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Every Album by Every Time I Die Ranked
10Every Time I Die
Last Night in Town

The sound of a band completely unhinged and left to their own devices. When it works, it works. Some cool ideas and signs of greatness are littered about, but ultimately, "Last Night" is too scatterbrained to make any sort of lasting impact. It is widely-accepted that ETID is a band that only got better with each release. Although this ranking is not chronological, I pretty much agree with this statement. And naturally, the first is the worst.
9Every Time I Die
Gutter Phenomenon

A tide shifted after the success of "Hot Damn!" as ETID found themselves being copied by groups attempting to meld breakdown-laden hardcore with infectious melodies. In order to alienate themselves from their own clones, the band gambles on making what is essentially a "pop" record. With more clean-sung choruses and a fixation on melody, they take a risk that pays off remarkably well. But even with the poetic lyrics from Keith Buckley, the band fails to say anything of real value, with the exception of "The New Black," a perfectly-balanced dose of southern riffage and metalcore--a mix that arguably should not work as well as it does here.
8Every Time I Die
Ex Lives

I think this is a fantastic ETID record, and when it came out, it was my everything. But there is a fatal flaw in its construction, and that’s Joe Barresi’s production. While there’s some neat tricks like the powerful drone at the end of “Low Road” leading into the slow-rocking “Revival Mode,” and the last trio of tracks linking together to form an epic, three-part finale, by and large, the mixing sounds flat, which is criminal for a band as dynamic and demolishing as this.
7Every Time I Die
Hot Damn!

Buffing out the amateur hijinks in favor of tighter songwriting and melody, the boys double-down on their southern-fried rock roots to create a genre-bending, full frontal assault that replaces their early chaos with straight-up, groovy RIFFS! There was nothing like it at the time and the same is true today.
6Every Time I Die
New Junk Aesthetic

With a newly refined sound, a new record label, and Steve Evetts returning as engineer, ETID create their most apocalyptically heavy and cataclysmically catchy album by this point in their career. It has been explained by Keith Buckley that he does not relate to any of the material on this record, and that during this time, he simply “didn’t care about anything or anyone,” and that sentiment is felt greatly by the dark, oppressive nature of the lyrics (i.e. “White Smoke,” “Who Invited the Russian Soldiers?”). Although there is fun to be had with tracks like “Wanderlust” and “The Sweet Life,” there is a dark cloud hanging over this record that is inescapable, and it is largely the appeal of this album for some.
5Every Time I Die
From Parts Unknown

A match made in metalcore heaven: Kurt Ballou and Every Time I Die. I have nothing but praises for FPU. It’s incredible that Keith, who suffered laryngitis during the recording, managed to finish all his vocal duties in the span of one day, and the result is nothing short of excellent. Even after 16 years, the band is still able to take creative risks, like the piano in the punishing “Moor” and the hypnotic final minutes of “El Dorado,” while retaining their signature, southern-tinged sound. If there’s one criticism to be made, it’s that the band at times sounds like Converge with Keith doing guest vocals.
4Every Time I Die
Low Teens

At the epicenter of this brooding, aurally dense hardcore album is a deep tragedy whose seismic waves permeate throughout "Low Teens'" 43-minute runtime. And it's this tragedy that removes any semblance of humor or wit that lyricist Keith Buckley is known for, and the rest of the band follow suit in creating a seriously heavy-yet-groovy hardcore anecdote of the emotional damage it wrought. As ETID's first collaboration with Will Putney, it's another match made in metalcore heaven, however, it wouldn't be for another 4 years when they reunite that this collaboration's true potential would be revealed.
3Every Time I Die
The Big Dirty

Why #2? Actually, you'd be surprised to hear this was #1 for me for a long while. The sound that ETID pioneered with "Hot Damn!" then tinkered with on "Gutter Phenomenon," has been tightly configured into a nearly perfect state. For every face-beating, knuckle-bleeding breakdown ("Cities and Years," "No Son of Mine"), there's a head-bopping, hard-rocking earworm ("Rendez-Voodoo," "INRIhab"). The balance found on "The New Black" is given a one-up by the ultimate party anthem, "We'rewolf," which manages the surprising feat of being catchier and heavier than its predecessor (with more cowbell!). Whereas record producer Machine's work on "Gutter" made songs feel like just that--machinated--Steve Evetts ensures that every genre-warping track on "Dirty" sounds organic and aggressively raw, yet polished.
2Every Time I Die

To pull from "Last Night in Town's" description, "it is widely-accepted that ETID are a band that only got better with each release," and like a wine stored in a cool, damp basement for more than 20 years, the Boys From Buffalo manage to emerge with their most brilliantly-imagined release of their career. The guitar-wielding duo of Jordan and Andy create a plethora of face-meltingly badass riffage that never fails to make me shake my head in disbelief. Bassist Steve Micciche reveals his songwriting talents for a handful of tracks including the destructively dynamic "Colossal Wreck," while Newest member Clayton "Goose" Holyoak proves himself to be ETID's finest drummer to date--an impressive feat considering that Underoath legend Daniel Davidson once heralded that throne. (1/2)
1Every Time I Die

And Keith Buckley, never failing to be one of the generation's best lyricists, touches on several topics including the world at large ("Planet Shit," "Desperate Pleasures"), his devastating divorce ("Hostile Architecture," "We Go Together"), among other personal demons ("sexsexsex"), and delivers these lines in his rawest, angriest form, while at the same time putting on display some of his finest melodies on tracks like "White Void" and "People Verses," as well as the surprsingly delicate "Thing With Feathers," a tribute to his dearly departed sister, Jaclyn. What "Radical" delivers is an amalgamation of ETID's finest works, taking pieces from every era and consolidating them into a 52-minute behemoth. And all this wouldn't have been possible without the genius of Will Putney, who pieced together this gigantic jigsaw with painstaking precision. (2/2)
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