If you want to see an aging millennial cry, go beyond the traditional “You will never be able to afford a house even though you’re almost 40!” and just remind them that Rilo Kiley no longer exists. Barring a miracle, we won’t ever see the iconic Los Angeles indie band — a fixture of 2000s college radio and beyond — play live again. They broke up more than a decade ago, but it still hurts, huh? Also, they hold a special place in the hearts of ‘90s kids because Ronnie Pinskey from “Salute Your Shorts” was on guitar, the only thing that could make it better is if Donkey Lips played keyboards.
Good thing we’re here to rank every Rilo Kiley album! Let’s make that painful nostalgia either better or much worse, or at least temporarily distract you through violent disagreement.
5. Under the Blacklight (2007)
A lot of longtime fans reflexively hated this album for dumb reasons: It was on a big record label (the horror!), the band’s sound had veered into a more polished pop with danceable moments, and the outfits Jenny Lewis was wearing were “too short.” Guys, the lyrical theme and aesthetic were literally the seedy Las Vegas underworld. Also, women can wear whatever they want. Anyway, embrace the evolution — it’s still a solid album, especially the first half, which includes the very boppy (and sadly prescient) “Breakin’ Up.”
Play it again: “Silver Lining.” One of many Rilo Kiley songs that masterfully capture complex, confusing emotions and relationships. Is it a bitter song? Is it a triumphant song? Happy? Sad? It’s kind of everything!
Skip it: “Smoke Detector.” When the repetitive chorus gets stuck in your head for days on end, you will pray for the sweet deafening blast of an actual smoke detector.
4. Self-Titled (1999)
The famously rare debut album. For decades, the only version that many of us “owned” was cobbled together from low-bitrate mp3s circulated on fan sites. Do you feel old just reading that? Now anyone can just listen to the entire thing on Spotify whenever. Magic! Overall, this album still sounds like a debut. Which isn’t a bad thing. Later on, we’d see the band hone their sound, but the stylistic unevenness and extra-kooky metaphors on here are also fun. And luckily that lyrical rawness stuck around.
Play it again: “Papillon.” The coziest little duet. Stoned stream-of-consciousness with tons of fascinating references in the lyrics. For research purposes only, we confirmed alt.com is still a real website. There’s even a pre-“The Office” “that’s what she said.”
Skip it: “The Frug.” A little repetitive and (sorry) overrated.
Honorable Mention: Rkives (2013)
Compilations are usually throwaways in one of two categories: 1) Repackaged nothingness. Or 2) “Whoops, the whole band hates each other now, but we owe one more album in our contract.” This is the exception. We’ve got energetic rockers like “It’ll Get You There” and “Patiently,” the catchy “I Remember You,” and many other gems that deserved to be scooped up from the cutting-room floor. Maybe some band members weren’t on great terms at this point — just listen to those thinly veiled lyrical digs in their non-RK songs — but hey, we got a “new” album and they made more money. Everyone won.
Play it again: “Let Me Back In.” A live favorite finally got a proper recording release, complete with a music video featuring compiled vintage tour footage to mercilessly stab us right in our nostalgic hearts. Doing just fine over here, thanks!
Skip it: “A Town Called Luckey.” It gets dark. Real dark. Go back and listen later once you’ve refilled your SSRIs and resolved your childhood religious trauma, maybe.
3. Takeoffs and Landings (2001)
The era of 2001 to 2004 is known for some pretty bad things (low-rise jeans, 9/11, etc.). But it was a phenomenal time for the Rilo Kiley discography. All three albums from this chapter feature, in differing ratios, the band’s signature sound elements: guitar-driven rock, hushed twangy folk, pop, blip-bloop electronic weirdness, and vintage flourishes. This one tilts slightly more toward the folky and little offbeat instrumental bits, which might be more your thing and that’s valid. You will not convince me low-rise jeans (or 9/11, just for the record) are good, though.
