Dublin's the Murder Capital and Detroit's Protomartyr both delve into murky existential lyrical terrain as riotous riffs reverberate and drums pound militantly, infusing the atmosphere with ominous sonic shadows.
As a young man, Billy Bragg reinvented punk rock with songs as fiercely political as they were emotional. Decades after he released his first album, PopMatters counts down his ten best outings from those early years.
How does someone go from anti-nuke activist to serious foreign policy maven, student protester to mid-life bourgeoisie, and feel the same way about the Clash, aka "The Only Band That Matters"?
Part social commentary and part fictional narrative, Green Day's American Idiot came out of nowhere and impressed with its biting political subversion, exploration of teenage angst, love, and uncertainty, and perhaps most importantly, brilliant structures, transitions, and overall cohesion.
Green Day's Dookie was the best rock album of 1994. Scores of critics admitted that, yes, this 14-track album full of speedy pop-punk tunes about panic attacks, boredom, and masturbation was quite catchy, but no one would've held it against them if they doubted that Dookie would have had staying power.
The sophomore release from Norwegian art-punk quartet Pom Poko is full of the same kind of sweet, distorted pleasures that made their first album so much fun.
Punk rockers Johnny Thunders and Wayne Kramer exist on a continuum of wild-eyed, angle-headed anarchists—a continuum filled with poets and artists and guitar-pickers, living and dead, who show us how to resist The Man.