was n’t an album aimed at people half their age, it was an album that felt true to where Mark and Tom were at that bespeak in their lives. And it worked. Some of the albums on this number were or still are dissentious, but blink-182 ‘s ignoble album made them even bigger than they already were. It besides, unfortunately, led to their demise, but it did shape everything they ‘d do following. Tom went fully into out outer space with Angels & Airwaves while Mark and Travis promote explored a more mature shape of toss off bum in their ring +44. And when blink-182 ultimately reunited, they continued in the vein of the ignoble album on 2011 ‘s underestimate Neighborhoods. ( Tom then left and was replaced by Alkaline Trio ‘s Matt Skiba, and I wo n’t get besides into the Tom-less flash material but they at least tested to keep the dark good going on their last album. ) We can lone hope Tom one day rejoins the band, but whether he does or not, they already continue to have far more longevity than the average late ’90s / early ’00s pop punk band, and a big part of that is because of how the ignoble album altered their career for dependable. The Early November – The Mother, the Mechanic, and the Path ( 2006 )

NJ emo-popsters The early November started out as one of many bands who clearly owed a set to early Get Up Kids ( and they paid direct court to them by quoting depart of “ No Love ” on “ Baby Blue ” off on their Drive-Thru Records-released instant authoritative debut album The Room’s Too Cold ), and like The Get Up Kids, The early November pivoted to dad rock candy signifiers just about adenine soon as they tasted a bite of fame. The follow-up to The Room’s Too Cold was a triple album, with each disk a different ( identical not pop bum and barely even emo ) vogue of music and each a different region of the album ‘s expansive, overarching concept. The Mechanic ( disc one ) is the beget, The Mother ( disc two ) is ( obviously ) the beget, and The Path ( disc three ) is a conversation between the son Dean and his therapist ( voiced by a spoken-word narrator ), and it ‘s on disk three where the floor in truth starts to unravel. Dean ‘s parents unexpectedly had him youthful, turned him over to his grandparents who pretended to be his parents while his real parents pretended to be his aunt and uncle, and Dean ends up living a damaged childhood, finally learns the accuracy, runs away at 18, and ends up with an unexpected child of his own at the lapp age his parents were when they had him. The narrative is soundtracked on The Mechanic by a overhaul and slenderly emo-adjacent interpretation of ’70s hard rock, on The Mother by capricious, frequently acoustic Beatlesque start, and on The Path chiefly by drab folk music but with flashes of The Mother ‘s Beatles influence and some harmonica-fueled blues. The Room’s Too Cold had acoustic songs in the acoustic emo vein of The Get Up Kids ’ Something To Write Home About ‘s acoustic songs or Dashboard Confessional, but The Mother, the Mechanic, and the Path ‘s acoustic songs would n’t register as emo at all if they came from a band who did n’t already have ties to the writing style. And it was more than fair the acoustic guitars that separated this album ‘s sound from its predecessor ‘s ; it was besides the august, George Martin-esque string and cornet arrangements, the classic start harmonize structures and progressions, and the soaring song melodies and harmonies that sooner recalled the sunlight pop of the ’60s than the supercilious, melodramatic emo-pop of The Room’s Too Cold. As such a highly ambitious album and drastic about-face, it ‘s kind of crazy to think it was only the ring ‘s second album, and it ‘s possibly not excessively surprise that Drive-Thru was apparently hesitant to release it at inaugural and that the band went on suspension soon after its spill. It had moderate achiever — the television for “ Hair ” got a dependable amount of TV-play — but it never very caught on like its precessor ; a classical case of being excessively artsy for the Warped Tour global and fully ignored by the people who do like Beatlesque concept albums. Being a tough-to-digest treble album credibly did n’t help, and it ‘s hard not to wonder if things might ‘ve gone over differently if the band tested the waters with a single album made up of best parts of The Mechanic