Review Summary: 25 minutes of aggression, emotion, and power...
Vaya EP
Eloquence is sometimes found in brevity. This is true in many of the shining moments of life; be that hitting the game-winning homerun, finally beating Halo 3 on legendary difficulty, or the release of a certain fluid after a certain activity involving little to no clothing. This idea, and the colloquialism (my favorite word…sorry) short-but-sweet come to mind when encountering the
Vaya EP by
At the Drive-In.
Just a year after the release of
In/Casino/Out and one before the release of their masterpiece
Relationship of Command, this was released, and it can be seen as both the bridge that lead At the Drive-In to the pinnacle of the post-hardcore world, and as a filler-free 23 minute piece of brilliance that does everything one expects from At the Drive-In.
From the very beginning of “Rascuache,” ATDI reveal that they have evolved. The song, combining Omar’s patented noodling with blasting chords and unique rhythms, displays a new maturity. Each song on this album has a power all its own and demonstrates all the elements that made the band what it was. Cedric’s heavily symbolic and cryptic lyrics are delivered with such passion that the listener is left with the feeling that he believes whole-heartedly in the words,
Quick to the throat in this ink cartridge funeral/ Marble caps lock /Zip code affiliate/ You got a run on your pharmaceuticals/You better change it before the night grows old in “Metronome Arthritis,” lyrics which later give way to one of the most powerful pay-offs in any At the Drive-In song period…leaving the listener feeling the same desperation as the framed man on the run.
Musically, this album is magnificent. Omar and Jim’s guitars set the atmosphere in most of the tracks and draw the listener in, whether being played quietly or slapping the listener in the face. Both styles are demonstrated in "198d" in which the guitars go from aggression to peace and back while creating an atmosphere of breathtaking beauty. Jim’s keys also play a very significant role on the album, usually as a backdrop but always playing an important role in the sound of each song. Hinojos’s bass manages to be catchy and take its moments to shine while even in moments of simplicity such as in “300 MHz.” His work with this song just “fits” and is the cherry on top of the ice cream sundae (extra chocolate syrup of course). Hajjar’s drum-play manages to always compliment what the guitars are doing. In tracks such as “Ursa Minor,” his play is solid, catchy, and almost-danceable. Each element of the band plays together in a way that plays to each members strengths, and always is interesting.
Like the sexy girl with a nose that is just a little too big, this EP has a couple negatives that keep it from being perfect. The production leaves something to be desired. It’s not terrible, but it is off just enough to take some getting used to. The only other negative for some will be its length. It leaves the listener aching for more but in doing that, it is doing what an EP should. Both of these negatives, however, add up to little more than tiny pimples on the cheek of the prom queen. Sure they take away from the beauty a bit, but let’s not kid ourselves, we’d still relish in getting her in the sack and enjoy every moment of it.
So what all the testosterone-filled metaphors are getting at is that the
Vaya EP is one that does what an EP really should. It is an album of experimenting with some new approaches by At the Drive-In and combining those with their rawness from earlier releases that combined, would eventually give way to the release of their magnum opus. It is a bridge album that demonstrates an extreme evolution from their previous releases while still being a fantastic piece of music in its own right. It is a brief blast of aggression and beauty that reveals the eloquence of a band ready to truly leave their mark.
