Epitaph Records: 35 Essential Tracks

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essential Epitaph Records tracks Bouncing SoulsThe Bouncing Souls – “So Jersey”
from The Gold Record (2006)

Often lost in the discussion of hard-working New Jersey rock both mainstream (Bon Jovi, Bruuuuuuce) and underground (Dillinger Escape Plan, Titus Andronicus), the energetic Bouncing Souls have embraced pop-punk and hinted at emo since 1987. On their last stint with Epitaph between stretches of work released on their own Chunksaah label, Greg Attonito, Pete Steinkopf, Bryan Kienlen and Michael McDermott assembled The Gold Record as a collective love letter to their home state and their lives in it. This second track on the album is the Cliff’s Notes version, mirroring the escapism of “Born to Run”—complete with car imagery and a female companion/accomplice—but trading in Springsteen’s desperation for hope, optimism, and a “thanks for everything, Jersey.” – AB


essential Epitaph Records tracks BusdriverBusdriver – “Kill Your Employer (Recreational Paranoia is the Sport of Now)”
from Roadkillovercoat (2006)

The son of the screenwriter of Krush Groove, Regan Farquhar is part of a rare breed of rappers who channel the spirit of commercial actor John Moschitta, Jr., the lightning-fast talker who famously pitched FedEx delivery and Micro Machines toys in the 1980s. Busdriver’s message in this track, however, cuts through the blizzard of syllables loud and clear. He’s as ready as the next guy to champion a cause, but he tires quickly of over-the-top, holier-than-thou activism that’s just for show or creates a new problem in place of the one trying to be solved. Against the squishy beats of Boom Bip, Busdriver predates and predicts a perceived backlash against hipsters and millennials. – AB


essential Epitaph Records tracks The CoupThe Coup – “We Are the Ones”
from Pick a Bigger Weapon (2006)

It made perfect sense for The Coup—a politically-charged hip-hop outfit that married the social commentary of Public Enemy with the booty-shaking funk of Parliament—to eventually land on Epitaph. They don’t sound like a punk band, but believe us, they’re punk. But they’re also funk: DJ Pam the Funkstress lays down some satisfyingly fat beats as Boots Riley paints a pretty bleak picture about the drug game, society turning its back on black communities and, more cathartically, the group’s mission statement to smash an oppressive system. Riley balances some heavy topics with a lighthearted delivery, but ultimately what makes this song so compelling is how forceful it is in extending a finger to the capitalist system: “It’s your disgrace/Smash up the place/That’s just polite.” — JT


essential Epitaph records tracks Frank TurnerFrank Turner – “Long Live the Queen”
from Love Ire & Song (2008)

Frank Turner works off his point of view’s flammable lack of balance between acerbic protest and forthright confession. The high temper he uses in his modified folk-rock is unusually risky, and some might be put off by his unaltered declarations of truth. I’m not one of those people; there’s something about Turner’s absolute fidelity that cuts straight through all defenses. Plenty of songs from his second album Love, Ire & Song are worthy of this list, but it’s almost impossible not to choke up over this directly phrased, fervently sung epitaph for a dying partner in crime. “Long Live the Queen” ties the tough front of a streetwise clan together with the unthinkable subtraction of one of its most resilient members, and it’s mournful and jubilant, exactly as its subject wants her survivors to be. — PP


essential Epitaph Records tracks Every Time I DieEvery Time I Die – “Roman Holiday”
from New Junk Aesthetic (2009)

For my money, there is one truly great Epitaph album, and then a handful of good ones. New Junk Aesthetic is so clearly the crown jewel in the Epitaph lineup of albums, in scope, in execution, in fierce brevity. Every Time I Die was always walking the path towards a great album, and on their Epitaph debut, the Buckley brothers were as sharp as they’d ever been. The album kicks off with the cinematic and heavy standout “Roman Holiday,” a high point from which they never look back. This is an already fearless band at its most free, with no restrictions, and still feels fun—from this track on to the close of the album, New Junk Aesthetic feels like it could be played at any party and still turn a few tables over. What Epitaph has done at its best, more than any other label, is let a band be itself. Given that breathing room, Every Time I Die thrived, and showed one of our greatest hardcore bands what they were capable of. – HA


essential Epitaph Records tracks ThursdayThursday – “Last Call”
from Common Existence (2009)

