Holy fucking shit! Some of you may not believe it when I tell you this, but yesterday I came upon the most talented street performer I have ever encountered. In my 47 years of life, much of which has involved walking down the street, never have I witnessed such a master of the sidewalk performance.
This guy was a downright genius. He played the sax with the affection of a gentle lover and sang with a voice full of sweetness yet the aching pain of a full life. I was so moved that I even considered reaching into my wallet to toss him a dollar. I didn’t. But I was close.
Now, before you come at me for being financially reckless, you have to take my word for it that this guy was a one-of-a-kind prodigy. If you had seen him, you would’ve almost bequeathed him a dollar too. And I can say that with confidence.
At one point, I even turned to the guy next to me and said, “This guy’s good!”
After that brief interaction I hushed up, careful not to disturb the performer in his element. But the guy was completely entranced by his own music, seeming not even to notice my fawning. It was almost as if he didn’t want to be paid, which makes me feel even better about my decision not top tip him.
Ultimately, I did not end up giving the performer money. Instead, I decided to pay him in the Lord’s currency: supportive smiles and nods. If he’s a real artist, which I’m sure he is based on his stellar performance, he should be more grateful for that anyway.
I also made sure to take down his Instagram handle so I could support him from afar. It was @AlvinSmith. Or wait, was it @CalvinSchmidt? Oh well, let’s not get hung up on the details. The important thing is this guy’s art made me feel something incredible, and for that I will always be grateful, privately and with no tangible benefit to him.
Okay, right off the bat, there has to be some ground rules. First and foremost: you can’t have TWO self-titled albums in your discography. It just can’t happen. The burden on fans when discussing an album and having to specify “The first self-titled or the second?” is just too great a cross to bear. Although, really the first and second self-titled albums should not be mentioned together, as 2009’s offering fell flat of the band’s true potential. KSE II is the last album with Howard Jones on the mic, and while his vocals are on point, there are no real standout songs or much else to write home about. It’s not that it’s bad, it’s just that the rest of their discography is so strong, so to the end of the list you go.
“Incarnate” is a fine album with some fine songs, if not a little cookie-cutter. The band has used the tried-and-true formula to much success, so eight albums in it’s not a surprise that some might start to blend together. Many attribute this album to singer Jesse Leach needing vocal cord surgery, as his performance is very ambitious (in a good way, it’s very good). If so, this album put one of our favorite singers out of commission, so we may forgive but we will never forget.
Killswitch’s most recent album sees more of a return to their roots. Fast riffs, heavy beats, melodic vocals, the works. The themes of depression and anxiety from Leach’s lyrics are laid out for all to hear, with inspiring messages of hope and camaraderie also prevalent throughout. Atonement also features one of the best KsE songs ever, as Howard and Jesse team up for a duet during a verse on “The Signal Fire,” making fans both old and new well up with happiness. Like when mommy and daddy divorce but stay good friends and have a great relationship for the kids.
Now this… this shit right here is a badass record. Very little fat on this bad boy. For my money, this album as a whole is Howard Jones best vocal performance in the band. The guy just has fuckin pipes man. Even the slower, ballad-y songs on “Daylight” rule. Also, “My Curse” is one of the most hauntingly beautiful songs ever written and a staple in their setlist, even after Leach took back over vocal duties in 2012. Just a sick band, right in the middle of their stride, making it look easy.
Depending on the day, this album and “As Daylight Dies” could probably swap places and no one would bat an eye. But right here, right now, this one gets the nod because of what it meant to the band and to the fans. Jones’ departure announcement due to health issues complicated by the band’s restless touring regimen placed genuine skepticism on the future of many people’s favorite riff purveyors. Imagine trying out to be the singer of a band, and your competition is the guy who wrote half their songs and has one of the best voices in the genre? “Disarm the Descent” is such an important piece of the band’s catalog as it signaled continuation through a third chapter with a familiar voice in Leach’s that screams from the very first note of opener “The Hell in Me.” Just nonstop bopping.