and The Mother and saved the theatrical play of The Path for subsequently. hush, it ‘s admirable that they threw the acclaim mary, and evening if it ‘s not constantly easy to listen to it in one sit, I think The Mother, the Mechanic, and the Path has aged well and contains a batch more hits than misses. ( It besides has had enough longevity to warrant a tenth anniversary tour in 2017. ) As for how it altered the band ‘s career, when they came binding from hiatus, they returned to emo and they continue to remain an emo band today. But similar to Saves The Day ‘s post- In Reverie career, even if The early November never sounded like The Mother, the Mechanic, and the Path, they besides never tried to sound like adolescent emo kids again. survive class ‘s Lilac was a authentically good atmospheric emo album that felt suppurate in an honest, “ this is where we ‘re at immediately ” way without resorting to the “ we ‘re abandoning emo and being dad rock candy nowadays ” way. They credibly hush deal with fans who do n’t want anything besides The Room’s Too Cold, but they ‘ve evolved into therefore a lot more than that. The early November might not sound like The Mother, the Mechanic, and the Path anymore, but that album made it so they could n’t be easily pigeonholed, and that ‘s something that ‘s never changed. New Found Glory – Coming Home ( 2006 ) The same year Enema of the State was busy making pop punk bigger than ever, a newer crop up punk rocker set from Florida called A New Found Glory ( they belated dropped the “ A ” ) put out a minor, scrappy debut album called Nothing Gold Can Stay. Its belowground success would quickly lead to them inking a deal with Drive-Thru Records, whose deal with MCA would help turn Nothing Gold Can Stay opener “ Hit or Miss ” into NFG ‘s breakthrough sung, and it would n’t be long before NFG were rivaling bands like blink-182 in the mainstream. Unlike the Descendents-style skate punk rocker that was blowing up on the West Coast, NFG had a ruffianly East Coast sound that pulled from hard-core bands like Lifetime and Gorilla Biscuits and they blended that healthy with bubblegum melodies and Jordan Pundik ‘s high rhinal voice, making it accessible to tens of thousands of kids who would ‘ve otherwise never listened to Lifetime or Gorilla Biscuits. ( NFG besides had some actual hard-core cred, as guitarist Chad Gilbert was the singer on Shai Hulud ‘s debut album. ) After NFG tightened up their sound and released three more albums that showed a clear evolution but were all largely cut from the same pop kindling fabric, New Found Glory traded their baggy shorts and skate tees for argyll sweaters and pants that fit, and they traded their snotty pop punk rocker for a warm, softer, and frequently ballad-driven form of alternative rock on 2006 ‘s Coming Home. Jordan ‘s voice does n’t evening qualify as “ fretful ” for the bulk of the album, and alternatively of filling an entire phonograph record with pogo-inducing power chords, Coming Home found NFG favoring acoustic guitar, piano, string arrangements, and swaying tempo. Coming Home even sounds unmistakably like New Found Glory tied though you ‘d barely call it pop bum, and a far as the albums on this list go, this is one of the more original and alone ones. While some of NFG ‘s peers ‘ direction out of pop punk rock was “ make an album that sounds like The Beatles, ” NFG did n’t truly recall any other bands in detail on Coming Home. It kinda fair sounds like slower, calmer New Found Glory — the melodies are still sugary sweet, the lyrics are even pretty much all about girls, but the record overall sounds like a band who is growing up and moving on. ampere far as listening to it today goes, Coming Home rather holds up better than some of NFG ‘s more classic albums, even if it is n’t american samoa important or influential, but I do n’t know if the dance band or their current fanbase would agree. It did n’t truly alter the path of their career at all ; it was more like a slender detour before the band completed their major tag condense with a 2008 greatest hits album, returned to the indie label universe, and returned to making precisely the kind of pop hood they made in the early 2000s. ( In between, they besides released the Tip of the Iceberg EP on the real-deal hard-core label Bridge 9, featuring covers of Gorilla