The Top 25 Grunge & Post-Grunge Albums of 2000 (Part 1)

We’re going back 25 years to countdown some of the grungy albums of 2000, a nostalgic trip back to the millennium.  This two-part article will cover the top 25 albums of 2000 that featured grunge or post-grunge. Part 1 will detail albums 25-11 and part 2 will detail albums 10-1 the following day.

The original grunge titans had already faded into the shadows, and while the most popular first-wave post-grunge bands were still lingering on the scene, several skipped new releases in 2000, leaving the year a comparatively fragile and uneven chapter for the genre. Rock music overall carried grungy undertones, with a noticeable percentage of acts leaning on distorted guitars, angst-soaked vocals, and moody atmospherics, yet only a handful of albums have truly endured in collective memory over the past 25 years. Creed and Foo Fighters dominated radio, but their arena-sized anthems came from 1999 albums.

Among the year’s output, there were obscure, bargain-bin curiosities that surprisingly hold up well, albums that sound distinctly “dated” in their 2000 rock aesthetic—not just nostalgic, but stamped with the sonic fingerprints of the era. Some records delivered towering, unforgettable singles yet faltered with uneven deep cuts, exposing the inconsistent craftsmanship beneath the hits. Many bands struggled for relevance against the explosive popularity of pop-punk and nu-metal, leaving lesser post-grunge acts overshadowed and under-heard compared to their mid-’90s heyday. A few established names returned with albums that were solid but uninspired, unable to match their career-defining peaks.

In hindsight, 2000 marked a transitional solidification of post-grunge—not as a raw, rebellious force, but as a more conventional, radio-friendly strain of rock. The second wave leaned toward formulaic structures and polished production, yet within that framework, there was still genuine artistry, sharp songwriting, and emotionally resonant tracks. Ultimately, the songs themselves mattered more than their stylistic dressing, proving that even in a weaker year for the genre, post-grunge retained its ability to connect and endure.

Let’s relive the year 2000 and look back at 25 albums that once kept the genres going and are now celebrating their 25-year anniversaries. This is just one website's opinion, just meant to be a fun way to haul out some old CDs.

Melvins – The Crybaby (25)

The Melvins, grunge legends long cemented as innovative outsiders with second-tier mainstream popularity, launched one of their odder albums in 2000. With a sprawling guest list of eclectic stars, the Melvins capped off a trilogy of albums with 'The Crybaby', wrapped in similarly cryptic artwork. This record thrives on stylistic chaos, veering from grunge reinterpretations like 1970s pop relic Leif Garrett singing Nirvana’s “Smells Like Teen Spirit” (a move some deemed sacrilegious), to a straight-laced country cover of “Ramblin’ Man,” to brooding, expansive prog-tinged epics such as the Yes-inspired “Mine Is No Disgrace,” and the monolithic 14-minute “Divorced” featuring Tool.

It plays like a fractured movie soundtrack, refusing to settle into any genre, and often feeling jarringly disjointed. Fans knew the Melvins pursued only their own idiosyncratic vision, indifferent to radio, trends, or expectations. Yet, their original songs here aren’t quite peak-level, though “Spineless” remains a quintessentially raw grunge anthem most representative of their signature sound.

Veruca Salt – Resolver (24)

A boisterous, confrontational, and unapologetically loudmouthed album, Resolver is Veruca Salt’s most volatile ‘seether’ moment. Louise Post carried on under the band’s name while drummer Jim Shapiro and co-lead Nina Gordon departed after acrimonious disputes. Gordon’s solo debut, 'Tonight and the Rest of My Life' (2000) was lush, melodic, and emotionally appealing, in stark contrast to Post’s furious, abrasive, and venomous approach here.

Post unleashes her rage on 'Resolver', most memorably in the scathing, unprecedented lyric of lead single “Born Entertainer”: “This couldn’t get any better, she didn’t get it, so fuck her…”—a jaw-dropping kiss-off that left fans and insiders stunned. The album oscillates between seething triumphs and awkward confrontations, with music that is tough, obnoxious, and aggressively in-your-face. Despite Post’s spitting, venom-drenched vocals and the band’s thrashing ferocity, the songwriting often feels uneven and underdeveloped.

Juliana’s Pony – Total System Failure (23)

This is Juliana Hatfield at her most unhinged, cathartic, and deliberately chaotic, purging demons with none of her usual delicate restraint. If “Sister” (1994) was her only flirtation with grunge, 'Total System Failure' is a full plunge into distorted, abrasive, and aggressively messy territory. Guitars are cranked to ear-splitting distortion, vocals are raw and confrontational, and the production revels in sloppy feedback, erratic hiccup notes, and unapologetic sonic disarray. Hatfield’s eccentric, off-kilter lyrics—so bizarre they become unforgettable—cement the album as an anomalous outlier in her catalog. Commercially it flopped, critically it was savaged, but artistically it showcased Hatfield finally letting loose and rocking ferociously. Zephan Courtney’s pummeling drums and Mikey Welsh’s basslines provide backbone, but Hatfield’s frenzied guitar work dominates as the true star.

