One of the more memorable bands to have come from the 2010s (even though they started just prior to 2010, but whatever.) is Touchè Amorè. They’re also one of the most annoying band names to type, so I’ll keep that to a minimum. Furthermore, the name is also difficult to get the pronunciation right. For me personally I didn’t get it right until 2019. I’ve been pronouncing it wrong longer than I’ve been pronouncing it correctly. I’m not even going to clarify the correct way to say it aloud, I’ll let you go out the same way I did on that for 8 or 9 years.
With that out of the way we can get into the reason you are here, the undeniably correct rankings of Touchè Amorè’s catalog – note this is just the official full-lengths in this list, not including any splits, singles, etc.
5. Is Survived By…(2013)
Why hello there “Loveless” inspired album art, we see you there. The blue is kinda cute. Kinda sets the tone even at a glance there. That’s right, you’re in for a fair amount of delay on the guitar with this one. It’s still a good album by all means, it’s just a lot like the album that came before it. Seemingly more of a focus on sweet jingly reverbed guitar and more of a dive towards the shoegaze side of the pool. Which makes sense because when this came out you were probably still listening to a lot of Title Fight and there was a bit of that going around back then. For a third album, they’ve at least shown consistency.
Play It Again: “Anyone/Anything”
Skip It: “Non Fiction”
4. To The Beat Of A Dead Horse/ Dead Horse X (2009/2019)
This one kinda breaks the rules, but not really. “Dead Horse” was the band’s first full-length debut back in the ancient days of 2009 when you were starting to realize you didn’t quite fit into your tight pants anymore. In the more recent but still distant past of 2019, the band decided to give the album one big birthday party and re-recorded the entire thing and called it “Dead Horse X.” It’s kinda like when they remastered the first few Resident Evil games, really. This album is pretty cool, even if the smell of debut full-length clings to it. The bass is way more thumpy and prominent than anything else they’ve released, so that really stands out about it overall. Besides that, you can really tell the seeds of something cool are planted, but there’s still something missing. (The secret ingredient is that special shoegazey sauce becoming spicier on everything else they do.)
Play It Again: “Throwing Copper”
Skip It: “Suckerfish”
3. Stage Four (2016)
Do you ever get this feeling like you want to be helpful to someone? Like you’d rather be the shoulder to cry on for a change and be that person for someone? Well here’s a real treat of an album for you. Next time that feeling hits you don’t bother reaching out to see if everyone is okay or if anyone needs to talk. Everyone is fine. But right now you need to sit down and listen to everything the lead singer of Touchè Amorè has to get out. It’s gonna get intense at times, but it’s okay – you’ve got this. Luckily you’re there for him and everything is going to be okay. This album is particularly filled with the saddies, so I don’t recommend playing it at parties or near any kind of vulnerable person. But on top of all that, how about some post-rock vibes, huh? That makes it a lot easier to process the painful gut-punching lyrics being shouted at you and taking the air out of your lungs.
Play It Again: “New Halloween”
Skip It: “Skyscraper”
Honorable Mention: 10 Years / 1000 Shows: Live at the Regent Theater (2018)
This is the only one of these I’ll bother doing. Simply because part of what makes this band is their live show. They don’t hold back ever, all gas – no brakes. So might as well stick this in there because as far as live albums go, this is as good as the next good one. There are a lot of people on this recording who like to show off that they know all the words. They sound like they’re having fun, you’ll have about a 1/8th of the amount of fun they seem to be having by listening to this record.
2. Lament (2020)
More of anything? How about just more of everything? The most recent release from this band is quite the showcase of every tool in their belt. A lot of work went into this one, and it shows when you hear all 7 minutes of “Limelight” and crash right into that wall of sound. Not many albums out there have this many hooks you’ll involuntarily sing along to with a bubble in your throat while getting all teary-eyed. It’s real, it’s relatable, the guitar work is best described with a chef’s kiss. Upon first listen it might catch you completely off guard, strap you down to the arms of a chair and give you one big shot in the arm – OF EMOTION. I imagine since this one was released, pits at their shows have a fair amount of sobbing and everyone’s bottom lip is doing the quivering thing with tears in their eyes.
