Music Lists

This Haunts Me: 2000's Cringe Rock

Remember these bad boys? Of course you do

This is War 30 Seconds to Mars

We all remember those 2000s rock songs that were strangely beloved, but at the same time incredibly dated.

There remain a handful of truly awkward sentimental rock songs from the 2000s rock revival that we'd all love to forget. But, just for the sheer entertainment of it, we've compiled a list of some of the revival's most painful efforts.

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Music Lists

8 Epic Rock Songs About U.S. Presidents

Rock and Roll has rarely connected with the Leader of the Free World.

Green Day - American Idiot [Official Music Video]

Rock and Roll has rarely connected with the Leader of the Free World.

Ronald Reagan had vehement disgust for the long-haired free-will rockers of the '80s, and an unprecedented number of musicians sent along cease and desist letters to Trump during his tumultuous four years.

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Music Lists

The Most Underrated Pop Punk Songs of the 2000s

Slap on your old Chucks and revisit some iconic deep cuts

Photo By: James Stamler /

There was a special kind of angst fueling the music of the early 2000s.

Pop punk, post-grunge, and other guitar-laden subgenres consumed the mainstream. Pete Wentz and Hayley Williams, with their thick eyeliner and greasy bangs, made the magazine rounds, while potty-mouth bands like Simple Plan and Bowling for Soup topped the charts with their dated quirky syntax ("and if you're hearing what I'm saying / then I want to hear you say, "I'm gay!")

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THEORY's Tyler Connolly Discusses the #MeToo Movement and Going Pop on New Album

Frontman Tyler Connolly spoke with Popdust in an exclusive interview.

Jimmy Fontaine

Theory of a Deadman's first album feels like it was released a lifetime ago.

In 2002, the band's debut was soaked in the heavy guitars and post-grunge workings of the early aughts. Tyler Connolly's gravelly growl was notable, his jet black hair, tattoos, and all-black attire signifying the arrival of a new bad boy in rock and roll. The band's hit project, Gasoline, expanded on the post-grunge fixings of its predecessor but dipped into a previously untapped commercial sensibility. "No Surprise" was filled with the angst of a relationship turned sour, but the band's unique fusion of country and rock, combined with an ear worm of a chorus, made for commercial success. Meanwhile, tracks like "Santa Monica" and "Since You've Been Gone" showed the versatility of Connolly's range: at one moment coarse and abrasive, the next open and cathartic.

Over the next 20 years, the band would slowly shed their post-grunge skin and lean more into these radio-friendly sensibilities. Now, after six albums, Theory of a Deadman isn't even the same band anymore. They've even shortened their name. "The darkness is definitely still there," said frontman Tyler Connolly, "but what inspired the change? I think I had written every riff there was on the guitar!" After 30 years playing guitar, Connolly has transitioned over to the piano. "It awakened this creativity," he said. "It also allowed the kind of room for us to be a band where we all have our effects." The frontman sat down with Popdust to talk about the band's new album, Say Nothing, their drastic change in sound, and the effects of the #MeToo movement.

THEORY - History Of Violence [OFFICIAL VIDEO]

What transpired between Wake Up Call and Say Nothing? It seems like you guys got back into the studio pretty quickly.

"I think it was just a lack of time off. We weren't allowed to decompress from Wake Up Call, so a lack of sleep, and [going back into the studio] is where a lot of the inspiration came from. The creative process was very similar outside of having time off."

Sonically, the two sound similar. Who produced them?

"Martin Terefe produced Wake Up Call as well as Say Nothing, and I think he was much more timid on the earlier record, not really knowing us. [On Say Nothing] the only difference was that he really went gangbusters! He really spent a lot of time with the songs he was sent. We were so blown away by how much input he had. It was really amazing."

What inspired your lead single "History of Violence." What's the story behind its creation? Why did you choose this song as the lead single?

"The #MeToo Movement inspired it. I think the #MeToo movement is so large and powerful, and it's fantastic that women are gaining strength and [fighting for] equality. Being an all-male band, I think for us to support that is what we're looking to do with "History of Violence." There was no story behind it other than the fact that we wanted to create something to help women. The label chose the song as the lead single, and we're very happy they did; we love the song and it's great that it's out there."

