As we exited the ’90s and entered the brand new millennium, pop divas, prefabricated boy bands and rappers bragging about conspicuous consumption and the way poorly they handled girls dominated the airwaves. In the meantime, what handed for “rock” was the white guys who beat you up in highschool P.E. class who’d found hip-hop and figured it’d sound killer over downtuned seven-string guitars taking part in metallic riffs atop dope beats. It was as if neither Nirvana nor Green Day had occurred.
By no means rely out punk rock. The minute anybody begins dismissing it as “useless,” it rears its spiky lil head in some grand new mutation, able to shake issues up like we’re all residing on an unstable fault line. This time, not solely did new pop-punk bands come up who’d been impressed by Dookie’s conquering of the mainstream in 1994, however a brand new wave of garage-punk additionally engulfed radio and MTV. (Although Music Tv was effectively on its option to forgetting the primary two syllables of its title, because the byproducts of The Real World slowly however certainly metastasized, consuming up each inch of its schedule. VH1 quickly grew to become what MTV was once, adopted by numbered MTV subnetworks additionally finally eaten by actuality show-itis.)
The return of pop punk, plus the rise of emo and storage punk, meant electrical guitars and angle grew to become cherished qualities once more. With the demise of prime touring alt-rock showcase tour Lollapalooza, Warped Tour arose within the mid-’90s, showcasing a lot of this music (except for storage). In the meantime, the punk-rock underground stored lifting center fingers to all of it, contrarian as normal. Loads of bands nonetheless needed to dish out old school pogo noise, post-Detroit raunch ’n’ roll or one thing extra experimental. Right here’s Different Press’ decide of the ten greatest punk guitarists of the 2000s.
CLAIM TO FAME: The White Stripes
SIGNATURE MOVE: NYC’s the Strokes kicked open the door for millennial storage punk by injecting contemporary 20-something power into the Velvet Underground/Tv Gotham art-punk blueprint. However the Detroit duo of Jack White and his “sister” (really ex-wife) Meg on drums swallowed them entire, as if the White Stripes have been Elvis and the Strokes have been Bill Haley And The Comets. White was a preternaturally gifted guitarist, bringing the musical smarts of Led Zeppelin’s Jimmy Page to an ethic masterminded by Southern punkabilly two-piece Flat Duo Jets. His chosen weapons have been deliberately low cost—a crimson 1964 Airline Res-O-Glass guitar and Sears Silvertone amplifier.
BEST HEARD ON: White Blood Cells
Pete Doherty and Carl Barät
CLAIM TO FAME: The Libertines
SIGNATURE MOVE: The Libertines utilized the Strokes’ sport plan to the extra romantic, literate songwriting model of such late ’70s, Ray Davies-inspired punks as the Jam’s Paul Weller and the Only Ones’ Peter Perrett. Pete Doherty and Carl Barät added some jazzy chords, and Barät’s complicated lead work sometimes resembled gypsy jazz legend Django Reinhardt jamming with a Merseybeat band. Earlier than it shortly went pear-shaped as a consequence of Doherty’s narcotic misadventures and tabloid romance with mannequin Kate Moss, he and accomplice Barät squeezed their “skiffly punk rock” from some vintage gear as soon as thought-about “scholar” tools: A Gibson Melody Maker for Barät, an Epiphone Coronet for Doherty.
BEST HEARD ON: Up The Bracket
CLAIM TO FAME: At The Drive-In
SIGNATURE MOVE: These El Paso post-hardcore explorers pioneered screamo with their third LP, Relationship Of Command, which flexed like an American counterpart to Refused’s The Shape Of Punk To Come. Seeing At The Drive-In tearing by way of “One Armed Scissor” on The Late Show With David Letterman —all flying Afros, manhandled mic stands and uncooked emotion—was really intense. The important thing to this violent prog assault gave the impression to be Omar Rodríguez-López hacking away at a Squier Tremendous-Sonic by way of the aggressive overdrive of Orange AD140 heads and seemingly each results field in a guitar store triggered concurrently. If solely each band rocked this exactly and furiously.