Play it again: “Pictures of Success.” Experts say that if you’ve read this far, there’s a 63% chance you once put “I’m a modern girl/But I fold in half so easily” in your LiveJournal bio. Underrated additional gem of a line: “I’m not scared/but the bills keep changing colors.”
Skip it: “We’ll Never Sleep (God Knows We’ll Try).” Only the last beat. A tiny musical cliff with a missing final note that I’m sure is intentional, but we are sensitive folks over here! Modern girls folding in half, you know?
2. More Adventurous (2004)
Before you freak out because this very popular album, which features Rilo Kiley’s most well-known song “Portions for Foxes,” is not ranked number one, please keep in mind that one time at a show, Jenny Lewis personally handed me flowers from the stage. I’m pretty sure this means that we’re married and also that my all rankings are indisputably correct. Anyway, “More Adventurous” effortlessly covers everything from messy annoying romances to existential crises, with even more lush strings and brass sections chiming in. But not so polished and poppy that it upset the highly upsettable indie kids! Whew. Way to thread that needle!
Play it again: “Does He Love You?” As a pretentious MFA guy would say, the narrative. The character ambiguity. Maybe time to just put all our energy into manifesting a full-length movie someday based on this song. Hi, Netflix!
Skip it: None. Although “It’s a Hit” will probably bring up those weird nauseous “Haha yeah, remember when we thought George W. Bush was the worst president ever?” feelings.
1. The Execution of All Things (2002)
Just like how the closing track “Spectacular Views” says “There are no bad words for the coast today,” there are no bad words to say about this album. The lyrics crash into your soul like those ocean waves, built on restrained slow builds, delicate verses, big shouting choruses, and beautifully layered arrangements. It all hits as hard in adulthood as it did when we were confused teens and college kids. You might even still consider tattooing an entire song etched across your back even though that sounds like it’d hurt a lot. But not as much as the fact that the band no longer … never mind, we’ve done that one enough at this point and we’re all sobbing already.
Play it again: The absolutely anthemic “A Better Son/Daughter.” And then again because you still can’t get out of bed. Go ahead, as many times as you need.
Skip it: None, this is an album album. That means you gotta play the whole thing from start to finish, especially so you don’t miss the hidden waltz subplot stitched together between tracks. No shuffle. You can do it.

“iF YOu do n0t PaId us we Wil send VIdEo to Everys enerGy,.. USer in AMeRic?a Yuo NaughtY boY”
“The biggest threat, the best threat, huge.”
Or should we say, comrades? LOL, love you Russia! xoxoxo😘😘😘
“They really should make “off” the default.”
“MOVE it along, nothing to see here.”
This could compromise America’s ability to “unleash the beast” in the event of an emergency.
Lock your doors, get a gun, and make your peace with God.
They may actually be better now.
“In 800 feet, in Soviet Russia, left turns you?”
“Or the Chinese, but not Russians!”
“We don’t know why “load size” is such a selling point but all in all this is exciting news for the Department of Energy.”
The natural progression of the nu-metal fan in 2011 was to blossom into a dubstep fan. This album marks that evolution in the most sonically abusive way. It is an attack on every single one of the senses, from the opening gut punch of “Chaos Lives in Everything” to the closing nut kick of “Tension.” That being said, this album was hugely important to closeted teenage lesbians looking for something to talk to their cover-up boyfriend about. And for that, I am thankful.
Ah yes, the album that makes us all wonder, “Did we miss a Korn 2?” The nod to the band’s self-titled debut only succeeds in making us remember how much better that album was than this one. There is an aggression lacking in this album that makes songs like “Move On” and “Pop a Pill” sound more corny than Korn-y. Much like everything about 2010, it is easily forgettable and not really noteworthy.
The wet blanket of Korn albums, lacking depth and bagpipes in a way that is seriously missed. It doesn’t even have a creepy child on the cover. To top it off, each song just sounds like a different version of the last and don’t carry the same weighty anger that Korn fans feed off of.
