Ranking Strung Out’s 10 Albums
What happens when you mix 90s melodic punk with metal technical prowess? In the best-case scenario, you get a band like Strung Out. A group that was able to establish their very own unique signature sound in the early 1990s while still being able to show growth and maturity up into the present. Their style has been inspiring artists since the 90s and continues to inspire future bands by challenging them to rethink the technical landscape of what is considered “punk” music.
The band was originally formed in 1989 by Jason Cruz (vocals), Rob Ramos (guitar), Jim Cherry (bass), and Adam Austin (drums). While Cruz and Ramos have continued to be with the band throughout their existence, Austin was only with the band in the very beginning as drummer extraordinaire Jordan Burns eventually took over. He has played on all of their releases up until Songs of Armor and Rebellion (which was RJ Shankle). Jake Kiley joined on guitar shortly after Burns and has remained with the band since. Daniel Blume has recently taken over drum duties and performed on the band’s latest.
Jim Cherry also only remained with the band through their first 3 records, before being replaced by Chris Aiken. Cherry was a crucial part of the band throughout their beginning years — writing some of their most popular songs during this time and giving the band a noticeably different style through the beginning 10-ish years. Cherry was also the driving force behind the band’s early success as he convinced Fat Mike to sign them to Fat Wreck Chords by promising to carpet his apartment. Besides Strung Out, Cherry also helped form fellow Californian punk band Pulley (with Burns) and eventually formed Zero Down, where he was not only a songwriter and guitarist but also the lead singer. Unfortunately, Zero Down only released one album due to the untimely death of Cherry in 2002 from a congenital heart condition.
Strung Out has played a particularly important role in my own musical life as they were one of the bands to really introduce me to the punk scene, and their musicality encouraged me to learn to play the guitar to try and replicate their intricate playing style. I would say unquestionably that Strung Out is one of my all-time favourite bands and because of that, this ranking was particularly difficult as it sounds wrong to ever place “worst” next to any of their albums. So, for this ranking, think of it more as “least best” to “most best”, rather than just worst to best.
As usual, the rankings were done after (re)listening to the albums several times over an approximate 2 month period. I have already listened to these albums countless times in the past but never tried to rank them against each other before. As far as I can tell, this is the best ranking I could come up with.
10. Dead Rebellion (2024)
Back again with a new drummer, Strung Out have released another album of their special brew of metallic, technical-based punk. Although it’s touted as a new direction for the band, Dead Rebellion doesn’t differ that much from their past 20 years of material.
Now, I can’t really talk about this album without first addressing the elephant in the room. Dead Rebellion is, fairly objectively, not a well-produced record. There’s essentially no existing low-end (meaning you’ll often wonder where the bass guitar is). The guitars are very thin and lack a needed punch. Jason’s vocals are frequently turned up far too much in the mix, drowning out everything else, and the drums sound quite lifeless and almost digital (possibly because of an overuse of triggers).
Outside of the production, how are the songs themselves? They’re pretty damn good. No, they’re not the best the band has put out and maybe there aren’t as many memorable riffs or solos as before, but the core of what makes Strung Out one of the best is still mostly intact.
“Future Ghosts” starts the album off on a sort of dark, dystopian theme, while “Signal Fires” has that type of pump-your-fists energy that you know will go over well in a live show. “Cages” has a powerful anger to it which highlights how great Strung Out is when Cruz is throwing his whole self into a track.
The album tosses in a few mid-tempo songs with “Life You Bleed” and “Empire Down” to help even out the general pace and while they’re not the record’s strongest points, I do think they help to add some needed variety.
Dead Rebellion arguably reaches its peak right at the end with the trio of “Veronica’s Song”, “Dystopian Party Bus”, and “Plastic Skeletons”. All 3 feature some of the best riffs on the record and are just great songs in general (even if “Plastic Skeletons” ends so weirdly and abruptly that it sounds like a mistake).
