The Suicide Machines (originally called Jack Kevorkian and The Suicide Machines) had been practicing their ska-punk routine since the mid 1990s (releasing tapes and singles) when they finally inked a recording deal and released Destruction by Definition (Sony, 1996), featuring original drummer Derek Grant. Singer Jason Navarro displays the explosive passion of British pub-rocker. The guitarist Dan Lukacinsky unleashes scorching riffs that hark back to the tradition of punk-rock guitars like Steve Jones, Mick Jones, Johnny Ramone, East Bay Ray. Their fury was augmented with horns and organ, and tempered with catchy melodies (Break the Glass, Islands).

Battle Hymns (Sony, 1998) is a virulent work of anger and scorn, with a lot more punk and lot less ska than the first album (Confuses, High Society). In the meantime, drummer Grant had moved to the Alkaline Trio.

Suicide Machines (Hollywood, 2000) was the album that changed their lives, and not necessarily for the better. Sometimes I Don't Mind and No Sale were poppy enough to gather radio programming and only Permanent Holiday showed any of the old power.

Steal This Record (Hollywood, 2001) opens with a catchy, anthemic, choral power-pop ditty, The Killing Blow. On the other hand, Steal This Record is an acrobatic rock and roll that roars the way Dead Kennedys used to. Therein lies the contradiction. The Suicide Machines are torn between their punk roots and a middleclass future. The epic hymns of the Clash ring inside Honor Among Thieves, but Stand Up is reggae-pop for the family picnics. Off The Cuff is a supersonic slam-dance and All My People is a glorious barricade-oriented sermon at manic speed, but then too many of the other songs are trying too hard for a radio-friendly chorus or a radio-friendly beat or radio-friendly harmonies. This is a band with no direction, no persona and no style, even if each of the members has enough talent to replace players in bands that have a direction, a persona and a style. Sometimes it takes a vision.

A Match And Some Gasoline (SideOneDummy, 2003) has a couple of catchy numbers (Did You Ever Get The Feeling Of Dread, High Anxiety).

War Profiteering Is Killing Us All (2005) is their most outspoken work, and their loudest and most hostile; and certainly not their most musical. Virulent agit-prop anthems such as The Red Flag, 17% 18 to 25 and War Profiteering Is Killing Us All are mainly screamed with a manic strength that comes from desperation.