Streetlight Manifesto

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East Brunswick, New York NJ, United States (2002 – present)

Streetlight Manifesto is a ska/punk band from East Brunswick, New Jersey under the creative leadership of singer/guitarist Tomas Kalnoky. Since forming in 2002, the band has released three full-length albums.

Several of Streetlight’s members were already well known among the New Jersey ska community for their roles in past ska bands from that area, most notably Catch 22’s Tomas Kalnoky, James Egan, Mike Soprano, and Josh Ansley, as well as One Cool Guy’s Stuart Karmatz, Pete Sibilia, Dan Ross, and Chris Paszik.

The band’s first album, Everything Goes Numb, was released on August 26, 2003, and was distributed by Victory Records. They headlined their first ever show at Rutgers University on December 9, 2003 in front of a sold out audience.

The line-up has gone through several changes since the band’s inception and currently consists of Matt Stewart, who plays the trumpet, Mike Brown who plays the alto and baritone saxophone, Jim Conti, who plays the alto and tenor saxophone, Tomas Kalnoky, who plays the guitar and sings, Pete McCullaugh who plays the bass guitar, Mike Soprano who plays the trombone, and Chris Thatcher who plays the drums.

Though the band have enjoyed no mainstream commercial success, they have received acclaim in alternative music circles, and their debut album is currently in Interpunk.com’s top 100 items, over 2 years after its release. In addition, they regularly sell out their live shows, and their first few shows at Rutgers and The Stone Pony not only sold out, but had people coming from as far as Minnesota and Canada. Their second album, a reworking of Catch 22’s Keasbey Nights was released on March 7, 2006.

Tagged as:

ska, ska punk, punk, ska-punk, skacore
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Everything Goes Numb
Streetlight Manifesto
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Somewhere In The Between
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Keasbey Nights
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Demo
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Top Tracks

1	Everything Went Numb	1,125
2	We Will Fall Together	922
3	A Better Place, a Better Time	876
4	We Are the Few	785
5	Would You Be Impressed?	759
6	That'll Be the Day	751
7	The Saddest Song	740
8	Somewhere in the Between	728
9	A Moment of Silence	712
10	A Moment of Violence	699
11	The Big Sleep	697
12	If and When We Rise Again	695
13	Failing, Flailing	689
14	Down, Down, Down to Mephisto's Cafe	669
15	Keasbey Nights	666

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Spark_and_Spark wrote:
21 hours ago

That would be so cool. But I'd probably just be sat there like "ooh, ooh, play Here's to Life! No wait, do the melody from A Moment of Silence! Oh, let's hear Somewhere in the Between! No no, play Dear Sergio!!"

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mikeQQekim wrote:
yesterday evening

Anybody signing up for sax lessons?

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YellowyEyes wrote:
yesterday evening

Victory Records is such a terrible label. It makes so much sense that they are to blame for the endless delay of 99sor.

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pashelast wrote:
Friday evening

Best skacore band ever!

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Sole1 wrote:
Thursday evening

I wonder what contract they signed that forces them to stay with their current label. Record has been done for months and still nothing.

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Spark_and_Spark wrote:
Thursday afternoon

Ohh, samples and artwork coming shortly. Looking forward to it!

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streetlighter wrote:
Thursday morning

update on streetlight-homepage!

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charlycobra wrote:
Wednesday afternoon

Streetlight FTW!!!1!1

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davosmavo wrote:
Monday morning

They take fucking forever and haven't come to Columbus, Ohio in ages.

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if_stalin_jammd wrote:
Sunday evening

Great music with too much pretense. These guys kill me.

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ROSSSSSS wrote:
last week

Everything Goes Numb is such a fan-fucking-tastic album.

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BIGTUNA69 wrote:
last week

Thanks, Spark. I love Streetlight, but loathe and hate their work ethic and who they are. It doesn't make sense, but it does in my head. Viz, Yeah I get what you're saying. I think the covers is a similar deal here... I would much rather have 2 new original albums. But this covers album/collection could be just as great. Eh, different strokes for different folks. I think The Mars Volta are amazing. They are pretentious as fuck, but make great music. Some of the best musicians around.

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TheViz wrote:
last week

Eh, I'm kind of ambivalent about the remake. I get why they did it, but it felt like an excuse for not putting out a new album, kind of how them making their covers album feels right about now. And I was kind of joking about the Mars Volta, I don't really hate them, I just find them more boring than, say, At the Drive In. I kind of think of them as a less hateable (latino) version of Coheed & Cambria.

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Spark_and_Spark wrote:
last week

You have a strange way of showing affection to one of your favourite bands, Tuna.

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BIGTUNA69 wrote:
last week

They wasted so much time doing that. Why would they remake a classic? Idiots!

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duckboystump wrote:
last week

why, oh why did they have to record keasby nights again... that always seemed questionable to me. maybe its just because i grew up with the catch 22 album, but i really really dislike all the remakes. kinda pointless

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BIGTUNA69 wrote:
last week

My point exactly vvv. Also, The Mars Volta aren't for everyone. But they are better musicians.

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TheViz wrote:
last week

I agree that the wait has been ridiculous though. I get sick of listening to the same songs over and over again, I can only imagine that the Streetlight dudes are fucking bored of playing the same set for years.

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TheViz wrote:
last week

Well, the main difference between Streetlight Manifesto and the Mars Volta is that I can listen to Streetlight without thinking "this is fucking stupid."

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BIGTUNA69 wrote:
last week

Tom is lazy. Simply put. Portugal. The Man just announced their next new album, entitled 'American Ghetto'. Their work ethic puts all other bands to shame. It's crazy. Streetlight Manifesto's songs are, on a scale from 1 to 10, a 7 regarding intricacy. Tomas' guitar riffs are simple. His solos are nice and smooth, but again, not too complex. The horns, I understand, make their songs seem* intricate. If you really break it all down, their songs are just as one dimensional as Blink-182s or Green Days. Understandably, since early punk bands are a strong influence in their music. An example of a truly intricate and complex band would be The Mars Volta. So much going. So many levels and elements.

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