The 10 Best Screamo Albums of the 2000s By Year: A Discussion
We asked manager and host of ‘Waldman's Words’ on idobi Radio, Scott Waldman, to take on the challenge of ranking the 10 Best Screamo Albums of the 2000s. He enlisted friend and fellow musician Bob Bradley to help him out. See what albums topped their list below:
Stop shouting. Bob Bradley (formerly of Scars of Tomorrow and currently in Fake Figures) and I yelled at each other for about two hours straight and ranked the best screamo albums year-by-year from the last decade.
Below are several loud disclaimers:
1. Not a single album on this list was on my ranking of the Best Post-Hardcore Albums of the Early 2000s with Zach Yoshioka from two months ago. Post-hardcore and screamo elitists may scoff at every word in this article, but that’s just like their 100 percent subjective opinion, man. Whatever. We do what we want. Create your own list if you’re miserable. Yeah.
2. We don’t mention any band more than once. Yes, we know that The Used’s self-titled album came out in 2002. Yes, according to our 100 percent subjective opinion, we think that Finch’s 2002 album is slightly superior. Yes, The Used gets mentioned later. Yes. Stop reading if you’re angry. Or, go for a fucking jog and read later.
3. Please don’t bitch about this piece while complaining that an album from the ‘90s or 2010s wasn’t on here. Read the fine print.
4. There’s no mention of My Chemical Romance or A Day To Remember on this list. Ahhh!
Glassjaw, Everything You Ever Wanted To Know About Silence (2000)
SW: You’re a pretty lush, Bob.
BB: Thanks, Scott. I’m working on it.
SW: Solid. Glassjaw is from Long Island. I’m from Long Island.
BB: I once ate a hot dog on Long Island.
SW: Cool story, bro. That’s everything I wanted to know about nitrates.
BB: Happy to help. Daryl Palumbo is the Mike Patton of screamo.
SW: Backed. I worship and tribute him.
Thrice, Identity Crisis (2001)
BB: Speaking of bands that people worship, here comes Thrice. I witnessed this band’s rapid rise like a phoenix ignition.
SW: The Orange County rises.
BB: Teppei [Teranishi] rose guitar standards to a new level.
SW: Respect. Very much under par.
BB: I love football.
SW: I like turtles.
BB: Dustin’s voice has angst, grit and beauty. This is a painful but fulfilling listen.
SW: It stands the test of time and the band only got better!
Finch, What It Is To Burn (2002)
BB: Oddly enough, this album is timeless, as well. A sentence with the word “screamo” doesn’t usually include the word “timeless,” but I stand by this record and every word I said in this section so far.
SW: This is my favorite screamo album ever. Say hello to Scott-shine.
BB: Let’s shine the light on “Letters To You,” my favorite Finch song.
SW: Letters to jew?
SW: Does your face burn now?
SW: All kidding aside, this is also my favorite Drive-Thru Records album. That’s my story, and I’m sticking to it.
Story Of The Year, Page Avenue (2003)
BB: I love stories. Here’s a story of the year: This album had a part in making John Feldmann Superman.
SW: I see what you did there. Let’s dive right into this huge record.
BB: Page Avenue will never stay in the shadows, amirite?
SW: M. Shadows?
BB: Avenged Storyfold, amirite?
SW: Yes. (pauses) This band literally does expert gymnastics moves onstage. Very impressive.
BB: I literally flip out when I listen to this album.
SW: Girl, same. Check ‘em out if you have the chance. You’ll regret it until your dying day if you don’t.
Underoath, They’re Only Chasing Safety (2004)
BB: Can you say that under oath?
BB: Good. This album is better than good. It was definitely my favorite release from 2004.
SW: And 2004 was a great year for music and this genre. UO = MVP
BB: I think that every band on Victory, Rise, Fearless, Tragic Hero, Standby...
SW: (interrupts him) Basically any band that screamed and played Warped this century.
BB: (nods feverishly)
SW: Spencer’s screams are melodic and guttural.
BB: And they only got better!
SW: Agreed. Aaron’s voice is spot on and don’t even get me started on his drumming.
BB: Bananas. Bananas. B-A-N-A-N-A-S. Bananas.
Silverstein, Discovering The Waterfront (2005)
SW: Discovering the fruit section of Ralph’s?
BB: Does Canada have Ralph’s?
SW: It has Tim Horton’s. I love Tim Horton’s.
BB: Focus! Silverstein time.
SW: I’m smiling as I type.
BB: Is the band buddies with Comeback Kid?
SW: I don’t know, but I saw a lot of commercials for this album on Fuse.
BB: Fuse! Steven’s Untitled Rockshow! Why am I yelling?
SW: I don’t know, dude. Anyway, Silverstein still shreds today, but this album definitely introduced the band to many future lifelong fans.
BB: You’re my heroine for reigning me in, Scott.
SW: Call it karma.
A Static Lullaby, A Static Lullaby (2006)
BB: I’ll call this one a classic. This piece is making me feel so nostalgic.
SW: ASL made its best album after it left the major label world.
BB: (yells loudly) San Bernardino County — represent!
SW: Bob, don’t forget to breathe.
BB: Scott, please stop being so toxic. I want to speak my mind in a safe environment.
SW: Head for the museum, sir. Let go.
BB: I’m pretty fearless, but museums scare me. They are too quiet. My mechanical heart putters.
SW: WTF. Onto the granddaddies!
The Used, Lies For The Liars (2007)
BB: The Used. Bangers.
SW: The fucking Used. Mosh.
La Dispute, Somewhere at the Bottom of the River Between Vega and Altair (2008)
BB: La Dispute mashed slam poetry and screamo like no other band before and / or after.
SW: Credible analysis. I love this album, and I love this band. Love, love.
SW: I totes saw you in my sleep, darling.
BB: That’s funny.
SW: La Dispute is not funny, but it will make you feel the feels.
BB: That’s not funny.
SW: Michigan represent!
Alexisonfire, Old Crows / Young Cardinals (2009)
BB: Michigan is close to Canada. Canada is close to warm.
SW: It has many cities and colours.
BB: (points at Scott like a proud father)
SW: We’re just two sisters here.
BB: Fam bam.
SW: Bam fam. It’s amazing how huge this band is in Canada. Ginormous.
BB: Very (Billy) talent(ed).
SW: Aha! In closing, Alexisonfire manages to blend brutality, sincerity, and catchy-ass melodies better than most.
BB: Mic drop.
Swing your mics and wear tight jeans while rocking out to this playlist. Shout. Shout. Let it all out and relive your youth.
Scott Waldman is the former bassist of The City Drive (Sony Records) and the owner/founder of Waldman Management in Los Angeles, Calif. His current roster includes multiple artists, songwriters and producers, including AFI's Hunter Burgan as a producer and Sum 41/Street Drum Corps drummer Frank Zummo as a solo artist. In addition, Scott is the host of his own weekly radio show, Waldman's Words, on Idobi Radio.
Bob Bradley runs Bradley Public Relations and Marketing out of Orange County, California. He is the bass player of Scars of Tomorrow, Fake Figures and also owns the publishing catalog Gas Can Music. Over the years Bob has also worked at Fearless Records, Authentik Artists and has helped on the release of hundreds of albums including efforts from Portugal. The Man, Mayday Parade, Hell or Highwater, Trapt, Melora Hardin, Alan Parsons and more.
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