Isle of Q – Isle of Q (22)

Now largely forgotten, Isle of Q released only one gritty, hard-edged album in 2000 (after one 1990s indie album) before vanishing. Singles “Little Scene” and “Bag of Tricks” peaked modestly at #29 on the Rock chart, showcasing their riff-heavy, distortion-soaked grunge. Their sound blended metallic aggression with grungy rawness, aligning with contemporaries but never breaking through. The lyrics were solid if unspectacular, dressing up straightforward hard rock with little variation. Ultimately, Isle of Q were a guitar-obsessed band whose uncompromising heaviness was pretty powerful while it lasted.

Full Devil Jacket – Full Devil Jacket (21)

With just one album, Tennessee’s Full Devil Jacket revealed explosive potential before imploding after singer Josh Brown’s near-fatal overdose and retirement. Their lone record brims with tight post-grunge songwriting and ferocious riffs, especially on the blistering opener “Wanna-Be Martyr.” The sound frequently veers into metallic territory, anchored by thunderous rhythms that maintain a massive, crushing sonic weight. Despite their brief existence, the band left behind a powerful, heavy-hitting statement that hinted at greatness cut short.

Guano Apes – Don’t Give Me Names (20)

The German rock band with the eccentric name delivered their 2000 album 'Don’t Give Me Names' in English, unleashing a fierce, metallic, adrenaline-charged post-grunge record brimming with raw power. Singer Sandra Nasic’s commanding, razor-edged voice cuts through the hard-charging guitars and thunderous beats with ease. Riding the momentum of their breakout single “Open Your Eyes” (originally released in 1997 and reissued in 1999 for a film), the band seemed poised for international success.

While the album performed robustly in Germany, it failed to catapult them into global superstardom. Singles “Big in Japan” and “Living a Lie” may have faltered commercially, but they remain solid, muscular rock tracks, highlighting the best moments of an otherwise consistently strong album.

Unified Theory – Unified Theory (19)

Born from the ashes of Blind Melon, Christopher Thorn and Brad Smith joined forces with original Pearl Jam drummer Dave Krusen and new vocalist/guitarist Chris Shinn to form Unified Theory. Shinn’s falsetto croon and offbeat delivery brought a quirky, slightly eccentric edge, though fans inevitably compared the project to Blind Melon’s legacy.

The media framed it as the closest successor to a new Melon album, and while it lacked Shannon Hoon’s idiosyncratic personality, oddball vocal timbre, and surreal lyricism, the band compensated with louder, more muscular arrangements and polished songwriting. The result was a solid, post-grunge collection with flashes of strangeness and charm, though it never reached the unpredictable, kaleidoscopic weirdness of Blind Melon. Despite its strengths, the album spawned no hits, leaving it as a curious, underrated artifact of the era.

The Superjesus – Jet Age (18)

The Superjesus embraced textured acoustic guitars and shimmering keyboards to diversify their post-grunge arsenal. Formed in Adelaide in 1994 and fronted by the versatile, charismatic Sarah McLeod, the band rose to prominence with their debut 'Sumo' (1998), which soared to No. 2 on the ARIA chart. Their signature track “Gravity” earned international airplay, showcasing McLeod’s adaptable, melodic voice that seamlessly shifts between delicate balladry and energetic rock grit. On 'Jet Age', the band sweats through energetic, lighter post-grunge workouts, balancing anthemic choruses with dynamic instrumentation. After a 22-year hiatus, they returned in 2025 with a new album, proving their resilient longevity. Decorated with multiple ARIA Awards, The Superjesus remain a vital, enduring presence in Australian rock.

Collapsis – Dirty Wake (17)

Chapel Hill’s Collapsis, active from 1997 to 2001, blended post-grunge grit with country-rock warmth and pop accessibility. Fronted by Mike Garrigan, their major-label debut 'Dirty Wake' (2000) produced the single “Automatic,” which climbed to No. 28 on Billboard’s Modern Rock chart, earning them regional buzz and national recognition. Unlike heavier contemporaries, Collapsis leaned toward crystalline, chiming guitars, subtle keyboard flourishes, and restrained, melodic vocals. Their lyrics avoided self-indulgent angst, instead focusing on relationships, everyday struggles, and relatable life moments. Though Cherry Records dropped them after just one album, Dirty Wake remains a refreshingly diverse, understated gem.

