Combining emotional melodies and an upbeat rhythm moving at an unpredictable rate, At the Drive-In definitely stuck out in their hometown El Paso, TX. Formed in early 1994, the group debuted soon after with their first EP, Hell Paso, followed by a brief tour across the Lone Star state. With a lineup secured around Cedric Bixler (vocals), Omar Rodriguez and Jim Ward (guitar), Paul Hinojos (bass) and Tony Hajjar (drums), At the Drive-In continued on with a second EP (Alfaro Vive, Carajo!) and toured mostly empty houses and clubs across the western United States. A small gig in Los Angeles - with an audience consisting of only nine people - somehow got the attention of Flipside Records, who released the band's first full-length Acrobatic Tenement in 1996. With constant energy and a stubborn enthusiasm to continue, At the Drive-In began to develop an audience, helped out by constant touring and word-of-mouth hype. Their 1997 follow-up EP El Gran Orgo had more of a melodic bite, but their musical depth and originality still remained. In Casino Out followed in 1998, and 2000 saw the release of Relationship of Command. After the band went on indefinite hiatus in 2001, Bixler and Rodriguez formed the Mars Volta, while Ward, Hajjar, and Hinojos moved on to Sparta.
Not only notoriously energetic and wild at shows, At the Drive-In were noted by the music press for the afros of Cedric Bixler-Zavala and Omar Rodriguez-Lopez. The hairstyle became synonymous with the pair's image. However, the two have been very vocal about image. Omar said in one interview, "I hate photoshoots, I get so bored. The way I look has nothing to do with the music I make, so who cares if I have big glasses and an afro? People should just put on our CD."
Breakup
In 2001, at the peak of their popularity and following a world tour, At the Drive-In broke up, initially referring to the split as an "indefinite hiatus."
Cedric Bixler took full responsibility for the breakup for the band, saying repeatedly in interviews that he felt almost as if ATDI were holding him back, and that he didn't want his music to be confined to 'punk' or 'emo' or 'hard-tits-core' - that it should encompass many different genres and be even more progressive, alternative, and "against-the-grain". Bixler and Rodriguez-Lopez had stated that they wanted their next album to sound like Pink Floyd's Piper at the Gates of Dawn, while the other members of the band were intent on progressing in a more typical rock direction. Following the break-up of ATDI, Omar and Cedric would start The Mars Volta. This project was a departure from their previous work, as it pursued the prog-rock sound that they had been interested in. Meanwhile, the other members of ATDI - Jim Ward, Paul Hinojos, and Tony Hajjar - would continue on to form the band Sparta. Hinojos has since left Sparta to join Bixler and Rodriguez in The Mars Volta as the Sound Manipulator (Keeley Davis has since become the new guitarist for Sparta). At the Drive-In's experimental and emotional work made them unique amongst their contemporaries.
De Facto
De Facto (formerly De Facto Cadre Dub) was the alias for Cedric Bixler and Omar Rodriguez's reggae/dub side project since the early days of At the Drive-In. Essentially after ATD-I shows Cedric would play drums like he had in the El Paso Pussycat, Omar would play Bass as he did when he first joined ATD-I, and Ikey on keyboards back in El Paso, Texas (they relocated to Long Beach, CA in 2001). The group's ten-song full-length, Megaton Shotblast, appeared on GSL in late 2001. De Facto broke up when Jeremy Ward the vocalist (though there was little singing on their albums) and sound engineer died of a drug overdose in 2003.
At The Drive-In Was:
Cedric Bixler-Zavala - vocals
Jim Ward - guitar, vocals
Omar Rodriguez-Lopez - guitar on all, bass guitar on Acrobatic Tenement
Paul Hinojos - bass
Tony Hajjar - drums
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From Wikipedia:At the Drive-In was an American post-hardcore band from El Paso, Texas, active from 1993 to 2001. They were known for their extremely energetic stage shows which hearkened back to the 1980s post-hardcore scene. They were also recognized for their blend of surrealistic lyrics, unorthodox guitar melodies and unpredictable shifts in tempo and rhythm.