It makes it hard to build a playlist. It’s also annoying to have this suggestion function when looking for songs to add. One column should be just the artist you’re looking for.
I’m curious what y’all think are the best must-listen-to pop punk albums ever? I was pretty young when a lot of the classics came out so I haven’t listened to a lot of stuff, and I’m wondering what I should listen to next.
Edit: Wow! Thanks everyone for all the recommendations! I’m gonna have a lot to listen to
Me:
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Survivors Guilt: The Mixtape// (KennyHoopla)
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Ocean Avenue (Yellowcard)
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The Young And The Hopeless (Good Charlotte)
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Box Car Racer (Box Car Racer)
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When Your Heart Stops Beating (+44)
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Dookie (Green Day)
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All Killer, No Filler (Sum 41)
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Life's Not Out To Get You (Neck Deep)
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Enema Of The State (blink-182)
1.blink-182 (blink-182)
I hate to have to say this but remember that's just my opinion so don't be a dick about it
It’s only fitting that one of the most successful album series of all time is infatuated with numbers. After all, ‘+’ and ‘x’, entries from folk’s gingerly articulated bard turned world's biggest pop star, Ed Sheeran, owe their unfathomable success to the cold calculation of a plasticine poet. And now, almost certainly ‘=’, Ed Sheeran’s fifth album, looks set to follow. He even neatly summarises his unique position on opener ‘Tides’, “Everything has changed, but I am still the same somehow”. Although rosy, things are certainly a little different for Ed. For starters, he’s never experienced a creative plummet quite like ‘No. 6 Collaborations Project’, an intended crowd-pleasing compilation that skimmed the gamut of the most commercially attractive genres to no avail. On top of that, the momentary anonymity of ‘Afterglow’ certainly didn’t do him any favours, either. Sheeran, however, is one of the few people in the world that can afford to blank and stay on top, because, as he admits, he stays the same.
Despite his everyman exterior, the retention of his crown is key, and the pressures of rivaling titans seem to have forced ‘=’ out of him. The conflict happens to cast a cloud over a dream of Sheeran’s as well. Between fretting over The Weeknd’s not too dissimilar pop ingratiation so intensely he feels the need to nab the Max Martin-produced drum pattern from ‘Blinding Lights’ on ‘Overpass Graffiti’, Sheeran’s also busy bearing the magic of fatherhood. That’s right, he’s no longer just a dopey lover boy with a penchant for nice guy antics, he’s now a married one, with a kid. Perhaps that would account for the sleepy demeanor he dons when looking back on his past of scandalous post-midnight routines of drinking and partying on ‘Bad Habits’, you guessed it, another song on ‘=’ that feels envious of Abel’s reckless, vampiric persona.
But that’s really only the beginning of the banality. For all the skins Sheeran tries on, he can never hide the fact that ‘=’, like ‘No. 6’ before it, is just an exercise in accruing streams. ‘Shivers’, for example, is just like the well-behaved and less enthused sibling to the devilish ‘80s pastiche of The Weeknd’s ‘After Hours’. Elsewhere, I imagine a number of the album’s most confusing inclusions were decided on by having Sheeran throw darts blindfolded at a printout of the Hot 100 and cosplaying his picks to the best of his ability. No, chances are Sheeran didn’t actually think the scratchy d
... keep reading on reddit ➡Maybe the Loretta Lynn and Wanda Jackson records do? Am I missing anything big? I don’t think Rome or Cold Mountain should count.
Right now is the perfect time to release audiophile-quality remasters of the back catalog.
In particular: Holy Wood has always desperately needed a remaster, as anyone who's ever compared the CD with the vinyl version would tell you. They sound completely different - not just the inherent differences in the formats, but the digital releases have been compressed and limited to the point that it nullifies one of the critical components on any great MM album - the atmosphere. It's absurd; I'm going to post more in-depth stuff about the differences between the two versions of Holy Wood in the near future, but I assure you that it's a dramatic difference that anyone with functioning eardrums would instantly notice. Simply doing a digital release of the version that was mastered for vinyl would be ideal, and I think it'd be incredibly easy unless there's legal hurdles.
The Pale Emperor has a similar quality gap between the digital and vinyl releases; I'd go as far to say that Warship My Wreck is ruined on all current digital formats. And only in my wildest dreams do I wonder what the final mixes for tGAoG, EMDM, THEoL, and BV sounded like before they were so severely compressed and limited for their digital releases.
I would pay good money for high-quality remasters masters of the original album mixes. I want to hear what the artist heard in the control room when they approved the final mixdown. I'm tired of the harsh, lifeless versions that many of us have unknowingly been settling for.
What we don't need is REMIXES. The mixes are fine, they are beautiful. Don't touch those. Take those final mixes, gently buff them to perfection, and put them in my earholes at 24-bit 96kHz minimum.
Who do I call to get the ball rolling on this? Someone get me in touch with someone; this is insanity.
These are mine:
Blink 182 - Untitled album (2003)
The Story So Far - The Story So Far
Trash Boat - Nothing I Write You Can Change What You've Been Through
Green Day - Dookie
The Used - In Love and Death
Belmont - Belmont
Like Pacific - In Spite of Me
Knuckle Puck - Shapeshifter
Millencolin - Pennybridge Pioneers
Trophy Eyes - Chemical Miracle