Thursday are often pigeonholed into the category of dramatic emo-core. And, sure, they certainly fit that description with a certain amount of frequency. But a quick glance at the band’s other credentials reveals a line up of talented and rather deep musicians. (Geoff Rickly’s tenure with innovative/satirical powerviolence group United Nations alone earns the man some major kudos.) “Last Call” finds the band on their fifth LP, and ready to kick some ass. Between its heavy, progressive composition and its striking performance, it’s as stirring a piece as any other in their catalog. Its lyrics dig into intellectual territory, as Rickly is known to do, examining the way we tend to bury our grander expectations in brief moments of pleasure, from weddings to bar crawls to religious gatherings. He exerts that this is the last time he’s pushing for a “Last Call,” but one gets the feeling this isn’t the first time he’s made that claim. – ATB


essential Epitaph records tracksRetox – “Congratulations, You Are Good Enough”
from YPLL (2013)

Retox was originally envisioned as a continuation of the schizophrenic styling of hardcore that supergroup Head Wound City crafted on their sole EP. So it made sense to feature a song that found the band (comprised of, at this time, The Locust’s Justin Pearson, Brian Evans and Michael Crain) most closely resembling HWC’s most glorious moments. This is due, in part, to a guest spot by Yeah Yeah Yeahs guitarist Nick Zinner, whose layered noise helped define that EP’s sound. The result here is “Congratulations, You’re Good Enough,” a solid minute-and-a-half of crunchy, mathematically complex punk smoothed over by a deceptively catchy melody. It’s quick, it’s brutal, but goddamn if it’s not just as fun. – ATB


Joyce Manor Never Hungover AgainJoyce Manor – “Heart Tattoo”
from Never Hungover Again (2014)

It’s easy to look back on pop-punk with a sense of remorse. After all, for every really stellar act, there were at least 100 copycats whining about their problems without a drop of creativity or charisma. But Joyce Manor are here to remind us what made us love the genre in the first place. Earnest lyrics, wheezed vocals, sugar-coated melodies and pogo-friendly rhythm sections all make notable appearances on “Heart Tattoo.” But what separates Joyce Manor from less impressive revival acts is their Johnny Marr-influenced guitar work and their tight, no-fussin-around delivery. “Heart Tattoo” is earnest to a fault, almost to the point of silliness. But it wears that quality like a badge of honor. As the song says: “I know that it looks bad/ but it’s the only one I have” – ATB


The Menzingers Rented WorldThe Menzingers – “I Don’t Wanna Be An Asshole Anymore”
from Rented World (2014)

As I said of Rancid elsewhere on this list, there’s no real harm in biting a style if it’s done out of love, and with enough of the biter’s own spin on it. The Menzingers aren’t really doing anything that Dillinger Four haven’t (or Bouncing Souls before them), but they do it quite well and with better melodies. “I Don’t Wanna Be An Asshole Anymore” is basically “My Lover’s Prayer” for earnest, lovelorn punks, a romp through the regrets every decent person has when they’ve hurt the one they love and want to do better. The song doesn’t render a verdict on whether or not that second chance is possible, but it makes you like to think that it is. – LG


essential Epitaph records tracks DesaparecidosDesaparecidos – “Backsell”
from Payola (2015)

A fitting way to round-out a list highlighting a quality, artist-supporting label, Desaparecidos’ “Backsell” points a finger at corrupt labels and other folks hell-bent on treating music purely as a business. A choice cut from the band’s sophomore album Payola (which follows 2002’s Read Music/Speak Spanish), it showcases the band’s melodic punk and benefited from singer Conor Oberst’s growing ability to right a solid, to-the-point rock track. The song itself references conversations with Elliott Smith and Spoon’s Britt Daniel and name-drops a few labels that Oberst has less-than-lofty opinions about. Between his career with Bright Eyes and his run with Desaparecidos and a handful of other projects, Oberst has had plenty of time to rack up a shit-list on the music industry. “Backsell” is where he airs his dirty laundry out. It stinks, but that doesn’t mean it can’t sound riveting at the same time. – ATB

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