Koyo: Barely Here

Hey AI, make me a Long Island post-hardcore band that leans heavily into pop punk. Honestly, can anyone tell what’s “real” and what isn’t these days? Especially a band like Koyo, who are making almost a direct copy of early 2000s emo-tinged rock music in 2026. If you were to play me Barely Here without any context, I would definitely nail it as some Taking Back Sunday opening band lost to time. Even when they very occasionally do the hardcore growl or the the ting-ting-ting of the ride’s bell to make themselves a little less pop punk and a tiny skosh more hardcore. I don’t think they’re fooling anyone, honestly. These are still harmony-loving pop punk dorks who can’t help but play melodies and get in that good harmonizing trouble.

I’ve listened through this album a few times now, and am still torn as to what I think about it. That’s just purely on me. I’m not a huge fan of super-produced records. And this thing — helmed by post-hardcore Drug Church producing guru Jon Markson — is definitely big. Big emotions. Big sounds. Lots and lots of layered instruments and maximalism. Chugging guitars, smacking drums and very, very produced multi-vocal tracks. I don’t know anything about producing, mind you, but there is something about the compressed cleanliness of it all that comes off sounding almost fake to my ear. Thus the initial AI kerfuffle. And I understand that’s what this type of music sounds like: nobody ever accused My Chemical Romance of being raw, visceral music. I did watch a little bit of them in live videos, and their live act is way different than the recorded version of their music. As you can imagine, it’s much less tight and the vocals are much more scream-y and atonal than on the record. Granted, it wasn’t necessarily a 1:1, but it really is telling how “produced” this thing is. Also — and not to be a dick — but these dudes are not cool. Nobody says they have to be, of course, but if this was, in fact, the age of early-2000s MTV they wouldn’t have exactly been matinee idols. Or have the girls doing the Dashboard Confessional swoon. Just in case that’s a thing you look for in your bands.

I do imagine there will be an audience for this music. The album itself seems to have a little bit of a weird sequencing issue up front, however. Maybe it’s just a strange confluence of digital streaming and my settings, but there are a few tracks that just don’t flow smoothly into each other. Of course I’m the only idiot who listens to entire albums in track order, so this won’t be an issue for most. Overall I do like elements of the music — and actually find myself enjoying more songs than I find myself feeling nothing about. I think I have a built-in like for good harmonies, energy and clever breakdowns / tempo shifts. All of which Koyo employ throughout. And, despite the kind of messiness I heard in their live performances, I imagine these are pretty fun shows for their definitely 100% male audiences as they throw themselves around and generally try their best to cause lasting head injuries. I just wish there were some moments of separation in the music where you could kind of hear between the instruments or a tear in whatever that reverb, compression thing is. Even with these breakdowns, where there should be some rest for your ears and brain, the production somehow pushes the pauses to eleven. I’m sure that’s some trick I’m too ignorant to understand, but it certainly feels like an intentional choice. And, again, it may be most peoples’ absolutely favorite thing in the world. But for me, I’d like to hear the alt version of this record made by an indie rock producer who understands that imperfection and silence can sometimes add character.