Now, I’d be remiss if I didn’t mention the drumming a bit more. Newcomer Daniel Blume, while clearly a capable drummer, sounds far too much like a hired talent — playing the beats but lacking any flair or personality in style. Strung Out has famously had excellent drumming, mostly with Jordan Burns, one of the best and most creative drummers in the punk scene, and a one-off with RJ Shankle (who also did a solid job), so it’s hard not to feel underwhelmed with the percussion here.
Overall, the album has some really good songs, but it doesn’t offer anything particularly new for the band, and the paper-thin production kills a lot of the potential. Get this thing remixed and remastered (and maybe change the sequencing), and it could be a lot better.
Recommended Tracks: Dystopian Party Bus / Signal Fires / Cages
9. Suburban Teenage Wasteland Blues (1995)
Strung Out’s sophomore album is what a lot of fans consider to be their best. With that in mind, how could I possibly rank it so low?
What I’ll say is this, as far as terrific, fast, skatepunk records go, Suburban Teenage Wasteland Blues is one of the best, but it’s just not that good of a Strung Out record. In fact, if it wasn’t for the blisteringly amazing “Bring Out Your Dead”, I’d place this dead last.
This is an album that consistently sacrifices melody for speed. For some that’s fine, even preferable, but I find that you lose the most crucial aspect of what makes Strung Out one of the best bands around — their technical, metal-infused riffs, melodies, and soloing.
To keep up with the album’s fast-tempoed approach, Jason’s vocals often comes across like he’s simply struggling to keep pace rather than focusing on the type of melody and skills he has become known for. There are still elements of his terrific style, but much of it is lost.
As stated earlier, “Bring Out Your Dead” really saves this album. It’s one of the best songs the band has written. It’s a track that clearly displays the dark lyricism and anger the band has become synonymous with, as well as featuring an incredibly memorable riff and killer solo. This song is peak Strung Out.
There’s obviously other stand out tracks like the melodic “Somnombulance” with its rare steadied pace. Also, “Rottin Apple”, “Solitaire”, “Monster”, and “Firecracker” all have their moments and are undeniably pretty great tracks that show off Jordan’s ridiculous speed and mastery behind the kit.
Unfortunately, with most of the songs focused on being lightning fast, they tend to just blend together such as “Six Feet”, “Speedball”, or “Gear Box”. All of these songs would be fine on their own, but within the context of the album they just get a bit lost.
If you’re heavily invested in fast skatepunk, you’ll love this album. But, if you prefer a more paced, metal-infused style of punk, then this will leave you a little disappointed (as it does me).
Recommended Tracks: Bring Out Your Dead / Somnombulance / Solitaire
8. Another Day In Paradise (1994)
Strung Out’s debut not only set immense expectations for the band going forward, but, as Fat Wreck Chords 3rd full-length release, it also helped define the label and era.
Blasting out the gate scorching hot with “Population Control”, a track with some immensely powerful riffage (an overall clinic in musicality), Another Day In Paradise is an album that has aged gracefully (partially thanks to the 2014 remaster), highlighting a band with nothing to lose, just beginning their journey.
Although the album’s not as strong lyrically as their later material would become (and also not quite as dark), it’s still pretty good. From the sociopolitical commentaries on “In Harm’s Way” and “Mad Mad World” to the personal issues tackled on “Alone” or “Broken”, there’s youthful angst mixed with a passionate desire to make a difference.
The album is at its best when the group lets loose and gives in to their metal/punk tendencies. When they do, songs like “Ashes” come out sounding emphatic and urgent, leaving behind any doubt that the band is primed for a meteoric rise.
That said, you can tell the band is still trying to figure themselves out, which leads to a few songs that are super fast but don’t offer much of a memorable melody (although Jordan Burns still does his absolute best to pour his signature impeccable style into every second).
In short, there’s a plethora of talent here, but not yet enough experience. Still, it’s far better than most band’s debuts.
Recommended Tracks: Population Control / Ashes / In Harm’s Way
7. Songs of Armor and Devotion (2019)
In 2019, Strung Out began the next chapter of the band by returning to work again with Cameron Webb (who also produced Agents of the Underground) and featuring their first lineup change in nearly 20 years — RJ Shankle replacing the irreplaceable Jordan Burns.