Jimmy Fontaine

What should listeners take away from it?

"Empathy for the character, but, also, I think it's going to help people, help women, come forward. Like "Rx," we hope it gives people strength to talk to somebody and say, "Hey, you know what? This has happened to me." Sometimes people need a lighthouse, something to direct them, and, for us, hopefully this is something we can do to start that."

Tell me about "Strangers," your latest single. It seems to be a similar sort of rallying cry.

"That's exactly what it is—it's a cry for help, a cry for unity, a cry for everyone to get together. It's not about necessarily who you vote for or which side you're on, but it's really just about trying to get to the middle and agree that we're all human beings and we can all have our own opinion. It's just gross how biased the news is. So [the song] is me trying to process how I can say something without sounding like I'm complaining or picking sides. You have to be very careful not to pick sides [and] try to get everyone to come to the middle."

THEORY - Strangers [Official Visualizer]

Tell me about your tour. How's life on the road?

"It's awesome! I recommend it. We get to go all around the world. I think people assume that every night we're playing Paris, New York, or LA, when in reality, we're actually going to every corner, every state, every province. We go to a lot of places that maybe don't have internet reception, because that's where everybody is. I think now, more than ever, we've really hit our mark. We've been doing this for almost 20 years, and I think we feel the most at home now finally up on stage in front of all our fans. It's really a blessing."

How's your chemistry as a band after all these years? You guys are veterans now, it seems like.

"Well, it's interesting because when you start a band, you get on a tour bus and there are 4 guys that you've never lived with before and now all of a sudden, you're with these people 24 hours a day. So, in the beginning, it was definitely tough. You have 4 different personalities that maybe don't mesh. I think after all these years, we're brothers now. We love each other. It couldn't be more fun. We have a blast. And yea, guess that's what we are now, we're veterans."

You called Say Nothing your most "honest" album.

"I think I'm just talking about things I really want to talk about. I used to shy away from certain topics in the past, being afraid to upset fans. On [Say Nothing], I just dove right into topics like politics and stopped thinking about what upsets people. It's just a perspective that I think people need to hear. I think sometimes that's what music is for, outside of being an art form or a creative process, it's also sometimes a voice for a generation. I grew up listening to guys like Bono and Rage Against the Machine and you wonder if you could do something like that. Maybe as you get older, you get braver."

Say Nothing is set for release on January 31st, 2020

Follow THEORY on Instagram, Twitter and Facebook.


BBMAK Talks Returning to the Spotlight with "Powerstation"

The English boy band has released a new album after a 17-year hiatus. Christian Burns talks to Popdust about what's changed for the band and what classic BBMAK is present on the new record.

BBMAK has returned with a new album in tow, but armed with the same infectious, soaring pop that lifted them to stardom.

With two solid pop albums and a worldwide fanbase under their belt, the English trio—Christian Burns, Mark Barry, and Stephen McNally—left a very particular vacuum behind them when they disbanded in 2003. Their brand of windswept pop made intimate emotions feel massive, refreshingly unpretentious in its feel-good touch. BBMAK felt very much of their time; and in their absence, it became clear that there wasn't anyone quite like them to take up that space.

Now, BBMAK has released Powerstation, their first full-length album since 2002's Into Your Head. The passage of time has matured the band's sunny-sounding pop, with their weaving harmonies and vocal power carrying them well into the realm of arena power ballads. "Uncivil War," the album's latest single, is a gorgeous rendition of a relationship in crisis, while "You Don't See Me" and "No One Like You" sound like evolved versions of the band's most famous tracks. Powerstation feels very much like a boy band's release, only made with the benefit of hindsight and growth.

Popdust got the chance to speak with Christian Burns, rhythm guitarist for BBMAK, back in September about Powerstation, what's changed for the group in the nearly two decades since their dissolution, and what's driving their music now.

What was behind the decision to reform BBMAK? What did you want to do differently this time?

