On April 19, 2024, hardcore lost one of its brightest lights and most immense talents. Eddie Sutton (a.k.a. Eddie Leeway) passed away due to cancer, a battle that Sutton publicly fought after being diagnosed four years ago. 

While most would be crippled by such a diagnosis, Sutton bravely continued to both tour and record through it all. The touring iteration of Leeway (Leeway N.Y.C.) played their last show this past October, supporting Killing Time and Sam Black Church. Until the very end, Sutton’s passion for performance and music was never dulled by his sickness. Aside from being the voice on some of the best albums ever recorded, his fighting spirit was truly something to behold. 2024 marks the year where ⅖ of Leeway’s classic lineup (Eddie Sutton and guitarist Mike Gibbons) have departed this earth, but the lasting influence of the band’s catalog is here to stay. In the spirit of celebrating the art created by Sutton and Leeway, what follows are our picks for the best tracks off their four studio albums.

Feel free to debate our picks in the comments, but you would really be better off listening to the band’s discography yourself! When a band is as good as Leeway, picking favorites/best tracks is no easy task. That said, we have tried our best.

“Rise & Fall / Mark of the Squealer” - 1988’s Born To Expire
The year is 1988. Leeway has established themselves as a force in hardcore by being one of the best live bands of their era. Upon listening to their debut LP (Born To Expire) for the first time, the one-two punch of “Rise & Fall / Mark of the Squealer” cemented the band as masters of their craft. Though Leeway could play as fast and hard as any of their contemporaries, the rumble of Zowie’s bass serves as a perfect transitional passage to the tune’s iconic opening riff. Countless amounts of hardcore bands have opened their own sets with that riff (you know the one), though no one before or since Sutton was capable of delivering the tune’s lyric with the same conviction or vocal accuracy. Add on the brilliant leadwork of Mike Gibbons on “Mark of the Squealer” and you have a contender for one of the best album openers ever. Why bother being mad that our Born To Expire pick is technically two songs when it is this good.

"Stand For" - 1991's Desperate Measures
If you checked out our classic review of Desperate Measures, you will know that picking favorites here is no easy task. That said, “Stand For” is one of the earliest examples of Leeway showcasing their capabilities beyond standard hardcore instrumentation. The jangly lead line that introduces “Stand For” sounds like few tunes of the era, helping punctuate Sutton’s lyric that speaks to those who are self-righteous out of pure insecurity. Beyond that, “On the outside, beaten and sore / But what’s inside is the heart of the core” will forever be one of Sutton’s best lyrical quips. “Stand For” is the Leeway track that perfectly encapsulates both the hardest and melodic characteristics of their sound. Make no mistake about it: While the jangle guitars and lyricism help make “Stand For” one of the band’s best tunes, the breakdown groove is simply our favorite moment in the Leeway discography. What else can we do to convince you that this song is something special? 

"3 Wishes" - 1994's Adult Crash
The first album of the post-Mike Gibbons era, Adult Crash has always been a divisive album amongst both the band and fans alike. Sutton himself expressed some dissatisfaction with the end result of Adult Crash during a recent retrospective interview (conducted by Manny Grossman), though the album still has its shining moments. Does Adult Crash hit as hard as the first two records? You could argue no, but we do not think you can argue that this record is simply great rock music. AJ Novello’s guitar prowess comes through on “You” and “Make A Move”, but the band truly comes together on “3 Wishes”. Unquestionably, Adult Crash is the record where Sutton really begins to explore his vocal range, with “3 Wishes” serving as a phenomenal showcase of his development. If you have either dismissed or never checked out Adult Crash, it is a record that deserves to be listened to with an open mind.

"Product" - 1995's Open Mouth Kiss
Serving as the final album from Leeway, many consider this record to be the band’s redemption after falling off course with Adult Crash. While we enjoy a good chunk of Adult Crash, we definitely can agree that Open Mouth Kiss is home to some of the band’s best work. Aside from being Sutton’s favorite Leeway release, his performance across the entire album is the best document of his vocal abilities. While there were hints of his range on both Born To Expire and Desperate Measures, he fully came into his own on Open Mouth Kiss. “Product” is a tune that is rapid-fire in nature, yet Sutton figured out a way to keep things melodic and memorable. His declaration of “Life is my right and I refuse to give up the fight” was as real as it gets, as both Sutton and Leeway overcame great adversity to make their art. Whether it was escaping the hell of their Profile Records deal or performing while fighting cancer, Sutton was no stranger to doing what it took for the sake of artistic expression. 