Unlike Agents of the Underground, this record has a much better mix, allowing the sound to be more substantial and dynamic. The guitars are clear and vibrant, Cruz’s vocals sound crisp, and the bass and drums are evenly represented in the overall mix. Essentially, it sounds sonically the way I wish Agents of the Underground would have.
Jason Cruz’s lyrics are on point as always, poetic and often mysterious with a thick layer of emotion, but it’s his vocals that really take center stage here. He sounds absolutely terrific, coming across as highly invigorated, particularly on opener “Rebels and Saints.” I think this partially has to do with less layering and effects being applied to his vocals as well as just a lot of effort given to his general singing.
Before the record released, I was understandably worried about Burns’ replacement, and while Shankle is indeed a different type of drummer from Burns, there’s no doubt he has the skills for the job. Whereas Jordan’s drumming was usually meticulously crafted, finely tuned to fit each song, RJ seems to play around more with some looser improvisations. This gives the songs a different vibe that isn’t necessarily better, but it’s kind of just an exciting change.
There’s a good amount of variation throughout the record, as well as clear standouts. “Daggers” is a massive song with some cool guitar effects that get the blood pumping, although it also misses a chance at what should have been an unforgettable solo near the middle of the song during the breakdown.
Songs of Armor and Devotion has many stellar moments where it feels like everyone is incredibly locked in and you’re just waiting for a song to burst into overdrive — both “Demons” and “Hammer Down” are good examples of the record’s potential energy.
“Strange Notes”, with its blistering speed, is about the closest they’ve come to sounding like their early speedy, skatepunk days. This is a song that seems just barely constrained, like it’s ready to jump off the record at any moment.
Another standout is “White Girls”, which features some gallopy riffing and drumming — very in line with 80s groove metal. I would’ve said this is maybe the best song on the album, except its main riff borrows too much from the band’s older song “The Animal and the Machine” that it seems like somewhat of a retread.
While there aren’t any weak songs on the album or any that I would boot, there are a few that are less memorable, like the 3-track run of “Disappearing City”, “Politics of Sleep”, and “Diamonds and Gold”. Again, all fine songs, but ones that don’t necessarily leave much of an impact.
Recommended Tracks: Rebels and Saints / Daggers / Demons
6. Agents of the Underground (2009)
Having Agents of the Underground ranked this low is more a testament to how excellent Strung Out’s back catalog is rather than much of a critique of the album itself. To be sure, all 11 tracks here are bangers.
Possibly the biggest problem with Agents of the Underground is that it just doesn’t stand out as much as many of their other releases. When you listen to the songs, they’re all superb — excellent melodies and intricate musicianship. It’s a good collection that displays what makes Strung Out’s music genre-defining. Yet, it still doesn’t have quite the same lasting power as others.
What I love is that every song seems to encompass the full Strung Out experience. Almost all of them manage to throw in a trademark hardcore breakdown, a searing solo, or some major style switch at some point in the song. Some of the tracks even focus on the more beautiful and melodic side of the band, such as “Vanity” and “Andy Warhol”.
Cameron Webb, who has produced great records for bands like Alkaline Trio, NOFX, Pennywise, and The Aquabats, kind of misses with this one. It’s not that the sound is necessarily bad; it just doesn’t quite cater to the better elements of the band. It isn’t nearly as dynamic as the band’s sound needs to be — instead, it pushes most of the mix into the center and doesn’t allow the guitars to be as wide as they need to be.
The production of the record is partly responsible for the songs blending together and lacking the punch that Strung Out is known for. Despite the songs being great, “Carcrashradio” is one of the few tracks that really stand outs from the others and remains memorable due to its catchy melody. However, the title track also catches the attention as a heavier-hitting song featuring Jason’s more aggressive singing, while “Jack Knife” showcases some impressive guitar solos.
