Ah, 2007, an album ranking year that I don’t think will get the worst of Reddit angry with me, but a year that feels transitional in our music scene. While 2005 felt like a pop-punk apex, and 2006 felt like bands exploring new sounds and taking big swings, I look back on 2007 and see the shifts that started the year before playing out in significant ways. A music scene that now has spread and is straddling pop, punk, alternative, hardcore, and everything in between at a rapid pace. Reading over the AbsolutePunk.net staff list from 2007 shows me a shift not just in the taste of the staff and community underway, but the beginning of a changing of the guard in just what kind of music was extremely popular within the music scene itself.

On the pop-punk side, you see the genre start to morph. We’re just about to begin the neon-phase, and bands like Four Year Strong and The Wonder Years are gaining in popularity. Bands from the previous era are trying to find out where they fit in. The Starting Line release Direction and have a surefire hit in “Island” that never finds its footing with the mainstream, and the band will go on hiatus not long after. Yellowcard returns with Paper Walls, which I called a redemption, and one of the better pop-punk albums released in years, but it also never quite catches on, and the band will also go on their hiatus within a year. The Academy Is… take a shot with Santi, and while loved by a few die-hards, it seemed to pause any momentum they had. Motion City Soundtrack leans into the melody with Even If It Kills You, and I will never understand the community backlash to that album. To this day, I’m still angry it wasn’t better received at the time, and while I love a lot of what came next, I could never shake that it felt like a regression. The kings of the old guard, Fall Out Boy, show they’re not ready to give up the crown when they put out Infinity on High. A band at the peak of their powers let me “leak” a track on our website, we get featured on MTV, and the group continues their tradition of being extremely polarizing within the scene while having a knack for keeping their sound updated and fresh enough to continue to see mainstream success. A trick they’ll deploy for years to come.

Last week I started the process of re-looking through the AbsolutePunk.net, and my personal, best-of lists from the early years. I began with one of my favorite years in my musical memory, 2005. It’s a year filled with nostalgia, pop-punk royalty, and stacked top to bottom with albums virtually anyone that grew up in this music scene consider classics. But here’s the thing about nostalgia, not all of it’s soaked in sunshine. Part of looking back means doing it with the clearer eyes of today; what you know now has to impact what you see. And that means it won’t always be fun because the light of the present can see into the shadows of the past.

What I remember most about AbsolutePunk in 2006 was that it felt like a shift in the music scene was underway, and it happened quickly. From the pop-punk goodness of 2005, the music that paints our 2006 list has a darker tinge to it. Blink-182 are no more, and +44 carries with its pop-rock an undercurrent of bitterness. New Found Glory shed their pop-punk identity in Coming Home for a sound that immediately divides the fan base, and one they’ve never returned to. Bands begin to experiment a little more with their sound and stretch outward. The Format shift with Dog Problems, My Chemical Romance goes all out in The Black Parade, The Early November aim for glory with a triple-disc concept album, and we see various expansions from Underoath, AFI, and Moneen. And, on top of all of that, we have debut full-lengths from Saosin and Manchester Orchestra. Two bands that will feature in our lives for years to come.

Last week I was able to recreate and re-add all of the AbsolutePunk.net end of the year lists into our database from 2005 onward. This hit of nostalgia was paired with me shaking my head at not only the outcome of the staff lists but trying to figure out just what I was thinking on my lists as well. For the next few weeks, I’d like to deconstruct some of these lists and add some of the context and memories I have from this era of the music scene. And this week, I’m starting with what could arguably be one of the most significant years in our little emo-pop-punk world: 2005. 2005 was absolutely stacked with albums that have gone on to be regarded as scene classics. Albums that I still listen to and albums that helped define the music scene for years to come.