Personally, for Noise Is Power Music, Eddie Sutton served as a mentor and example of simply believing in yourself / having self confidence when it came to making hardcore music. Carl, our owner/sole writer had the pleasure to work with Eddie on releasing a benefit cover of Leeway’s “Who’s To Blame”, which was truly a wonderful experience. We will always remember and treasure his genuine care for everyone he came into contact with.

Share your favorite Leeway tracks and/or memories in the comments! R.I.P. Eddie Sutton & Mike Gibbons.

We apologize for not providing a Monday update this week! We are diligently working on some upcoming site updates (more to come relatively soon!), but we are happy to cover one of our all-time favorite albums today:

On their sophomore album, Desperate Measures, Leeway firmly established themselves as the unsung heroes of crossover. The twin-guitar attack of AJ Novello & Mike Gibbons, the rhythmic bounce of drummer Pokey Mo & bassist Jimmy Xanthos, and the soaring vocals of Eddie Sutton culminate in one of the best heavy releases of the era.

Following their fan-favorite debut, 1988’s Born to Expire, Leeway sought to expand their brand of hardcore beyond then-conventional structure. Though Born to Expire opened with two tracks that combined into a 7-minute epic (“Rise & Fall” into “Mark of the Squealer”) and exhibited desire to incorporate hip-hop influenced instrumentals on “Catholic High School (Girls In Trouble)”, the group would cement their presence as uncopiable with the release of Desperate Measures. While many bands of the era tried to be the fastest and toughest, Leeway focused on writing ambitious compositions that encompassed a considerable amount of influences. Mike Gibbons’ Randy Rhoads-esque leadwork perfectly compliments the metallic-rhythm work of AJ Novello, as Eddie Sutton’s soul-informed vocals further color the vibrant tracklist of Desperate Measures. Though the album’s lead single, “Kingpin”, would receive rotation on MTV’s Headbangers Ball, a deeper dive into the album yields its finest moments (though we love “Kingpin”, too!).

From the opening bars of “Make Me An Offer”, the addition of Pokey Mo and Jimmy Xanthos to the band makes its presence known. The synchronicity of Mo and Xanthos allowed for Leeway to experiment with groove in a way that most heavy bands of the era could not, serving as a key asset of Desperate Measures’ appeal. Above all, a noticeable improvement in Sutton’s vocal ability makes the album unforgettable. While Born to Expire established Sutton as a charismatic voice, Desperate Measures was the record that truly introduced his prowess as a vocalist. From his rapid-fire performance on “Ball Hugger” to his dynamism on "No Heroes" and “Who’s To Blame”, Sutton certainly came into his own on this record. 

Determining favorite tracks from Desperate Measures is an insurmountable task, though we implore you to check out the album’s closer, “The Future (Ain’t What It Used To Be)”. Everything that makes Desperate Measures an essential listen is present on “The Future…”: Engaging vocals, aggressive guitarwork, and unquestionable groove. Have a listen at the stream above! 

Closing a week rich with new releases, we have decided to dedicate today to covering all that we were able to listen to! To summarize, there is no shortage of great new singles and upcoming releases to look forward to. Check out some of our thoughts below:

Beth Gibbons - “Floating On A Moment”

What needs to be restated about the greatness of Beth Gibbons? Her voice is directly responsible for making Dummy and Portishead’s catalog an essential piece of the 90s alternative puzzle. Her 2002 collaboration with Rustin Man (Out Of Season) served as her first non-Portishead release, though her upcoming album (Lives Outgrown, out May 17 via Domino) will be her first true solo release. Decades into her career, Gibbons has successfully hit on something new while playing to her strengths. The vocals of “Floating On A Moment” exhibit a delicacy that is classically Gibbons, only now accompanied by a primal instrumental that still has enough low end to propel it forward. Lyrically, Gibbons’ commentary on aging and mortality is the definition of authentic reflection.

​For all these reasons, “Floating On A Moment” is our favorite release of the week. May 17 cannot come soon enough!