At only 11 tracks (their shortest album since 1996), there’s really no excuse for the songs to blend together as much they do. Sure, you could take any of these songs and make a single out of it, but as one cohesive record, something is slightly off.
Lastly, although it obviously doesn’t affect the quality of the songs at all, this album’s artwork is horrendous. It looks like a quick and cheap Photoshop job, and there’s really no excuse for settling on such a bad design.
This is a great record that sadly contains a few issues to keep it from being ranked higher.
Recommended Tracks: Carcrashradio / Black Crosses / Agents of the Underground
5. Blackhawks Over Los Angeles (2007)
I could see Blackhawks Over Los Angeles being a fairly polarizing album for most fans. Depending on what you like about the band, this album could offer some of their highest points, but also some of their lowest.
The topic of production rarely can be avoided when discussing a Strung Out record. In the case of Blackhawks Over Los Angeles, this is probably their glossiest album yet, right on the verge of being overproduced. Returning to Matt Hyde (who produced the album before this), the record has a similar big, epic sound to it. You can tell the band really wanted to make a grandiose album here and it’s the closest they’ve come to making something that could’ve been a mainstream hit with songs like “A War Called Home” or “Dirty Little Secret”.
The opener “Calling”, with its Spanish guitar intro and monumental musicianship, as well as the title track, could’ve easily found a spot on Exile In Oblivion as they’re both stylistically similar to that album’s musical complexity.
If you desire the band’s heavier elements, “Orchid” and “The King Has Left the Building” are some particularly thick, metal-influenced tracks that leave you in awe at the shear musical talent of the band.
Cruz’s lyrics shine as always, particularly on the heart-wrenching “Letter Home” and “Mission Statement”. Both performing an excellent job of placing the listener in the shoes of the song’s character.
What may turn some off from the album is that it’s arguably got the poppiest songs the band has ever written in “Dirty Little Secret” and to a lesser degree “All the Nations”. I could certainly see these songs leaving a sour taste in your mouth, but as little diversions from their regular sound, I actually find them to be pretty excellent additions to their catalog.
One thing I don’t love about this record, is that it’s the first to heavily use vocal layering to a point where it doesn’t improve the song. It’s a nice touch to make parts of a song bigger and more pronounced, but I think the band relied on it a little too much on this (and a couple of their following albums). Cruz has a great voice and the over-reliance somewhat takes away from that.
The album has some great takeaways like the beautiful closer “Diver” and the intricate guitar solos on the title track, but its weaker songs bring it down from being one of their best. Ultimately, this album fits nicely in the middle of their discography.
Recommended Tracks: The King Has Left the Building / Blackhawks Over Los Angeles / Downtown
4. Transmission.Alpha.Delta (2015)
This is where the ranking gets tricky, because Transmission.Alpha.Delta is most certainly a contender for the band’s best work. There’s not a weak moment to be found and everyone involved seems incredibly dialed in, turning in some of their best, most technical work and making it possibly the band’s most cohesive release.
If I were to introduce someone to Strung Out for the first time, I think I’d show them this record. So, in a way, maybe this is their best album? Or, maybe it’s just the easiest one to love on first listen. Everything just flows together so smoothly that you’re left in awe during its entire runtime.
The album begins with the 3-creature trio (as I’ve dubbed it) “Rats in the Walls”, “Rebellion of the Snakes”, and “The Animal and the Machine”. All 3 are energy-packed, melodic bangers that not only show off the band’s technicality but also display why this is the band’s best-produced record. Transmission.Alpha.Delta is the only Strung Out album that seems to really nail the dynamic mix. No instrument or vocal is drowning out other things, everything sounds crisp and clear, the guitar tone is excellent, and the drums have that perfect punch.
Bringing up “The Animal and the Machine” again, this is easily an all-time great from the band. It’s one of those songs that no matter how exhausted I may be, if I throw it on, I’ll always get an instant burst of energy.
The middle of the record takes a slight (very slight) dip in quality with songs that are really good, but not quite as great. Although, during this stretch “Black Maps” allows Cruz to bring his vocal intensity down a little and sing on a lighter personal level to make the track stand out more (the song’s intro does borrow a little obviously from “Nation of Thieves” though).