Listen, I know they may have some “metal ballads” and play big crowds and have barriers and shit, but Killswitch is a hardcore band deep in their veins. If any of these songs rear their ugly heads at a show, you should start fearing for your safety. It’s incredibly rare for a debut album to grab an entire genre by the balls, but the original Self-Titled turned metalcore on its ass and it hasn’t been the same since. The list of bands that would not exist without this record is endless.
As number two on the list was Killswitch’s biggest commercial success, odds are this is the album that most people associate the band with. However, just because it’s the most popular doesn’t mean it deserves any hate or gatekeeping. This album straight shreds. It was the first album with Howard singing, and he comes out guns blazing right from the get-go. It also is the first album to feature current drummer Justin Foley, who is nothing short of a monster behind the kit. It’s just banger after banger from start to finish, and showcases the best of what the band has come to be known for. It also helps that the cover art is legendarily recognizable. I mourn for those who never heard you.
One of the most important albums in our scene’s history. We made it through seven albums without once mentioning Adam D(utkiewicz), but clearly no article on Killswitch Engage can exist without paying homage to the musical genius of the Price is Right champion (true story). Dutkiewicz, a Berklee alum who has produced every Killswitch album, is the lovable class clown of the metal community. He did everything but play the triangle on what most consider to be a lynchpin in the progression of metalcore. This was the last album to feature him on drums, before he moved to his permanent fixture as guitarist (which he also did for AOJB). The one-two punch of Adam D and Joel Stroetzel on guitar, along with original bassist Mike D’Antonio’s contributions, coalesce to make one of the most perfect albums ever produced. When you include Leach’s vocals combined with lyrical themes that lean on positivity and acceptance (instead of fixating on the darkness), you start to wonder why any other band didn’t have this formula sooner. Both beautiful and brutal, if you happen to see the band play anything from this one live, bang your head and raise your fist.
10th place is actually a million-way tie between every song by City Lights, Hit the Lights, Set Your Goals, Knockout Kid, With The Punches, and about 95 other bands. That’s the beauty of Easycore. If you like one band, you like them all! Much like another often-dismissed genre that blends two genres that don’t usually go together: ska.
If you saw that one Taco Bell commercial, you definitely kinda know this band. While their newer stuff leans more straightforward pop punk, Meet Me @ The Altar’s “Model Citizen” EP, along with some of their pre-Fueled By Ramen YouTube stuff, dips into Easycore, showing what the genre sounds like in a post-Covid world. This band gets praise primarily for their vocals but the hidden gem of this band is the lead guitar, which is showcased on “Mapped Out.” Also, some people say they might be an industry plant. Don’t care, love the song.
The Wonder Years would go on to lead the Defend Pop Punk genre, but this is where you can hear their early influence on Easycore as well. The DIY production values show what Easycore sounds like in a band’s practice space. It works great for the vibe of the song and highlights the skillful songwriting and composition required to make a great Easycore song. It also shows exactly how little of a fuck you need to care about the lyrics.
Hilariously outdated title aside, Farewell was Epitaph’s power-pop band that incorporated elements of Easycore as early as 2007. However, Farewell rarely gets the credit they deserve for having an influence on a lot of the 2010 Easycore bands that rode the wave of the genre’s success. Over time, the genre as a whole got a lot more “easy” and a lot less “core” and Farewell helped lay out the blueprint for that at the very least.
The Sunrise Skater Kids (from Baltimore) are the satirical Pop-Punk/Easycore band from WarpedTuber Jarrod Alonge. The songs may be a joke, which is why this is only an honorable mention, but the music is incredible. Additionally, the lyrics to “Pit Warrior” are fucking hilarious. This song is a true work of satire, unlike the simpler parody route most comedy musicians go. But what would we know about satire? We’re just a music rankings website.
This song was Easycore’s “Jump the Shark” moment, which is particularly impressive since Easycore itself was already considered a shark-jumping genre. While many Easycore songs’ lyrics were comprised of mashed-up pop-punk tropes and themes, “In Friends We Trust” is a jumbled mix of very specific Easycore tropes and themes. The music video is a house show/party that combines a ton of stereotypes of punk shows and teen movies. It has an uncanny valley feel to it. The video has lots of things you could theoretically see at a show, but stuff you’ve never actually seen at a show in real life. Seriously, who the fuck wears the Scream mask to a show? Half of the Easycore scene in Paris, apparently.