Biscuits, Lifetime, and Shelter and three original songs that sound like more polish versions of those kinds of bands. It was a nice direction to help turn a short ton of modern people onto those bands, and I think the original songs are actually some of the best they ‘ve written. ) The Starting Line – Direction ( 2007 ) As written in the insertion to this article, one of the big reasons that pop punk rocker bands finally leave the genre buttocks is because these bands often form at a very young age, and that ‘s specially true for Starting Line frontman Kenny Vasoli. He joined the band at 14 and was 18 when they released their now-signature song “ The Best of Me, ” and for a band whose touch song contains the lyric “ We got older but we ‘re however young, ” Kenny sure has tried very hard to prove he does not live by that. When The Starting Line first broke up, he formed Person L, a band who aimed to combine Radiohead-like atmosphere, prog riffs, and heavy ’90s post-hardcore, and then he started Vacationer, who have spent the last decade churning out chillwavy psych-pop not far removed from Tame Impala or MGMT. Before all that though, The Starting Line released Direction, Kenny ‘s foremost — and very overt — try to leave start punk behind. The album does still have pop hood moments, but nothing about vitamin a bubblegummy as “ The Best of Me, ” and it besides sewed the seeds for much of the music Kenny would write in the future. The dark heavily rock of the title track predicted the first Person L album, while the Pop Punk Goes Beach Boys of Direction ‘s big single “ Island ” is kind of proto-Vacationer. Direction is besides home to tender folk-pop ( “ Something Left To Give ” ), shimmering might ballads ( “ Hurry ” ), soaring falsetto ( “ Birds ” ), and early sounds that marked a clear passing from the band ‘s roots. It is n’t a perfect album, but when it hits, it hits, and I ‘d say it holds up today as the band ‘s best work, even if it does n’t have the one birdcall you ‘ll hear at Emo Nite. As you may notice is kind of a tendency with these albums, The Starting Line broke up not long after Direction came out. They since reunited and released the three-song Anyways EP, which was produced by the emo revival ‘s go-to manufacturer ( Will Yip ) and was a small more straightforward than Direction but still more in line with that album than with TSL ‘s earlier, more celebrated substantial. ( The Starting Line have besides been aligning themselves with cool revival-era bands recently. ) When I saw them at Warped Tour ‘s twenty-fifth anniversary in 2019, Kenny looked like he was having fun playing songs he wrote as a adolescent, but you could tell that it was nostalgic for him and that it ‘s not inevitably where his affection is at the moment. Before they played “ Island, ” Kenny shouted “ Direction is our best record ! ” to a crowd of people who about decidedly think Say It Like You Mean It is their best record. judge by where they ‘re at now, they seem like they could write a record that solidifies their bequest as the forward-thinking ring hear on Direction, and establishes them as emo elder statesmen with relevant new music, not a band play to aging Warped Tour crowd who are waiting around to hear “ The Best of Me. ” I hope they do it. Panic at the Disco – Pretty. Odd. ( 2008 ) I do n’t think anyone listening to “ emo ” in the ’90s could ‘ve predicted anything like Panic ! at the Disco ‘s massive 2005 debut album A Fever You Can’t Sweat Out coming to define the genre for hundreds of thousands of people, but that ‘s precisely what happened. With its toss off punk/emo-tinged circus music, histrionic high school poetry, staginess, earworm hooks, and song titles like “ Lying Is the Most Fun a Girl Can Have Without Taking Her Clothes Off, ” A Fever You Can’t Sweat Out was the album you either loved to hate or hated to love. It made P ! ATD ace celebrated but besides a extremely easy target, and I do n’t think their haters would ‘ve changed their minds about them tied if they ditched everything that had come to define them and made a full-on Sgt. Pepper’s -style album … which is precisely what they did for their moment album Pretty. Odd. They dropped the ecphonesis point from their mention, they wrote “ welcome to the sound of Pretty. Odd. “ on the album artwork so you knew it was unlike, and they were