After the slightly toned-down middle, the album picks things right back up with “Nowheresville”. This is a track with a very youthful spirit to it. Somehow managing to sound like their 90s form, but with the sage depth of a grizzled band with miles of experience. The lyrics on this track also manage to hit particularly hard.
If you want the unleashed Strung Out, “Magnolia” should scratch that itch as its one of those songs that hits hard and never lets off the gas — a rager of the highest caliber.
As many high points as there are on the record, I think it’s the guitar riff used in the pre-chorus of “Go It Alone” that stands out the most. It’s one of those riffs that every time I hear it, the hair on the back of my neck stands up. It’s just one of the many examples of why I think Strung Out is one of the all-time greats.
What can I say, if this is your favorite, you’ve picked a great favorite and maybe it’s only nostalgia that keeps the next 3 higher for me, because this really is an album with no faults.
Recommended Tracks: The Animal and The Machine / Magnolia / Rats in the Walls
3. Twisted By Design (1998)
Where do I even begin? This is one of the best (if not best) punk albums of the 90s. It contains nearly every aspect of what has made Strung Out such a timeless presence within the punk scene and it’s aged incredibly well.
After their first couple releases established the band, Twisted By Design took fans in a new direction, defining and showcasing the band’s range and proving they had a whole new level to their sound. Although it’s still primarily fast and energetic, the songs are far more tempered and there’s a clear focus on melody and substance over speed.
Sandwiched between possibly the band’s finest opening AND closing tracks (“Too Close To See” and “Matchbook”), you’ve got a regular buffet of top-tier songs from the band. As their most raw and aggressive record, Cruz’s passionate vocals are unleashed and plastered across every track.
You’ve got uptempo, almost happy-sounding songs like “Deville” or “King Alvarez” at one end of the spectrum and at the other, total ragers like “Reason To Believe”, “Just Like Me”, or “Ice Burn” where Jason unloads his fast and powerful vocal growl — something that has always been a highlight for me as a fan.
If you need to catch your breath, there’s the mid-tempo and anthemic “Mind of My Own” or the heavy, slow burner “Asking for the World”. Jason even reaches down into the depths of darkness for the immaculate, BDSM-themed love song “Ultimate Devotion”.
The lasting power of this record, and likely what makes it so particularly significant in the first place, is the variety it offers. That, coupled with some of the band’s most passionate and carefully penned lyrics, really helps keep this record standing tall throughout the tests of time.
This was notably Jim Cherry’s last record with the band and his imprint can be clearly heard throughout the record with songs that are crafted like only a genius songwriter of his caliber is capable of.
Burns’ drumming is always otherworldly, but Twisted By Design might be the best example of it, if only because he takes essentially perfect songs and manages to make them even more perfect. It’s amazing how many little things he does, even on slower tracks. The guy is an absolute machine.
Is there anything I would change on what is essentially a flawless album? As much as I used to love “Exhumation of Virginia Madison”, through the years, I feel like the dark humor of it doesn’t really seem to fit the band anymore. Also, “Crossroads”, while undoubtedly a solid track, sounds like it would’ve been a bit more comfortable on Suburban Teenage Wasteland Blues.
Recommended Tracks: Reason To Believe / Matchbook / Just Like Me
2. An American Paradox (2002)
It’s hard to explain precisely why, but I’ve always found that this album best represents the essence of Strung Out. It simply exudes style, character, and skill at every turn, paving the way for a very wide sonic experience.
Opening with Cruz singing urgently “you can’t make me see”, backed by a distorted guitar, An American Paradox instantly creates a visual identity through its expansive musical exploits. This album clearly introduced the next stage of Strung Out — songs built around beautifully crafted lyrics, intricate melodies, and spellbinding musicality.
