Review Summary: A valiant effort from the post-hardcore legends that suffers from a lack of authenticity.
I was watching a recent performance of ADTI's classic song "One Armed Scissor", which appeared to be recorded at a festival of some sort in 2016. The band sounded they best they ever had. Every articulate lead guitar line, drum fill, and lyric was executed precisely and perfectly. What sucked about the whole affair was the very reason they sounded so tight: the relentless energy that the band was known for in their heyday seemed to take a backseat to the cleanliness of the performance. It's a well-established fact that At The Drive In were a chaotic mess when it came to live performances back in the 90's and 2000's. Many subtle nuances that were found in their songs were often lost in the frenzy of Cedric's boundless energy and Omar's crazed dancing. However, that was the magic of their shows: the energy they put into their performance completely made up for the lack of tightness they often exhibited. This energy just seemed to be lost on the newly reunited but largely uninterested band members. Another glaringly obvious change was the band logo that seemed adorn every part of their equipment. Whether it be guitar straps, amps, t-shirts worn by the members, and most laughably Cedric's belt buckle, all of their items were branded with their new logo. This is a move that the old At The Drive-In most likely wouldn't have even considered. Maybe I'm coming off as some sort of purist, but it just seems so corny for a band of their status to feel the need to market themselves in this way. Either way, it was nice to have the band back in action even if they weren't necessarily in perfect form.
Upon hearing that At The Drive In would be releasing new music, I promptly began the unfair yet unavoidable process of internally over-hyping the album. How would the band's new music sound after 17 years of forced reunions, numerous side projects, and petty drama between members? Would this be an effort put forth by washed up punk rockers past their prime, or would it be the perfect follow up to 2000's legendary 'Relationship of Command'? I couldn't help but think in the back of my mind that these live performances were probably the best indicators for what was to come, but I couldn't help but be excited.
After numerous listens through the album, it's safe to say that the live performance described above was the best indicator in describing where the band is at musically. On the whole, it's a greatly enjoyable follow up to a classic album made by rockers who, sadly, appear to be more concerned with their brand rather than their music. Don't get me wrong, the album is full of great tracks, and to be honest, there really is some amazing music on here. However, this album just seems to be clouded over with a feeling of artificial energy and disingenuousness.
The opening track "No Wolf Like the Present" is a prime example of this. The musicians sound tight as ever, with Omar Rodriguez-Lopez's spastic riffs locking in beautifully with Paul Hinojo's low end and Tony Hajjar's solid beats. Sparta guitarist Keeley Davis also appears on the album as the yin to Omar's yang, doing a wonderful job of channeling former member Jim Ward in his guitar lines. Sadly, the cringe-fest arrives when Cedric Bixler-Zavala begins his typical shouts on the chorus with the line "there's no wolf like the present; they own your history and scrap it for parts". This isn't even a terrible line, and hell, back in At The Drive In's prime, Cedric could shout whatever lyrics he wanted and it would just work in the context of the music due to the conviction with which he shouted these words. There was an urgency and importance to his lyrics that just seems to be lost on this record. He's not screaming and shouting because he's fighting to be heard, rather he's screaming and shouting because it's At The Drive In, and that's just what he's supposed to do in this band.
However, there are some great jams on the record as well. 'Incurably Innocent' feels like what At The Drive In would sound like had they recorded directly after the release of 'Relationship of Command', with Cedric mixing his shouts with his Mars Volta-era melodic sensibility, with the band backing him while maintaining an admirably fast and urgent pace throughout the song. The tracks Hostage Stamps and Holtzclaw also do a similarly admirable job of maintaining this feeling of tension and uneasiness that the band balances smoothly with tight performances and well constructed instrumentals.
Most of my negative feelings towards this album aren't objective truths by any stretch. I would be lying if I said I didn't enjoy the album as a whole. I think most fans will. I mean, of course the band isn't going to appear as energetic as they were in their hey day; much of their energy back in the early days of the band was highly drug fueled, and the now-sober members are just now entering their forties. Yet, there's still this minute, lurking sense of commercialism that makes it an uncomfortable, forced listen at times. At the very least, give the album a fair chance. Maybe you'll feel differently about it.