This album acts as a solemn farewell to the ‘90s. By this release, Korn had established their sound and fans knew what to expect. And this album does nothing to challenge those expectations or anything else really. If you asked ChatGPT to make a Korn album, it would probably sound something like this. It is undoubtedly an album by Korn, there is just nothing overtly exciting about it.
Coming off the back of “The Path of Totality,” Korn had everything to prove with this album. And they fuckin’ deliver. Seeing the welcome return of guitarist Head, this album was like a refreshing Mountain Dew at the end of a long hard shift at GameStop. Funky and heavy in all the right places, drummer Ray Luzier finally has a chance to show off his skills on songs that don’t suck.
Although not a studio release and therefore not part of the official ranking, it would be cruel not to mention Korn’s “Unplugged” recording. Someone at MTV decided to take the risk of seeing if nu-metal would sound good acoustically. This should have been a fireable offense, but somehow it kind of worked. This album also gave us one of the greatest mashups of all time as The Cure joined the band to play a mix of Korn’s “Make Me Bad” and their own “In Between Days”. It also gave us the chance to hear the opening of “Blind” being played on a set of bongos. Golden.
A gorgeous, filthy, sludgy record that feels heavier than the weight of your car loan on your shoulders. Feels like being stuck in a landslide down a mountainside and hitting multiple rocks and branches on the way down – but in a good way. So the album title is apt.
One of the heaviest-sounding Korn albums, what it lacks in lyrical substance it makes up for in crash cymbals. A nice amount of screaming from JD on this one that acts as a perfect soundtrack to smashing the shit out of your sister’s doll collection. Not too good for much else besides that.
Korn’s most recent offering comes off as if it could be some songs that didn’t make the cut for their previous album The Nothing. The sound is right but none of them quite hit the same. The shortest of all Korn albums, it ends rather abruptly and unsatisfyingly. Much like a night spent with any Korn fan.
Not as sludgy as some of their records, not as cookie-cutter radio-friendly as others. See You on the Other Side straddles that line like Jonathan Davis straddles his weird metal alien mic stand. Also, this is the last album to feature David Silveria as drummer and he leaves us with a pounding echo of technicality.
The ultimate “fuck you” to stepdads everywhere, Follow the Leader is the Kornest Korn album there is, with tight guitars, loose bass, punchy drums, a major hip-hop influence, and plenty of spit. It is also the only Korn album that has an Ice Cube feature. And the weirdest love/hate duet with Fred Durst. Credit where it’s due, Jonathan Davis is a guy that understands that sometimes you get so angry the only thing you can do about it is scat.
The crème de la Korn – Issues is your favorite artist’s favorite Korn album. Starting off with bagpipes droning, you know you’re in for a treat from the get-go. And the treats just keep coming throughout the album. Delicious. Side note: The album artwork that has graced so many bootleg t-shirts and sweaty upper arms since was the winner of a contest held by MTV.
Straight in, no kissing with some growling scatting and it only gets better from there. Munky and Head’s guitars shred and twist while Fieldy’s grinding bass keeps you pumped. David Silveria’s tight snares feel like a welcome smack on the ass on each track. This album single-handedly made tracksuits the sexiest clothes on earth by bringing us A.D.I.D.A.S.
More bagpipes!!! More bass strings!!! More singing through gritted teeth about the abhorrent reality of human life!!! The Nothing came to remind us that Korn are and always will be the masters of nu metal. This album makes that seem like something to be proud of. It’s melodic and polished while still angry, loud, and full of misery in the best possible way. This is their modern masterpiece – exactly how a mature Korn record should sound.
There is no way this couldn’t be number one. Korn’s debut is the best record in their repertoire. Every song on this album is a gut-punching furious fist of emotion that hits harder than the last. It’s fast, it’s hard, it’s loud. It’s perfect. And if you’re being honest it was probably your introduction to heavier music, but you are going to pretend to be too cool to admit that aren’t you?