I love how the record builds a dark, spacey, post-apocalyptic landscape through its melodies without ever relying on repetition. Every song on An American Paradox has its own story to tell, but the tracks weave together seamlessly. It’s a credit to excellent sequencing, which sees the first half fade out on “Unkoil” while the second fades out with one of the band’s most stunning tracks, “Cemetery.”
This was the first Strung Out album where I believe the band really took themselves seriously, and came together to record mature and timeless tracks. From the darkly hypnotic “Cult of the Subterranean” to the spacey and personal “Satellite” — this album has something for everyone (unless you’re just pining for their fast skatepunk).
I’m always going to be a fan of Jason letting loose with his rager-growl vocals, and An American Paradox has some of the best — “Kill Your Scene” and “Lubricating the Revolution” have the fast, melodic, punk sensibilities the band is so good at, while “Razor Sex” and “The Kids” are just pent-up, ready-to-explode bangers.
It’s nice to hear Jason’s vocals when they’re not so heavily layered and thickened with effects. His clean, raw singing ability is truly some of the best in the game, and it deserves to be heard unfiltered. Speaking of production, this was the only album the band self-produced, and they did an excellent job of it. I honestly don’t know why they didn’t continue to produce their own records.
There’s almost nothing I would change with this record, as I find it flawless. However, if I did change anything, I’d swap out “Contender” for the album’s B-side “Lost Motel”. “Contender” is a great song, but I always felt it doesn’t really fit the carefully curated atmosphere of the record, while “Lost Motel” would’ve fit perfectly.
This is hands-down one of the best albums ever made and is arguably their best record. It’s really a toss-up between their top 3, and there are many days when I would say this is their pinnacle.
Recommended Tracks: Cult of the Subterranean / Razor Sex / The Kids
1. Exile In Oblivion (2004)
This album is a flat-out masterpiece. Exile In Oblivion finds the band almost completely reinventing their sound without removing any key elements or alienating their existing fanbase. Sure, some fans probably weren’t ready for the change then, but I think most have come to either love or at least appreciate this work of art.
Not to sound too theatrical, but I find listening to Exile In Oblivion to be a complete sonic experience. This is an album on which they relentlessly push their abilities and ambitiously tried to make every track the best song on the record. As the band’s longest album, this is no small feat.
Every track, from the heavy-hitting “Lucifermotorcade” to the almost upbeat “Anna Lee” is so inherently unique and grandiose, yet still manages to flow together effortlessly.
The album begins inauspiciously with a short vinyl snippet of Billie Holiday’s “They Can’t Take That Away From Me” before bursting into the hyper-charged “Analog,” which then transitions to the rapid-fire, political “Blueprint of the Fall”. From there, the album continues to grow as an absolutely unstoppable powerhouse — riffs up the walls, fluid vocals from Jason that effortlessly transition from melodic to a growl in a heartbeat. It’s everything that makes Strung Out great and it’s crazy that this record keeps up this vigor throughout, despite not always relying on hyper-intense melodies.
“Never Speak Again” and “The Misanthropic Principle” give the album long, sprawling tracks, full of complex melodies and beautiful lyrics. “Her Name In Blood” and “No Voice of Mine” are quick-tempo bangers that beg for repetition while also featuring equally poetic lyricism.
There are sections that are slightly more laid-back such as “Angeldust” and “Vampires”, but somehow, it never really sounds like the band is taking their foot off the pedal. There’s a sense of immediacy and importance throughout, which gives the whole thing a bigger-than-life feel.
Now, is there anything that could be improved? Yes. The production can be a little questionable. Particularly the disappointing drum mix. The percussion itself is stellar, but the bass drum is often far too pronounced, and the snare lacks absolutely any punch. I’m still holding out hope that one day the album will be remastered and the drums improved.
Regardless of what you like about Strung Out, there’s a good chance you will find it on this record as it really puts everything on the table, exploring all the member’s capabilities, from highly aggressive songs to the more melodic and thought-provoking. Exile In Oblivion is compelling, infectious, and often groundbreaking in its approach — providing a listener journey from start to finish.
Recommended Tracks: Never Speak Again / Analog / Her Name in Blood
