Many bands have been considered influential in the growth of
punk music, but few have had as remarkable of an impact as At the Drive-In. Known
for their incredible and energetic live shows, At the Drive-In has come to be
considered a seminal piece of punk and hardcore history. Generally, their later
records, especially their last full-length, have taken the brunt of the
attention, leaving their earlier work to dither in obscurity. However, one
record by At the Drive-In that not only deserves attention, but indeed demands
it, is their 1997 EP, El Gran Orgo.
The twenty minutes of music provided on this EP are
explosive and exciting, overflowing with thrashing guitars, crunchy drums, and
searing vocal melodies. While the band occasionally worried that their live
energy was lost on their recordings, El
Gran Orgo easily smashes those doubts with every listen. If anything, this
EP provides an enticing preview of ATDI’s live show rather than a watery
doppelganger. The record is bristling with youthful havoc and vigor, with all
cylinders rapidly approaching critical heat levels. Omar Rodriguez-Lopez, whose
first foray as a guitarist is laminated in El
Gran Orgo, absolutely tears it up, while Tony Hajjar and Paul Hinojos, the
band’s newest members, prove themselves to be a monster rhythm section.[1]
The taut and experienced sound At the Drive-In provides on this EP belies the
many lineup changes that the band experienced prior to this recording,
including the hiatus of founding member Jim Ward.[2]
Indeed, some consider it to be the birth of the sound that At the Drive-In soon
became well known for.[3]
While At the Drive-In puts its musical fervor forefront on El Gran Orgo, the band’s musical
abilities are never overshadowed by their energy. Their array of songs offers a
mix that is equal parts catchiness and dissonance, a balance that works well
for the record. Furthermore, the varied sound provided by ATDI prevents them
from being pinned in any one genre. “Give It a Name” and “Speechless” spearhead
catchy choruses and pop melodies, while “Fahrenheit” and “Picket Fence Cartel”
offer themselves up as post-hardcore pieces. This EP is dynamic in that it
consistently offers sing-a-long moments adjacent to brutal riffs, making it a
heady and exceptional listen.
The musical aspect of the record’s writing is one that
consistently keeps the listener interested. At the Drive-In’s mastery of the
loud/quiet dynamic is apparent in El Gran
Orgo, as is their tightness as a group. Both “Picket Fence Cartel” and
“Fahrenheit” feature time signature changes that are so fluid they are almost
invisible. Musical technicalities aside, even the organization and structure of
the songs make for an invigorating listen. Each song is peppered with planned
hits and syncopations, as well as moments showcasing each member’s playing
abilities. Also, the songs’ arrangements, while often relying on a verse-chorus
structure, are also alternated and skewed, keeping the music from falling into
a disparaging rhythm.
Musically, El Gran
Orgo is as solid as bedrock. In contrast, its lyrics sway from poetic and
powerful to flimsy and frail. Many of the songs feature lyrics built off of
clichés: “Winter Month Novelty” relies entirely on the images of “biting the
hand that feeds” and “biting off more than you can chew,” while the chorus of
“Fahrenheit” is constructed on the phrase “if these walls could speak.” While
some of these lyrics are apparently if not painfully unoriginal, in other
spots, Cedric Bixler-Zavala offers some very powerful verse. The line “Daddy
taught well at the end of his belt” in the song “Picket Fence Cartel” is
extremely potent in its understated and dark presentation, while “Speechless”
offers a melodious yet intense picture of the effects of an abusive
relationship. If nothing else, this record shows a young writer whose style is
still developing, and whose choices will further refine the way he wields his
pen.[4]
Surprisingly, one of the best writing efforts (and my
favorite tune) on El Gran Orgo was
originally provided by the rhythm section. “Honest to a Fault,” the shortest
song on the record (excluding the amusing “Intermission”) began as a song from
Tony and Paul’s pre-ADTI musical efforts.[5]
Fast and straightforward, all instruments come together in a punk whirlwind as
Cedric screams and shouts from his core. The pop-punk melody of the song
demands a driving delivery, and At the Drive-In does not fail to deliver—at times
it seems the whole band is singing. The tempo alone immediately suggests a
circle pit, seeming so harried and reckless as the band tears through the song.
From the opening drum hits to the final screaming proclamation, “Honest to a
Fault” provides an incredible illustration of At the Drive-In’s essential
vitality, keeping the listener moving and singing as so few songs can do.
With El Gran Orgo,
At the Drive-In makes a point in less than twenty minutes that some bands
struggle over a lifetime to approach. Their music bleeds honesty and energy,
exuding a manic and meaningful vibe that is seriously infectious. With El Gran Orgo, At the Drive-In shows
itself as a band with promise, and anyone who is truly listening will not be
disappointed.
Tunes to Check Out:
1) Honest to a Fault
2) Give It a Name
3) Fahrenheit
1) Honest to a Fault
2) Give It a Name
3) Fahrenheit
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