At the drive-in-This Station is Non Operational
There’s a pattern shaping. Every four or so years, a truly influential band turns up, and changes everything. Most recent Examples of this should be Nirvana, Fugazi (for Sharpie), and Refused. The latest band to be added to this list is At the Drive-in, who over 2000 and 2001 changed everything, again. Their own brand of hardcore/pop/rock made the world listen and start copying them. Also like these other bands, (bar Fugazi) they ended at their prime. This also means we’re due for another band to be added to this list within the next 12 or so months, the bookies favourite currently sitting at Biffy Clyro.
At the drive-in created ‘Post-Hardcore’, called this mainly because they were best thing since Hardcore legends Refused, but turning their music into something challenging again. At a time where the fickle were listening to Nu-Metal, the actual music fans were listening to At the Drive-in, Naturally, this meant At the Drive-in had to end, and exploit itself as something big; see Mars Volta.
This album could actually have everyone’s own perceptions. It is NOT a greatest hits album, but an anthology, a mix of best, rare, remixed and covers over the band’s five year history. Missing out debut album ‘Acrobatic Tenement’ all together, this begins with a fantastic intro from the ‘El Gran Orgo’ ep, ‘Fahrenheit’ is an early example of what an exiting, original and innovative band At the Drive-in would become. While the critically acclaimed ‘In/Casino/Out’ album gets the biggest exposure with four songs and a b-side, most notably the scream along punk antics of ‘Pickpocket’. Their first demonstration of an actual single however comes from ‘Vaya’, as proved on the additional DVD. “Metronome Arthritis” was the first single to earn itself a video and any sort of exposure. It is at first a slightly droning, sludgy song where you’re not quite sure is going to happen, all until the fantastic breakdown kicks in and draws you in. All these would prove as evidence as to what was to come.
The stuff that didn’t make the albums are very good stuff too. ‘Rascuache’ being an electro/reggae remix of a b-side from one of they many split E.P’s. More interesting still is the finale, a cover of Pink Floyd’s early, obscure song ‘Take Thy Stethoscope and Walk’ which is possibly put at the end as a indication of things to come; see Mars Volta.
But it was still going to be hard to predict that this group of slightly pretentious kids was going to come up with ‘Relationship of Command’, or more importantly ‘One Armed Scissor’ The band themselves might not agree, but there is no doubting that ‘One Armed Scissor’ is the essential At the Drive-in song. Not to take away from their other brilliant work, but that song is what changed everything, this generations “New Noise” or even “Smells like Teen Spirit”. It blasts in with a catchy chorus/guitar line, off beat verses that just pull you in, and vocals so passionate you can’t help but love it. And you want proof? It’s in the albums title.
This is a special collection. Only At the Drive-in could choose how to promote the music. They specially picked the best songs that would really show why they were such an important band, rather than just soullessly picking the singles they released, including an incentive to buy it (the b-sides, rare songs, covers and videos) and fantastic artwork, photography. It is the ultimate At the Drive-in package, and really should turn any music enthusiast into a fan.
Adam Turner-Heffer.
This Message Edited On 08.10.05