If you’re into Easycore and you haven’t heard of “A Place in Time” then let us just say, you’re welcome. In the early 2010s, APIT released three EPs that are Easycore staples and even progress the genre a bit as Easycore was starting to become stagnant around this time. The band structures their songs like prog rock and they rarely repeat any part of their songs without making a variation, which is surprisingly perfect for Easycore despite the genre’s tradition of conventionally structured songs. A Place in Time is the perfect band for any Easycore diehards that missed them during their heyday. “Firehall” is about snakey local promoters and how they co-opt the scene for their own benefit. This is a departure from typical Easycore songs, which are usually about how many pop punk buzzwords you can fit into three and a half minutes.
The Story So Far is not an Easycore band. But they’re also not-not an Eascycore band. TSSF blends elements from a ton of genres to create their own unique sound. And, yes, one of those genres happens to be Easycore. They’re like the Streetlight Manifesto of the genre. This is the Easycore band for you if you like aspects of the genre but find it a little too, “Hey dudes are you ready to?” for your taste.
The version of “Hit or Miss” from NFG’s self-titled album is considered by many to be the original Easycore song. To the untrained ear, “Hit or Miss” sounds like any other early NFG song. It’s a jump-around pop-punk banger about being sad over a girl. That is until you get to the bridge and hear aggressive guitars, bouncy-yet-pounding drums, and a fucking sub-drop. The sub drop in pop punk and emo deserves its own list but in regards to Easycore, the moment these elements came together in “Hit or Miss,” a genre was born. And much like a newborn child, it didn’t do anything noteworthy for the next seven years.
Along with A Day to Remember, Four Year Strong are pioneers of the genre. They’re also one of the most popular bands in the world of Easycore, which is a pretty special feat as the top artists in most genres are rarely its early pioneers. Some people may be put off by Easycore’s clashing sounds and influences, but at the end of the day, the genre is all about well-written songs that are performed and produced masterfully. The genre holds a respect for its musical elders and fans will give an opportunity to any new band who put out quality music. It’s a rare and beautiful thing when art is rewarded based on merit, and this rarely occurs outside of ska.
This might be a perfect song. And not just a perfect Easycore song. Check out Alex Melton’s country version if you don’t believe me. “The Downfall of Us All” didn’t just dominate Easycore; it defined it. Plus, its mainstream crossover appeal was massive and brought a sense of legitimacy to the genre as a whole. Without this song, the genre doesn’t grow. Without this band, the genre doesn’t exist. Without ADTR, every Easycore show would just be Four Year Strong headlining, which FYS probably wouldn’t have minded. I hear 2nd sucks, especially when ADTR is closing.
“Ghost Stories” is The Lawrence Arms’ second album and the first to feature guitarist Chris McCaughan’s songwriting. While there’s no such thing as a bad TLA record, this one doesn’t always stack up against the rest very well. It has its moments where it shines, like on the only TLA song to be written and sung by drummer Neil Hennessy “106 South” and fan-favorite “Light Breathing (Me And Martha Plimpton In A Fancy Elevator).” Which is funny because I have a recurring nightmare of being stuck on a fancy elevator with Martha Plimpton, but it’s like a mutant Martha and the elevator is actually my middle school. Anyway, the blueprint is here for what the band will become, but it just feels a bit underdeveloped.
The Lawrence Arms’ first album shared many of the same issues as “Ghost Stories.” Which isn’t too surprising, considering they were both written and recorded within a few months of each other. This is the only Larry Limbs album where all the songwriting is done by bassist (
This is where the band really starts to find their footing. Kelly’s songwriting is far more developed, McCaughan begins to lean into his introspective style of songwriting that has since become essential to the band’s sound, and Hennessy’s drumming really begins to shine. While the songwriting feels much more diverse on this album than the previous ones, there still is an occasional feel of “sameness” while listening to the album in its entirety. But hey, maybe that just adds to the “Exhaustion” part of the album name. None of the songs are bad, but few stand out when put in the context of the album. This isn’t helped by the fact that “Your Gravest Words” and “Brick Wall Views,” while both good songs, share a very similar vocal melody for a good portion of their choruses, and only have one song between them in the tracklist.
