Ah yes, Killswitch Engage. The rooster’s crow of the metalcore world. The band you can set your watch to. Every few years they’re gonna put out an album, and it’s gonna be good. It’s gonna have riffs out ya ass, it’s gonna have some tasty bridge licks, solos, double bass, cleans/screams, you name it. They’re your local diner’s cup of coffee, or your favorite battle vest. Tried, true, familiar. You know what you’re getting, and you’d order it every time.
We will not be entertaining any Jesse vs. Howard arguments or drama; the band has kicked ass for almost 25 years with both on vocal duty. If you feel strongly one way or the other, we kindly invite you to shut the fuck up and read the lyrics.
8. Self-Titled (2009)
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.
Play it again: “Reckoning”
Skip it: “The Forgotten”
7. Incarnate (2016)
“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.
Play it again: “Alone I Stand”
Skip it: “Just Let Go”
6. Atonement (2019)
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.
Play it again: “The Signal Fire (feat. Howard Jones)”
Skip it: ‘The Dreamer”
5. As Daylight Dies (2006)
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.
Play it again: “This is Absolution”
Skip it: “Desperate Times”
4. Disarm the Descent (2013)
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.
Play it again: “Beyond the Flames”
Skip it: “You Don’t Bleed For Me”
3. Self-Titled (2000)
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.
Play it again: “In the Unblind”
Skip it: “Prelude” I guess? Actually don’t do that… it sets up Soilborn perfectly. You can skip “One Last Sunset” though.
2. The End of Heartache (2004)
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.
Play it again: “The End of Heartache”
Skip it: No
1. Alive or Just Breathing (2002)
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.
Play it again: The whole fuckin thing. Seriously, there is not one skippable track.
Skip it: The gatekeeping of metal. To pass judgment, judgment will be passed upon you.