At the drive in relationship of command discogs review

Relationship of Command - Wikipedia

Relationship of Command is the third studio album by the post-hardcore band At the Drive-In, A retrospective BBC music review hailed the significance of Relationship of Command's uniqueness, calling the album "mesmerising" and a . cesenahotel.info Relationship of Command, an Album by At the Drive-In. Released 12 Review. Track ratings. To rate, slide your finger across the stars from left to right. Issues. Find album reviews, stream songs, credits and award information for Relationship of Command - At the Drive-In on AllMusic - - Welcome to the.

Yet, the band allowed him to produce when he "convinced the boys that he was the guy who could get every ounce of them onto tape. Relationship of Command does a killer job of capturing At the Drive-In's live sound. It feels like you are there in concert getting blasted away by the P. In most cases, this doesn't work, but here it does. And now to speak about the most controversial aspect of Relationship of Command.

People think that was a raw and energetic record, but what they're hearing is nothing compared to what it truly was before it was glossed over and sent through the mixing mill that was Andy Wallace, who is a wonderful person and a very talented mixing engineer and has done great albums — I'm not trying to offend him I just find it the most passive, plastic It's the one record I still to this day cannot listen to.

On tracks like "Non-Zero Possibility", it would have made sense to dial down the loudness and allow the subtleties of the instruments shine through. However, his opinion genuinely perplexes me. After At the Drive-In bought the masters and re-issued Relationship of Command on their own label, they kept the mixing intact.

If Omar had the power to change the mix, why didn't he? Either way, I suspect other members of the band like this mix -- otherwise, it would have indeed been changed.

Yes, it's loud -- but I think this is one of those few times in which a loud mix works in an album's favour.

Relationship of Command - At the Drive-In | Songs, Reviews, Credits | AllMusic

The cover features a Trojan Horse super-imposed against multi-story buildings. A chariot is at the bottom.

AT THE DRIVE IN - RELATIONSHIP OF COMMAND [2000] - Full Album

The colour scheme is black, orange, and yellow. The band's name is featured in small case near the bottom centre with the album name directly underneath. Inside the gatefold are lyrics in white font over a dark green backdrop that feature Trojans at war. Personnel credits are at the bottom left side of the gatefold.

  • Relationship of Command

The back cover shows the label, producer and mixing credits, copyright information, and a barcode: The tracklist is at the bottom left side.

The right side features two abstract figures in a running motion, with Trojan warriors in the background. The innersleeves are black paper with a clear plastic inside lining. The vinyl is coloured black.

BBC - Music - Review of At the Drive-In - Relationship of Command

Mike Diver In the autumn oftwo albums were released that would send shockwaves through the forthcoming decade, influencing innumerable acts and topping critical lists the world over. The other was this, a post-hardcore album that nobody totally saw coming.

OutKast were a known force, their Aquemini LP of earning plaudits aplenty; their eventual commercial breakthrough, while hardly inevitable, was certainly likely. And what an album it was.

What an album it continues to be, a decade on. Relationship of Command is, simply, a landmark release — not because it ripped up any rule books, or positioned post-hardcore as a vital commercial force.

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The band adhered to compositional traits long established, albeit shot through with remarkable ability, and Relationship of Command, for all its five-star reviews, only charted at 33 in the UK. Instead, the band split just a few months after its release, playing their final show in February He felt their fairly straightforward set-up — guitar, drums, bass, vocals — was holding him back creatively. Not that they approved of that sort of thing, as any ATD-I concert attendee with a little too much enthusiasm or lager inside them can tell you.