BEST HEARD ON: Relationship Of Command
CLAIM TO FAME: The Applicators
SIGNATURE MOVE: Calling this Austin, Texas-based quartet a riot grrrl act can be a callous stereotype born of their shared gender. They have been a punk band, with no hyphens. They claimed such influences because the Misfits, the Cramps and Motörhead but in addition ’90s alt powerhouse the Breeders, which seemingly explains their non-pop-punk melodic sense. Key to their arduous, driving but hummable sound was guitarist Erica Applicator’s articulate raunch. (Sure, just like the Ramones, Sabrina, Kristina, Stephanie and Erica all modified their final names.) She wrenched her thick Angus Younger-ish chords and sparse leads from a traditional setup—a Gibson SG and a Marshall half-stack.
BEST HEARD ON: My Weapon
CLAIM TO FAME: Yard Infants, The Hellacopters
SIGNATURE MOVE: Dregen emerged at a time when Detroit 1969 grew to become Sweden’s rock capital (a lot because it served as Australia’s religious core for a bit of the ’70s and the entire ’80s). And he served within the two bands who created this dynamic: The Hellacopters, who may convert pilfered KISS riffs into fake MC5 songs (or a minimum of Sonic’s Rendezvous Band tunes); and the reigning kings of blitzkrieg glam-punk, Backyard Babies. He was a little bit of an excellent throwback—a correct ’70s guitar hero within the Johnny Thunders/Mick Ronson sense, spewing wah-drenched voltage through a Gibson ES-335 semi-hollowbody.
BEST HEARD ON: Yard Infants’ Making Enemies Is Good
Fadi El-Assad and Ian MacDougall
CLAIM TO FAME: The Riverboat Gamblers
SIGNATURE MOVE: The second guitar workforce on our record, from an Austin crew who blew minds throughout the 2000s underground prefer it’d simply seen the MC5’s resurrection. Presumably essentially the most wired and harmful band on the circuit in these days, issuing a manic replace of the traditional Detroit sound as Mike Wiebe, essentially the most spastic frontman you’ll ever see, mounted PA stacks, climbed lighting rigs and screamed surrealistic one-liners between songs. Driving vicious energy chords and sick interpretations of the pentatonic scale up his butt have been Fadi El-Assad on a Gibson Les Paul Studio and Ian MacDougall on a Fender Telecaster Deluxe.
BEST HEARD ON: Something To Crow About
CLAIM TO FAME: Krum Bums
SIGNATURE MOVE: These Austin screamcore powerhouses stored the flag flying for the ultra-musical thrash that was Poison Idea’s specialty. Singer Dave Tejas’ tonsil-shredding style eventually landed him the frontman slot for the Casualties, besides leading his own Starving Wolves. But Krum Bums’ true secret weapon was Trae Martinez. Without sacrificing an ounce of thermonuclear power, he wove beautifully melodic leads through incendiary devices such as “Gasoline” and “Misery” like he secretly desired a place in the Buzzcocks. This made him unique and special in a world that favors aggression over musicality. He accomplished it all with traditional rock weaponry—a Gibson Les Paul.
BEST HEARD ON: Cut The Noose
CLAIM TO FAME: The Donnas
SIGNATURE MOVE: These 4 Palo Alto women had essentially the most fascinating journey of any band featured on this record. Starting as a teen metallic group beneath Ragady Anne after which the Electrocutes, they morphed right into a extra storage/Ramones outfit as the Donnas. They subsequent reverted to upgrading the Runaways’ idea earlier than arriving within the millennium a totally realized amalgam of punk and arduous rock, like KISS and the Ramones are kissing cousins in spite of everything. Dispensing titanium-strength six-string electrical energy was Allison Robertson and her Les Paul and Marshall, as sturdy a guitarist as they arrive. She’s as elementary as Angus Younger.