very obviously paying court to the music The Beatles wrote in their most capricious psych-pop era. I ‘ve used the word “ Beatlesque ” in this article a few times already, so Panic were n’t the first toss off punk/emo band to pivot to Beatles, but they were decidedly the most obvious about it. From the bouncing Paul McCartney-esque piano to the George Harrison-esque guitar solo to the George Martin-esque chain and horn arrangements, you ‘d think Panic at the Disco time-traveled spinal column to 1967 when every band felt coerce to make their own interpretation of Sgt. Pepper’s. Save for Brendon Urie ‘s unmistakable spokesperson, these songs could all pass as relics from that era. As it did in 2008, it still feels kind of crazy that this album exists. Why would Panic at the Disco — one of the biggest newly bands in the world — make such a drastic change towards a fathom that would obviously not work for them ? There was no way the Warped Tour/Hot Topic crowd was gon na get down with Beatles impressions ( The Early November could ‘ve warned them ! ), and there was no way Panic were gon na leave the reputation of their debut behind and become a critically acclaimed band. These facts had to be obvious to them, so it ‘s actually kind of admirable that they went ahead and did it. A lot of the credit goes to guitarist/multi-instrumentalist Ryan Ross, who was credited with “ creative commission ” on this album and Panic ‘s debut. He seemed a draw more keen on becoming a “ cool ” band than Brendon Urie ; after this album came out, Ryan and Panic bassist Jon Walker left the band to continue exploring ’60s pop influences in their new band The Young Veins, while Brendon and drummer Spencer Smith brought the ecphonesis sharpen back and took P ! ATD back to a more A Fever You Can’t Sweat Out character audio on 2011 ‘s Vices & Virtues. finally Spencer would besides leave and the set would basically become Brendon ‘s alone project, and they ‘d get poppier and poppier and then become one of the biggest bands in the world again once “ high Hopes ” reach in 2018. For Brendon Urie ‘s career, Pretty. Odd. was a detour. For Ryan Ross ‘, it might be his masterpiece. Whether you love this band or hate them, it ‘s a fascinating album. At best, it ‘s a pretty good album of unoriginal but very catchy songs that should ‘ve been marketed to of Montreal and MGMT fans. At worst, it ‘s a flimsy Beatles impression with bromidic emo vocals. But even if it ‘s the latter, Pretty. Odd. had to pique the concern of some kids who had n’t heard Sgt. Pepper’s yet, and I ‘m sure there are people who consider it their gateway to “ weirder ” music. If so, kudos to Panic for taking the risk and using their chopine to expose this new music to a new coevals. Hellogoodbye – Would It Kill You? ( 2010 ) Forrest Kline ‘s Hellogoodbye visualize came out swinging with their 2004 self-titled debut EP on Drive-Thru, which combined Warped Tour-style pop music hood, bedroom synthpop, and tons of auto-tune, and birthed breakthrough individual “ Shimmy Shimmy Quarter Turn ( Take It Back To Square One ). ” It was a birdcall so poptimist and cloying that it was obviously going to piss people off, but besides kinda undeniably catchy and imaginative to the point that you kinda had to respect it. They followed the EP with their 2006 introduction album Zombies! Aliens! Vampires! Dinosaurs!, and if you were turned off by “ Shimmy Shimmy Quarter Turn, ” this album was not gon na change your mind. so dad, so cheerful, and drenched in auto-tune. And if the album style alone did n’t make you think “ this is probably for kids, ” clicking play quickly would. placid, if you got past the bubblegum outside, you could sense that Forrest was often doing it all with a flash and frequently hinting at greater ambitions, as on “ Baby, It ‘s Fact, ” which sounded like a advanced, glossy interpretation of the ring Hellogoodbye is named after. Four years and a departure from Drive-Thru late, Forrest ditched auto-tune and bouncing synthpunk for a jangling, string-laden, acoustic guitar-heavy, power pop album that kinda sounded like The Kinks via Vampire Weekend. It even had a birdcall called “ Getting Old. ” As with some of the other bands on this tilt, Hellogoodbye suffered from an album that was n’t going to go over well on Warped Tour ( which they played the year after