If there’s anything we learned collectively after “Running Up That Hill” recently became popular again, it’s that there’s a strange relationship between generations of musicians. Going back to the halcyon days of record labels and radio, listeners were often limited to mass distribution. The avid fan, or, in many cases, other musicians have typically drawn inspiration from local scenes and more invested listening, giving them a sense of musical heritage. Obviously anyone is capable of doing a deep-dive, but if it’s not someone’s passion, it’s much easier to stay focused on current trends. Every now and again, an older song will resurface as a cover and shine light on some of the gems that might have otherwise been overlooked.

There are few more powerful ways to pay homage to the past than to use another artists song title as your own band name, and it turns out that project large and small have followed this trend. Read on below and let us know if we missed any!

Radiohead (Talking Heads)

It only seems to make seems in retrospect that a band as quirky and eccentric as Radiohead would take some part of its aesthetic from Talking Heads. The song of the same name talks about the difficulties and disruptions of communication, something that could be considered a leitmotif for Radiohead. The polka-flavored groove is unconventional yet still catchy, yet another thing that Radiohead seems to play to in their songwriting.

Moving Mountains (Thrice)

Moving Mountains (the band) formed around the time Thrice released this song, so arguably less time passed – but it’s hard to overstate how important Thrice has been as an influence for a hoard of post-hardcore and experimental indie groups alike, so there’s a good chance the back discography had played a fair influence for Moving Mountains’ musical development. Take the incredible duality of ambience and intensity on Waves, and then go listen to Vheissu and Fire. Thrice might not have done the same things in the same proportions, and Moving Mountains certainly innovated, but it should not be surprising that Thrice might show up on the group’s inspirations.

Fepeste (Watashi Wa)

What does a seven-minute pop-punk song have to do with a theologically-rich surf-tinged project based out of Colorado? I’m not fully sure, other than perhaps Fepeste’s coastal roots and the specific nostalgia that would accompany a song from 1999. Either way, Watashi Wa has since evolved quite a bit without losing their energy, and Fepeste has also morphed between albums, starting with a more folksy approach during a season of grieving into a more full and lush sound on the latest record.

This Armistice (The Receiving End of Sirens)

This Armistice is a sadly-defunct melodic post-hardcore band who likewise borrowed their name from one of the most quintessential TREOS songs. While This Armistice opted for perhaps a lighter and more melodic approach in their songwriting, the two bands certainly deserve a cross-sectional audience. Unfortunately, both projects are no more – but the lasting impact of this era of post-hardcore is hard to deny.

Whale Bones (Secret & Whisper)

The eclectic stylings of Indiana-based Whale Bones range from experimental folk to ferocious post-hardcore. The project’s namesake song occupies a similarly-technical space of driving dynamics and fascinating riffs. It’s not hard to see how Secret & Whisper has influenced the intricate flavors of Whale Bones’ discography.

Retina Sky (Idiot Pilot)

Chicago-based Retina Sky might not at first glance sound quite like the track they borrow their name from, but there’s something raw and complex with their prog and shoegaze arrangements that might certainly make Daniel Anderson of Idiot Pilot proud. “Retina and the Sky” continues to be Idiot Pilot’s most streamed song, and it harnesses the mid-00s alternative sound to incredible effect. Retina Sky gives a nod to this base structure while layering things off with their own take on shoegaze revival.

Scary Kids Scaring Kids (Cap’n Jazz)

The Kinsella brothers are essentially household names for Midwest music at this point, but this influence goes as far back as their earliest projects. Scary Kids Scaring Kids was never so angular or experimental as Cap’n Jazz, but their six-piece lineup allowed them to craft frenetic and impassioned post-hardcore framed with theatrical edges. Interestingly to note, Scary Kids Scaring Kids is still active, albeit with a more commercial rock sound.

The Story So Far (New Found Glory)

Pop-punk sometimes is unfairly treated as a genre of clichés and derivatives, but there’s also a powerful common spirit in the scene as well. The connection between The Story So Far and New Found Glory is not too surprising once you recognize it, and both bands have left their own successful legacies behind them.