You know, we've remained friends over the past fifteen years, since we did our last album [Into Your Head]. We got together one day, [and] we just started jamming for fun, to see if we could remember what we did all those many years ago. We started singing, we all remembered all our parts, we enjoyed it, and I put a little video of it up on my social media, and it went crazy! We had millions of views in a couple of days; we realized the fans were still out there. And we realized how much we missed singing together. It felt like the right time to do it.

So what—to you, to the band as a whole—is BBMAK about now?

Obviously, fifteen years of life have happened since our last record, so we've got a lot to write about, to be inspired by. It's good to be back after all this time, and we're excited to share this next chapter with everyone. I think everyone who liked the early stuff will definitely be digging the new stuff, as well.

How has time changed your songwriting? What do each of you find yourselves bringing to the table that you didn't have before?

All of us, I think lyrically, [we've] changed. I think the lyrics you write in your early twenties are a bit different. I hope we're a bit wiser now [Laughs]. We're experimenting with different sounds and different procedures that we've learned along the way and bringing that new stuff into the studio. That's the fun part of it, bringing stuff to the table that we didn't have back then.

Your vocal harmonies are still such a big part of BBMAK, notably on "You Won't See Me." How was it to flex that muscle as a group again?

It's amazing, actually. I've been doing a lot of solo stuff, a lot of dance stuff, which doesn't lend itself to lots of stacks of harmonies. To get back in the studio and start doing these three-part harmonies, sometimes eight-part harmonies, has been so much fun to do again. We can experiment with different sounds underneath the vocals, but as soon as we stack those harmonies on, it just gives you that BBMAK sound, as you say. That's the glue that brings everything together. It's been a lot of fun to go back to recording and arranging harmonies like that.

The music industry has changed wildly since your last release—was there any discussion of contemporary artists you guys should look to for inspiration?

You know what? There was no pressure; we wanted to go in and do this all on our own terms. There was no pressure from A&R guys, from anyone. At first, we wondered what [Powerstation] was going to sound like, and then it kind of just happened organically. I think that's the best way to do it: to let something happen naturally for us. We can definitely take the sound anywhere in the future. Who knows where this journey is going to take us? But when we went into the studio, it was just a natural progression for us.

It was more about just picking up an old thread?

Yeah, it was much more about the songs, really. We were more concerned about getting the songs right. We just want the music to stand up on its own.

So, it was about taking the ego out of the music?

Yeah, definitely! We had such fun in the studio making the music, and that's what we wanted to do, just do something that we really enjoyed and we believed in. Not trying to be something we're not, something completely different.

BBMAK - Bullet Train (Official Lyric Video)

How do you want Powerstation to hit your fans? Are you hoping they've grown with you? Are you hoping the album finds a new audience?

Ultimately, we just want people to enjoy the music. And of course, we'd love to have some new fans as well. [At] a lot of our shows, some of the fans are bringing down their kids now, and the kids are singing along, so there's a new generation of fans already starting. We just want to reach out to everyone and anyone, really. It's the kind of music that makes you feel good, so we just put a bit of that on. If you can get a bit of enjoyment from our music, then we've done our job right.

Follow BBMAK online Twitter | Facebook | Spotify | Website


6 Early-2000's Bands You Love To Hate

These bands were awesome, and you know it. Stop denying it.

Reflecting on the bands we used to shamelessly bump in the early aughts can sometimes be a cringe-worthy experience.

We may even join in with our friends as they say things like, "Remember Staind? Boy were those guys terrible!" You'll nod in agreement, maybe throw a quick jab at them yourself, when you know damn well "It's Been Awhile" was the anthem to your first teenage heartbreak. As hard as you try to forget, you never really can. This is by no means a definitive list of guilty pleasure bands, and Nickelback will not make an appearance on this list. Anyone who was truly a fan of early aughts rock, knows that those guys are poser sell outs.


Lifehouse was the peak of adult contemporary radio. "You and Me" was a f*ckin smash. It brought us all to tears. It made us all think about and our two-week-long relationships and being in love with our Geometry teachers. This track made an appearance on all of our burned bootleg CD's that we would slip into the lockers of our crushes. This song was raw passion. It validated all of our hormones as real feelings. It also lied to us in the process. But it's still a f*cking amazing song, and Lifehouse is an amazing band.