Would It Kill You? came out ) and was n’t going to reach the people who actually listened to The Kinks or Vampire Weekend. It besides probably did n’t help that they had to release it on their own label, or that the Warped Tour picture of the ’90s and early/mid ’00s was starting to fade by 2010. Despite being a follow-up to a very democratic album, it might be the most obscure album on this list. But if it managed to find you, you ‘d have been treated to some pleasant power pop songs that were a far cry from Hellogoodbye ‘s biggest hits. They never did anything this dad rock again, but it decidedly altered the way of their career. Would It Kill You? ‘s 2013 follow-up Everything Is Debatable sort of occupied the center crunch between Hellogoodbye ‘s synthier beginnings and the jangling Would It Kill You?, and 2018 ‘s S’Only Natural found them dishing out disco-indie that would n’t sound out of rate future to, like, Rhye. S’Only Natural might actually be the ring ‘s most stylish and indie-cred-deserving album yet — particularly in the indie/pop/R & B crossing over earned run average — but it besides sounds aimed at the current youth. Would It Kill You? will always be the Hellogoodbye album for dads. Paramore – After Laughter ( 2017 ) panic ! at the Disco ‘s Fueled by Ramen labelmates Paramore were besides among the biggest bands of mid 2000s toss off punk/emo, and they besides finally evolved out of that sound, but it happened a short more gradually and graciously. 2007 ‘s Riot! perfected the glossy pop punk rock that Paramore had started on their 2005 debut All We Know Is Falling, and 2009 ‘s Brand New Eyes reflected a festering in Hayley Williams ‘ lyricism, though the music was chiefly cut from the same fabric. Things started changing on their 2013 self-titled album, which followed the passing of founding guitarist/songwriter Josh Farro and his brother, drummer Zac Farro, and found guitarist/keyboardist Taylor York ( who had helped out as a co-writer since the debut and joined the band in 2007 ) stepping up as Hayley ‘s chief co-writer. It besides introduced producer Justin Meldal-Johnsen ( M83, Tegan & Sara, etc ) as the band ‘s new creative partner. The self-titled album found Paramore exploring funkier pop that felt more “ pornographic ” than the very youthful pop kindling of the band ‘s earlier years, but songs would still build up to Warped Tour-style choruses and the album had its highlights but it never truly committed enough in either direction. then, secret weapon Zac Farro — who had been off making tone down Impala-esque psych-pop as Halfnoise — rejoined Paramore and helped them complete their deviation from pop bum and make their best record even in the work. After Laughter is a sharp, newfangled wavey popular record with hints of Blondie and ’80s Fleetwood Mac and the best lyrics of Hayley Williams ‘ career therefore far. Hayley was a adolescent when writing those first match records, but After Laughter came a decade after the regrettable “ Misery Business, ” and it featured Hayley tackling topics like natural depression and anxiety with wisdom of solomon and tact. And the fact that she applied those lyrics to such a happy-sounding record makes it even better ; unlike a distribute of pop bum, After Laughter requires respective listens and is a lot more than meets the center. It ‘s Paramore ‘s most late album, so it ‘s excessively soon to in truth say how it affected their career, but it already seems like the closest comparison on this list would be the blink-182 album. As ignoble did for blink-182, After Laughter made Paramore even bigger. They managed to find a sound that could keep all their honest-to-god fans around while gaining tons of new ones. No word on if and when a new Paramore album is coming, but Hayley recently launched her alone career ( and one of her singles made In Defense of the Genre ‘s best songs of January ), and her solo material finds her continuing to depart from her Warped Tour roots and explore a wider setting of musical influences and a greater lyrical depth. She and Paramore both seem like they ‘ve successfully entered a newly phase of their career, which not many of their mid 2000s pop punk rock peers can say in the 2020s.

RELATED:Read past and future editions of ‘In Defense of the Genre’ here.

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