Best Pop-Punk Albums Ever

Avril fan art pop punk

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Pop-punk is a melodic mutation of punk-rock, a wide umbrella in its own right, and a wildly popular musical genre. Although many argue that it started in the ’70s, this list centralizes the genre’s mainstream explosion, from the ’90s onward. Whether you’re skating and learning from the all-time greats, or just hanging out with some friends arguing what should be added to this list, these are some staples that should belong on any list.

Beware: Dookie by Green Day does not appear here. You can find multiple lists that (justifiably) hail it elsewhere.

To add to the conversation in lieu of what many lists omit, here are 7 pop-punk albums that deserve top consideration.

The Upsides

The Wonder Years

Perhaps the greatest breakout in the last decade, 2010’s The Upsides by Pennsylvania’s The Wonder Years showed pop-punk wasn’t dead.

True, most bands were disbanded or charting hyper-mainstream territory; but in the ashes of their authenticity, The Wonder Years rose.

Specifically, The Upsides brought perspective and authenticity to the genre when instrument driven music of all categories desperately needed it. It opened a new lexicon of pop-punk music, one that was grounded yet unhinged, modern yet studied, honest yet universal.

The band’s second LP cemented a sound that was more mature and morose than that of the still disbanded Blink-182. The opening song, “My Last Semester,” directly called out the homophobia permeating college campuses, and spoke directly to outcast couch-surfers everywhere.

And sure, other bands have tackled subjects of depression, touring, and relationships…but none have ever done it so powerfully.

The Upsides instantly identified The Wonder Years as a force to be reckoned with, and they have not disappointed since.


Let Go

Avril Lavigne

Ah yes, the debut album that every hardcore gatekeeper and toxic masculine adolescent boy alike hated on—Avril Lavigne’s debut. Before the bubblegum of “Girlfriend” or the advent of memes, Let Go changed everything about pop and punk music.

This record broadened the genre’s horizons and showed that young girls and women had an undeniable place in its mainstream. Even the haters knew “Sk8r Boi” and “Complicated” were bangers, displaying something as honest as it was catchy.

While purists argued this record triggered pop-punk’s downfall, such a stance: a) takes the genre too seriously, and b) is ahistorical.

What’s more accurate is that Let Go utilized pop-punk sensibilities to introduce an otherwise alienated audience to big hooks and palm-muting.

Ultimately, Avril came out swinging with her debut record and was, as a result, once on top of the world.

Let Go may not be one of the most celebrated pop-punk albums, but it is one of the most impactful.



Coral Fang

The Distillers

In a world where female representation remains limited to sugar, spice, and everything nice, Brodie Dalle represents a radical break away.

Her band, The Distillers, brought more bite to melodic punk music than any of her male-led contemporaries, then or now.

Though many fans would argue the Distillers were a straight-up punk band – not pop-punk in the slightest—they’re only half-right. Though they are undeniably a gritty punk band, their sense of melody and anthemic choruses make them a crossover unit.

And it’s what makes Coral Fang both an incredible record and an uncredited influence on pop-punk music. While bands like My Chem and Senses Fail brought an edge to pop-punk, here was Coral Fang, going, “that’s cute.”

“Beat Your Heart Out” is an unstoppable song, combining driving punk instrumentation, belted, gravelly vocals, and an insatiable, catchy melody. Overall, CF demonstrates an eclectic and rooted homage to classic punk-rock, with modern lyricism and energetic performances.

More people should know about this record and this band, not just to be different, but to enjoy pop-punk’s cutting-edge. Coral Fang is waiting for listeners to pick up and realize what they, and the genre at large, are missing.


Weezer (Blue Album)


The very best debut album of the ’90s offered an alternative to grunge music in a dorky blue package. Weezer—a.k.a. the Blue Album—is one of the greatest records ever, let alone of the ’90s or pop-punk.

Produced by Ric Ocasek of the classic rock band The Cars, it sports not only amazing songs but also incredible production. Acoustic guitars blend with harmonicas while distorted power chords soar under melting guitar solos, resulting in a sound entirely unique.

Songs like “Buddy Holly,” “Say It Ain’t So,” and “Undone—The Sweater Song” are legendary, and instantly catapulted the band.

But non-singles like “Only In Dreams” and “The World Has Turned And Left Me Here” show why Weezer is timeless.

But in truth, every song on this album is an absolute banger, combining Beach Boys harmonies with nerdy punk-rock spirit. It set a high standard for not only pop-punk music but also any four-piece rock band worth their salt.

Ultimately, the Blue Album isn’t considered much of a pop-punk album, nor is its followup, Pinkerton, and that’s fine. Still, this album’s influence cannot be overstated, nor can it be denied that Weezer forever remains a groundbreaking rock record.


Enema of the State


The greatest pop-punk album ever places second on countless lists, bested by Green Day’s Dookie, an admittedly worthy adversary. And to be fair, few albums with provocative titles and adult film stars on the cover would generate genuine recognition.

But it’s time to set the record straight. Enema is the greatest pop-punk record ever, and it always will be.

Sure, it’s easy to write it off as problematic toilet humor and derivative—but that’s missing the point.

These twelve songs combine technical skill with simplicity, engaging pop melodies with punk-rock ethos, and unapologetic immaturity with brooding introspection.

What’s more, the album introduced the world to the newest-greatest songwriting duo and a band’s magical, accessible, polished punk-rock sound.

Singles like “All The Small Things,” “Adam’s Song,” and “What’s My Age Again?” rightfully received massive airplay on radio/MTV. An entire generation was left inspired to play, only to find that covering “Dumpweed” and “Mutt” was indeed quite challenging.

While any Blink album from ’97 onward could justify a spot on any best-of list, Enema is where it’s at. Every song displays a different shade of the band’s magic and cements the album as a timeless and seminal pop-punk blueprint.


Milo Goes to College


In 1982, pop-punk was born with Descendents’ Milo Goes to College. Sprouting from Southern California’s hardcore scene, Descendents became unlikely romantic heroes inside a scene of brutes and wastoids, appealing to every kid’s inner high-school angst.

The album is one of the first melodic punk albums ever and one of the most important. It has been cited as a major influence to bands such as Blink-182, NOFX, Lagwagon, Face to Face, Pennywise, Less Than Jake, and many other influential artists.

Descendents didn’t just lyrically depart with lines about girls, they ran the gamut with everything from fishing to sailing and parents. At just 22 minutes in length, this band created an unpolished masterwork, which every single pop-punk band in history has, in some way, ripped off.

All Killer, No Filler

Sum 41

All Killer No Filler is the debut studio album by Canadian rock band Sum 41. The album was a commercial success, selling shy of 2 million copies in the U.S alone. The album is considered one of the greatest Pop Punk albums of all time.

With “Fat Lip,” a new breed of the genre took hold, and for the first time, an act looked to be within snatching distance of Blink-182’s crown. All Killer No Filler is exactly what you get with Sum 41’s debut album. Every song kicks ass. When you think of the “punk” sound, you can’t help but think of this song.



Music lovers will no doubt appreciate what this genre has done for music as a whole. From stoner rock and Fall Out Boy to 2000s rap and the top 5 hip hop songs from each year in the 90s, the pop-punk genre has influenced music in one way or another.

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