Their "lukewarm" is still hot as fuck.

AT THE DRIVE-IN has got to be the most important band in my life. Discovering "Relationship of Command" changed everything for me and made me prone to Hardcore, Emo and everything inbetween. I was like "Yeah, this is the music I was always searching for, this is the music I can identify myself with to the fullest". I was simultaneously addicted and fascinated by this band, their music and their intensity. Surely, I hunted down every one of their other releases...

And while doing that, my love for this band grew even futher. I like their early, more amateur-ish stuff just as much as I like the polished "Relationship of Command". With "early stuff" I mean their first full length "Acrobatic Tenement" and the way underrated "El Gran Orgo"-EP. The two EPs prior to those aren't really worth it. Somehow, "in/Casino/Out", their second album always was the record I couldn't love just as much. It's the typical "middle of the road" record, but in a weird kind of way. AT THE DRIVE-IN's evolution from 1996's "Acrobatic Tenement" to 2000's "Relationship of Command" made a lot of sense, but this record here, "in/Casino/Out", didn't make sense to me. So, let's roll this up!

"Acrobatic Tenement", their debut album, always resonated well with me. I know, most don't like this album as much because of the sloppy character and the poor production. But that's what struck with me. It's a whirlwind of pure emotion and a record that hold's its own in the discography of AT THE DRIVE-IN. With the aformentioned, slightly better produced "El Gran Orgo" they could built upon the debut album, while adding more variation and aggression to their sound. With the drama of cuts like "Fahrenheit" or "Speechless" they smoothly hinted at what was in them, even if that might sound strange with "Relationship of Command" being three years and two other outputs away.

Then came "in/Casino/Out". For the first time, AT THE DRIVE-IN had a proper produced sound. They felt more accessible and -while not completely putting on the brakes- they also wrote pretty straight and harmonic songs. 

The opener "Alpha Centauri" is classic AT THE DRIVE-In, starting the record with an up-beat banger. It's a cool hint at the Punk-laden stuff of their early days, but more complex and moody. "Chanbara" completes the flawless opening-tandem, that can only be rivaled by "Arcarsenal"/"Pattern against User". "Chanbara" is my personal favorite song on "in/Casino/out", I especially love the hispanic influence on the rhythm section and would've loved seeing AT THE DRIVE-IN moving more in this direction ever since. What a song!

Is it strange/blasphemous/silly/stupid to say that it's "downwards from there on"?! To relativize myself: While "in/Casino/out" may indeed be my least favorite AT THE DRIVE-IN-release between 1996 and 2000, this record would be the gem, the classic, the masterpiece among any other band's discography. Let that sink in. 

With that being said, I basically like every song on this record, the oddly structured "Shaking Hands Incision" being my least favorite track on here. "in/Casino/Out" is AT THE DRIVE-In at their most Emo-ish, their most melancholic, their most harmonic. "A Devil among the Tailors" is the only darker song. It's an underrated song and to me personally the record could've needed more from its mood to mix things up. A lot of the other cuts, like "Hulahoop Wounds", "For now... we toast", "Lopsided" or "Transatlantic Foe" spread brightness and positivity, despite crushing moments here and there. "Napoleon Solo" is their most elegant song up 'til then. A track that switches between mellow verses and a powerful chorus, while never leaving midtempo. "Hourglass" -sung by Jim Ward- then is their most quiet track, and their claim on a ballad. Speaking of Ward, he came back for "in/Casino/Out" and even if that might be pure speculation, that may have had an influence on the outcome of the record. The stringent songwriting, the uplifting character of some songs and the melodic, mellow touches are trademark Ward. Somehow I always saw "in/Casino/Out" as the AT THE DRIVE-IN-record closest to SPARTA's debut album "Wiretap Scars"...

Many of those songs are in my playlist, yet I haven't listened to "in/Casino/Out" in full for a very long time. Going back for its 25th anniversary, I realized once again how awesome this band was. Even when they feel a bit trimmed down to me on this album, they delivered the goods. It's a fantastic record full of catchy tunes and nostalgic moments. It even feels a bit "relaxing" compared to their other outputs and the Emo-ish leanings are charming without a doubt. 

Let me know what you think about this record. I'd like to know if I'm the only one seeing this as AT THE DRIVE-IN's most unspectacular release between 1996 and 2000?!