This album has what psychologists should start referring to as “The Menzingers Effect.” That is to say, despite being 19 when I first heard it, it was already making me regret not having more fun in my 20s. While TLA lyrics aren’t exactly known for their uplifting and optimistic themes, this album takes an especially dark turn, dealing a lot with regret and pessimism for the future. That’s not to say it’s without its fair share of their typical humor. The song “Drunk Tweets” is everything you’d hope from a song with that title. Despite the 8 year gap from their last album to this one, the band proved that they not only hadn’t lost their footing, but still had plenty of room to evolve their sound while still remaining true to what makes The Lawrence Arms sound like The Lawrence Arms.
While compilation albums can’t be included in the main list, I’d be remiss not to mention the beloved “Cocktails & Dreams.” Despite being a B-sides and rarities album, the songs work so well together that it sounds like a studio album, so much so that new fans often think it is on first listen. While the length of the album does cause it to drag a bit at the end, it’s mostly solid all the way through and boasts many fan favorites, including but certainly not limited to “100 Resolutions” and “Quincentuple Your Money” which is not a song that helped me financially in any way. While there are a few songs that don’t offer anything that can’t be found elsewhere in TLA’s discography, the majority of them are must-listens for anyone who’s getting into this band for the first time, or for anyone who thinks they’re cool because they think “Oh! Calcutta!” is the only good TLA album. You’re not, and maybe hearing some of these songs will shut you up.
This album is the reason Fat Mike made a rule that he had to personally approve all album covers that were being released on Fat Wreck Chords, and that alone makes it pretty awesome. The other thing that makes it awesome is that this record finally gives you the dynamic that the band had been working on for a bit now. Kelly’s songs stay driving and punky, while McCaughan leans into his introspective side even more and delivers thoughtful melodies and lyrics that make you regret ending your last relationship. The back and forth between these styles keeps this album, which is loosely made a concept album through an overarching circus theme, chaotic and surprising in the best way possible.
Just like Cocktails & Dreams, I’d be remiss to not include “Buttsweat and Tears.” All five songs on this EP can be considered fan favorites, and “The Slowest Drink at the Saddest Bar on the Snowiest Day in the Greatest City” is one of their most popular songs, and for good reason.
If you’re not in the 49% of fans that are pissed at me for not putting “Greatest Story” at number one, then you’re probably in the 49% of fans that are pissed off at me for not putting this one at number one. If you’re in the other 2%, then you were probably pissed off at me long before either of those anyway. “Oh! Calcutta!” is a near-perfect album from start to finish. It shows off TLA’s high-energy side in a way they never had before and never have since. Rather than have Kelly and McCaughan take lead vocals on their own songs like in their other albums, most of the album is sung as a duet, which helps to further the energy they’re pouring into each song. Its biggest downfall is the production that lets Kelly’s bass lines and McCaughan’s vocals get a bit buried in the mix at points. Not the worst issue in the world, but when getting to the top 3 of one of the most consistently great bands in punk, you have to get a bit nit-picky.
Yeah, that’s right. “Skeleton Coast.” I mean, have you heard “Pigeons and Spies”? This album takes the dynamic that was fully realized in “Greatest Story” and perfects it in a way that makes the album incredibly cohesive while maintaining the dynamic between McCaughan and Kelly’s songs. The instrumentation is their best work yet, the lyrics are the perfect mix of introspective, witty, sarcastic, and the production serves to elevate the album’s well-executed overarching concept of isolation, which made for an unintentionally well-timed release right at the height of quarantine in 2020. This album packs so much imagery in its just-under-35-minute runtime that it feels like it’s just begging to be the soundtrack of a film adaptation to a Cormac McCarthy novel about the end of the world. They may have even been thinking of that while recording it.