Higher Power - “Absolute Bloom”

Unfortunately, the latest release from Higher Power feels like a let down. Having discovered the band through their fantastic 27 Miles Underwater record, the band’s bouncy and melodic take on hardcore made their sound quite unique. While comparisons of vocalist Jimmy Wizard’s delivery to Perry Farrell are not totally off-base, Higher Power has done a great job at mixing melodicism and edge to define their sound. On their newest single, “Absolute Bloom”, the metallic edge that we have come to expect from Higher Power is all but absent. We here at Noise Is Power love a great melodic tune (see our next entry!), but “Absolute Bloom” was not a track that stuck with us. That said, based on past releases, we hope for a return to form for Higher Power soon! 

The Lemon Twigs - “They Don’t Know How To Fall In Place” 

Again, The Brothers D’addario release another great single that features another self-fulfilling prophecy of a title. Releasing one of 2023’s best albums (Everything Harmony), The Lemon Twigs have announced its follow up, A Dream Is All We Know (out May 3 via Captured Tracks). While a quick follow-up to such a great album can be worrisome, “My Golden Years” and “They Don’t Know How To Fall In Place” have eased any of our fears. The track’s modulations and prominent keyboards harken back to the Sunflower-era Beach Boys pop of Everything Harmony; Music to our ears! The Lemon Twigs continue to establish themselves as one of rock’s hardest working bands… Looking forward to the new LP.

Crush Your Soul - S/T EP

Leeway, Raekwon, Merauder.
These three monumental influences collide with Mindforce’s Jay Petagine, who surprise-dropped the debut EP from his new project (Crush Your Soul) this Thursday! Released via Streets Of Hate and mixed by Taylor Young, Petagine is backed by members of Recycled Earth, Scarab, Gridiron, and Simulakra. Safe to say, the entirety of Crush Your Soul’s debut release is a fun listen that is informed by many of modern hardcore’s founding fathers. From the EP’s artwork (paying homage to Leeway’s 1995 LP, Open Mouth Kiss) to the Only Built 4 Cuban Linx… (Raekwon) inspired interludes, this EP packs a lot of passion into a short runtime. A vibrant and great release… Keep ‘em coming!

Did you have a favorite new release this week? Sound off in the comments.

 On their debut album, San Jose’s own Sunami offers up 17-minutes of no frills beatdown hardcore.

Since the release of 2019’s Demonstration, Sunami have developed themselves as one of the most excessively aggressive and overtly confrontational bands active today. Releasing their self-titled EP the following year, Sunami furthered the idea that the mission statement of their music is to provoke, be heavy, and throw in some well-placed humor along the way. 

Their much anticipated debut album (also self-titled) is their lengthiest offering to date, though not overstaying its welcome with a 17-minute runtime. That said, keeping things brief only fuels Sunami to push out the most immediate and essential traits of their hardened edge. From the opening moments of “Y.S.A.B.”, SUNAMI establishes itself as a record that relies on its rhythmic emphasis to grab listeners. While the spitfire vocal delivery of Josef Alfonso adds to the intensity of SUNAMI, this record is chock full of riffs and groove that will keep return listens frequent. 

“Dirty Work” and “10 Toes Down” are fantastic cuts to keep the record moving with unadulterated weight and intensity, which is integral for a release on the shorter side. This is a truth that Sunami recognizes, as the album succeeds at keeping the energy level high throughout. The frantic nature of “No Heart” flies by, but ensures that its lasting effects are felt before moving into a new version of “Six”,  a cut from their 2022 promo tape.  

The re-recordings of “Six” and fan-favorite “Contempt of Cop” demonstrate Sunami’s maturity into a tight-knit musical force, as they are performed with a heightened sense of precision here when compared to their original releases. If anything, featuring these cuts on a cohesive album heightens the impact made by them.

After a run of multiple single and EP releases, being armed with a full album (released by Triple B Records) cements Sunami’s space in modern hardcore. For fans of Death Threat & Merauder, Sunami offers a semi-caricatured take on a time tested sound.

7/10

Favorite Tracks: “Dirty Work”, “10 Toes Down”, “Defraud”

Listen here.