Play It Again: “Limelight”
Skip It: “Savoring”
1. Parting The Sea Between Brightness And Me (2011)
The second full length seems to be where the band collectively had some sort of “a-ha!” Or “eureka” moment and really figured things out. The opening track with a title being a weird little symbol “~” just jumps out at you from around the corner with an obnoxious “HEY, CHECK OUT THIS DOUBLE KICK!” And we all fall for it every time. Wanna clap? Well, you’re gonna. It’s there, and it works. If you’re looking for that sweet spot of sounding sad and angry, you’ll find it here. There was a lot of tough guy stuff coming out around this time, PTSBBAM really stood out because it’s more or less the opposite of that. To say there’s a lack of chest-thumping mentality here is an understatement. If nostalgia plays any factor, you’ll hear this and go back to the olden days of owning an iPhone 4. All of Touchè’s albums are individually great, but this one earns the badge of “Instant Classic”.
Play It Again: “Pathfinder”
Skip It: “Crutch”

Just calling this one an album is generous in pretty much every way. Seven songs in just over seven minutes is short even by Dwarves standards. And the fact that all of them just sound like someone threw a bunch of aluminum tubes down an elevator shaft doesn’t make for a good record, and barely passes for a low budget “we made it shitty on purpose” punk record.
The first album not to feature HeWhoCannotBeNamed on guitar after his brutal murder by stabbing, “Sugarfix” really shows the loss his influence has with the band. At the very least we can all be grateful that HeWho dramatically rose from the grave shortly thereafter to take over the role again like a guitar-shredding satanic christ – at which point, SubPop promptly told the entire band to “fuck right off.”
“Take Back the Night” listens like a “previously on…” recap for the last episode of a TV show that hasn’t been any good for three seasons now. It hits on a lot of Dwarves staples but none with enough depth or fresh perspective to leave any lasting impression. Ultimately it just makes the listener feel like the band would just make the jump to a feature length format already (that TV show analogy is still holding up, right?).
I was gonna kick this review off with something like “it sure is… a horror story… I mean this album… is a horror story… eh?” But besides that joke being beyond any semblance of stupid the truth is this album isn’t all that bad. It’s not good by any stretch, especially when the Dwarves have done the same thing better so many other times. But if you’re a hardcore Dwarves-head (fuck, I hope that isn’t actually a thing) then this album with probably make you smile.
Technically speaking, after twenty-five years of consistently putting out a diverse collection of albums, pretty much anything could be considered a return to form. All the same, “The Dwarves Are Born Again” births the band back to the early thrash umbilical cord they had long since cut themselves from. It may not have the same impact as those first records, but does what it sets out to do, and in this case that’s enough.
Listening to “Thank Heaven For Little Girls” has the same equivalent effect of taking a cattle prod jolt to the scrotum. It’s a quick burst of shock rock, intentional offense with no real subtext, but after it’s over you get to laugh and enjoy the experience like the low-rent “Jackass” crew of a person you are. No, THFLG isn’t gonna win any subtlety contests, but thank fuck for that because what the hell even is a “subtlety contest” – that sounds insane.
After a few years hiatus and a “greatest hits” record which omitted some of the band’s best material, the Dwarves came back with incredibly creatively sprawling and energetically fierce “Must Die.” It ended up becoming the last album they would release for nearly eight years after. And while I’m glad it wasn’t, if “Must Die” turned out to be the final nail in the Dwarves dick-shaped coffin, I think I could have been alright with them going out like that.
With age can come great insight. And in the immortal words of Blag Dahlia, “We are the sluts of the USA, we are the sluts of the USA. And we can suck and we can fuck and we can bust a nut. We wouldn’t have it any other way.” The Dwarves may not have actually invented rock and roll, but as a band they certainly personify the spirit of the genre. And this album is a strong example of the energy and attitude that makes punk rock so compelling in the first place.
“Come Clean” is a weird album, and I totally get that some of you have already fled to the comments section to tell me what a jackass I am for ranking it this high. But much like the Dwarves when they recorded this album, I don’t give a fuck what you expect from me. It’s a bold choice for a band to spend years writing the most offensive shit they can think of (and believe me, there’s still plenty of that here), but then shift gears into what is basically angry dance-pop. And by that metric alone, “Come Clean” absolutely deserves the number three spot in this ranking.