Liquid Gang – Sunshine (16)

Philadelphia’s Liquid Gang carved out a brief but intense niche with their 2000 major-label release 'Sunshine'. Fronted by Jose Maldonado, the band fused post-grunge heaviness, nu-metal aggression, and alternative rock dynamics into a layered sound. Touring alongside Sevendust and Staind, they left a short-lived but memorable mark on the scene. Maldonado’s tormented, powerhouse voice—capable of gut-wrenching screams and anguished melodies—rides atop dense guitar layers and pummeling rhythms, creating a record that feels both visceral and cathartic. Though their career was fleeting, 'Sunshine' stands as a raw, volatile snapshot of turn-of-the-millennium alt-rock.

Stir – Holy Dogs (15)

Stir, the melodic, radio-friendly alternative rock trio from St. Louis, Missouri, formed in 1994 by Andy Schmidt, Brad Booker, and Kevin Gagnepain, carved out a brief but brightly polished post-grunge moment. Their debut (1996) and follow-up 'Holy Dogs' (2000) showcased hook-laden choruses, shimmering guitar interplay, and buoyant rhythms, strong enough to propel five straight singles into the Top 40 rock charts. Tracks like “New Beginning” and “Climbing the Walls” exemplify their anthemic, uplifting sound, layering hidden acoustic textures beneath crunchy electrics and punctuating with percussive flourishes.

Stir’s lyrics leaned toward optimism, love, and resilience, steering away from the genre’s usual dark angst and brooding despair. Sadly, their momentum stalled amid Capitol Records’ chaotic internal struggles, leaving Holy Dogs without a follow-up. Disbanded in 2005, they’ve reunited sporadically with nostalgic success, though no new music has emerged, leaving 'Holy Dogs' as an album that feels like a collection of long lost hits somehow missed.

The Exies – The Exies (14)

Los Angeles’ The Exies, formed in 1997, introduced themselves with a debut that was raw, punk-tinged, and energetically scrappy, though not yet fully realized. Later albums 'Inertia' (2003) and 'Head for the Door' (2004) would bring mainstream traction and commercial heft, selling over 400,000 copies combined, but their self-titled debut was more of a rough sketch than a masterpiece. The sound already hinted at their post-grunge aggression and punky swagger, but the songwriting was tentative, and underdeveloped. With no hits and only modest sales, it remains a promising but imperfect starting point, a glimpse of potential waiting to be sharpened.

Nickelback – The State (#130) (13)

Nickelback’s 'The State' marked their first real breakthrough, keeping post-grunge alive at the dawn of the 2000s. Featuring three singles—“Leader of Men,” “Breathe,” and “Old Enough”—the album delivered gritty, straightforward rock anthems that hinted at the band’s future dominance. While none rank among their most iconic hits, “Leader of Men” remains a fan-favorite.

Prior to this, Nickelback’s mid-1990s work was lo-fi and rough around the edges, but 'The State' introduced a radio-ready polish that finally connected. From here, the band would explode into massive sales, relentless airplay, and polarizing notoriety, becoming one of the most derided yet commercially unstoppable acts of the decade. Rarely has a band been so simultaneously reviled and successful, and The State was the calm before the storm.

Our Lady Peace – Spiritual Machines (#81 U.S., #5 Canada) (12)

Toronto’s Our Lady Peace, fronted by Raine Maida, crafted one of the genre’s most ambitious, cerebral concept albums with 'Spiritual Machines' (2000). Inspired by Raymond Kurzweil’s book, 'The Age of Spiritual Machines', guitarist Mike Turner pushed the band toward a futuristic, philosophical vision. Maida’s distinctive, nasal vocals and introspective, poetic lyrics anchor the record, which blends ethereal atmospherics with anthemic alt-rock hooks. Kurzweil’s own voice appears in spoken-word interludes, adding a mechanized, eerie texture that some critics found disruptive and repetitive. Still, standout tracks like the urgent opener “Right Behind You” and the melancholic ballad “Are You Sad?”, a sequel to “Is Anybody Home?” written for Raine’s brother, showcase the band’s emotional depth and sonic ambition. Charting at #5 in Canada but only #81 in the U.S., the album was a critical curiosity rather than a commercial juggernaut, but it remains a bold, imaginative entry in grunge’s limited canon of concept albums.

Saron Gas – Fragile (11)

Pretoria’s Saron Gas, formed in 1999 and fronted by Shaun Morgan, released 'Fragile' in 2000 as a raw, unpolished debut. With its rough production, jagged guitar tones, and emotionally strained vocals, the album feels like the indie-rock skeleton of what would later become Seether. After signing with Wind-up Records in 2002, the band wisely changed its name to avoid association with chemical weaponry, rebranding as Seether and reworking many of these songs into sleeker, more powerful versions. Fragile captures the band in its nascent, unrefined state, brimming with angsty energy and unfiltered emotion, but lacking the crushing heaviness and polished intensity that would define their later success. Ultimately, Saron Gas evolved into one of the most commercially successful post-grunge acts, with Fragile serving as a gritty, formative blueprint for their future dominance.

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