Photo credit: Julian Berman

​Since releasing 2020’s California Cursed, Santa Cruz’s DRAIN have built their reputation as one of hardcore’s best bands the right way. While there’s plenty of video documentation of their shows available online, it isn’t until you get in the room with their authoritative rhythms and punishing riffs that you understand why DRAIN is simply in their own league. Before any official album announcement, LIVING PROOF tracks “Run Your Luck” and “Watch You Burn” were quick to become hallmark elements of a DRAIN live show. Writing as someone who was lucky enough to see them pre-LIVING PROOF release, the nuance and musicianship present on these tracks hinted that something special was to come.

As recent signees to Epitaph Records, DRAIN turns in an album worthy of being spoken of in the same breath as label alum Descendents, Bad Religion, and Rancid. Staying true to Epitaph’s D.I.Y. ethos and origins, LIVING PROOF is a record that speaks to the power of self belief and pursuing excellence on your own terms. While Epitaph has certainly evolved since its humble beginnings in the 80s, the message and vibrancy that DRAIN possess on LIVING PROOF is sure to remain fresh for decades to come. 

With “Run Your Luck” and “Watch You Burn” becoming live staples for DRAIN, “Evil Finds Light” and “FTS (KYS)”  serve as the two single cuts that best prepare you for the onslaught of LIVING PROOF. While 2020’s California Cursed is an impressive debut and arguably a modern classic, DRAIN has noticeably become a tighter-knit unit of power. Cody Chavez (guitar), Tim Flegal (drums), and Sammy Ciaramitaro (vocals) have solidified their ever-present punch, which is particularly on full display via the second half of “FTS (KYS)”. Lyrically, the track also speaks on self-improvement and betterment in the way only DRAIN can. Ciaramitaro’s ear splitting snarl demands the listener to “Find the strength and kill yourself / Rеinvent the new you / Find thе strength and kill all the parts / That you don’t love”. 

Third and final album single “Good, Good, Things” served as great indication that DRAIN was primed to incorporate new elements into their brand of hardcore on LIVING PROOF. Using a Descendents cover as their template, “Good, Good, Things” marks the first time Cody Chavez makes a prominent vocal appearance alongside Ciaramitaro. Chavez’s lower register is the perfect compliment to Ciaramitaro’s high-pitched style, though Ciaramitaro turns in his first melodic vocal performance on “Good, Good, Things”. New styles are introduced and genre-pillars are paid homage within the brief runtime of “Good, Good, Things,” proving that DRAIN know how to deliver listeners a fulfilling listen at blistering speed.

Aside from the singles, the first half of LIVING PROOF is highlighted by “Imposter”. Bar none, “Imposter” serves as one of DRAIN’s best tracks to date. The verses of the track move quickly while maintaining their impact a la Madball, whereas the breakdown has more in common with Chaos A.D.-era Sepultura. That said, while DRAIN is not a band that shy away from their influences, they know how to present them in a way that is uniquely their own. Chavez, Flegal, and Ciaramitaro have an indiscernible ability to play hard and fast while retaining a sense of control and finesse. Lyrically, “Imposter” is a manifesto against the idea of blatant imitation and social copying, which Ciaramitaro rips through with electrifying confidence. Specifically; “Sick of watching everyone try to be everything but themselves / You think you’ve got to prove what?! Something to who?!”. The lyric is punctuated by a quick vocal chime-in from Chavez, reiterating that the vocal pairing introduced on “Good, Good, Things” is a now-essential element of the band.

While the keys and skittering hi-hat’s of the album’s “Intermission” may be off putting on first listen, their residence on the album is short lived as DRAIN’s signature icy guitars barrel through the speakers to re-engage listeners for the album’s second half. “Weight of the World” (immediately following “Intermission”) serves as yet another one of DRAIN’s best tracks and a personal favorite. The midpace groove of the tune differentiates it from the rest of the album, while retaining the aggression that defines LIVING PROOF. If there’s one cut recommended you check out, look no further than “Weight of the World”. Think Pantera meets Lights…Camera…Revolution-era Suicidal Tendencies, but given a facelift via DRAIN’s undeniable vitality.

LIVING PROOF is a masterclass on how to incorporate influence while still having something unique to say. DRAIN’s ability to do so makes their sophomore album a top-shelf hardcore release and worthy of all the accolades it will go on to receive. 

10/10

Favorite tracks: “Imposter”, “Weight of the World”, “FTS (KYS)”