SPIN magazine once called this record “the most offensive album ever made,” which is high praise when we’re talking about Dwarves albums. “Blood Guts & Pussy” is a thirteen-minute-long rail of cocaine that you don’t even realize you’ve done the whole thing until it’s three days later, you haven’t slept, and the garbled caterwauling of “Motherfucker” is still driving you to find another fix. You can be offended all you want at this record, but you can’t ever deny that it just plain fucking rocks
Perfection has never been anything the Dwarves strove to achieve – you could even make the argument that they actively fought against perfection for their entire career. But, well, “The Dwarves Are Young and Good Looking” is fucking perfect. It hits that sweet spot between the gnarled “fuck you!” that was “Blood Guts & Pussy” and the pop heavy danceability of “Come Clean.” It represents a band that is in its “we have the exact right amount of our shit together to make an amazing record but we still need a floor to crash on” phase of their existence. “The Dwarves Are Young and Good Looking” soundly solidifies that the band will, in truth, be young and good looking forever.
Wu-Tang listeners know that the boys from Shaolin like their king Fu movies. Their songs are littered with samples and references to the Wuxia genre but it is still jarring to hear the hidden track on their debut album where each member of the clan reads out their favorite Kung Fu movies with no backing beat or emotion in their voice.
Released a month before Lennon’s murder the album features a hidden acoustic track in which Lennon dares someone to shoot him. The song is notable in that Lennon seems to imply that he wants Ringo Starr to be the one that pulls the trigger with the lines “Ringo you were shit on the drums/come and murder me ya bum.”
The Fall’s fourth album contains one of the longest hidden tracks on this list as a listener will find if they wait two minutes after the end of the final track “And This Day” they’ll hear another complete album that The Fall recorded and forgot to release. Tenacious fans will also be rewarded if they wait for the hidden album to end as that also has a hidden track which is an album-length rant from Mark E. Smith about how much he hates Morrisey.
Known for taking their music literally (while recording 1970’s “Sunflower” they ate nothing but sunflowers), the Beach Boys hid a track on their classic album with the vocals and instrumental work all performed by their own pets. While the vocals and guitar work is pretty rough, the drumming by Brian Wilson’s pet cat Leary is some of the best ever recorded.
During the Watergate affair, it was revealed that Richard Nixon was recording most of the conversations happening in the Oval Office. Strangely when the tapes were listened to, there was a missing 18 minutes that people believe were wiped to protect the president. How fortuitous then that those 18 minutes were found nestled in the end of Taylor Swift’s cottagecore masterpiece, “Folklore.” And while they don’t have the usual catchiness of a Taylor Swift bop, they do show the leader of the free world engaged in high treason in a way that shakes the very foundations of the country to its core.
The soundtrack for horny pre-2000s teens, “Hooray for Boobies” featured the classic tracks The Bad Touch, I Hope You Die, and A Lap Dance Is So Much Better When the Stripper Is Crying. What listeners might not realize is that after the final track, there is a little treat for listeners in the form of a complete 39 hour long audiobook of Simone de Beauvoir’s masterpiece of feminist philosophy, “The Second Sex.”
Patience rewards the listeners of Morrissey’s 1988 solo album because if they wait for twelve minutes of silence after “Margaret on the Guillotine” they get to hear Morrissey order 8 cheeseburgers with everything before proceeding to eat them one by one seemingly in a state of transcendental ecstasy. While Morrissey has never commented on the track, he has been known to drool uncontrollably when asked about it in interviews.
If you wait a few seconds after the end of “All Within My Hands,” you’ll be asked by the record for your name. If you answer, the album will then serve you a lawsuit from Lars Ulrich for any number of crimes be in peer to peer file sharing, not enjoying the flat drumming style of the album, or enjoying that episode of “South Park” that made fun of him. You’ll then need to appear in court within ten days.
Famously not a fan of rock and roll, Michael Jackson did make an exception for Iowa natives Slipknot. On his 2001 album, Jackson hid a cover of “Wait and Bleed” that returns the frantic anger of the original while still adding a dance breakdown and a guest appearance by Chris Tucker.
Slipknot never shied away from declaring that the main influence on their music, outlook, and appearance is the post-disco stylings of the Jackson 5. It is fitting then that they hid a track on their second album dedicated not just to their love of the Jacksons but also their love and peace and understanding. Their version of “Heal the World” may contain eight thousand separate drums but the emotions stay true to the original.