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Records-style pop-punk, but Bixler-Zavala and Ward were equally as taken with the ambition of bands on Dischord Records as well as the spastic chaos of the San Diego bands populating the Gravity Records roster. Similarly, Rodriguez-Lopez would take his love of salsa music and encourage Hajjar and Hinojos to incorporate the sounds that permeated El Paso, no longer relegating them to simple, four-on-the-floor beats. While plenty of punk bands were renowned for their live sets, it was rare that a band captured that on record. This would ultimately be what led to them getting signed to Grand Royal and being able to make Relationship of Command with a sizeable budget. But just as At The Drive-In became the talk of punk circles on the strength of their performances, they also finally synthesized their influences into a sound that was distinctly theirs. It would allow all manner of post-hardcore bands to cite them as an influence, from mids scenecore-adjacent acts like Underoath and The Fall Of Troy, to modern post-hardcore bands like La Dispute. At various points, it was easy to hear a bit of Lookout! At The Drive-In broke up in , and their legacy warped all the more as the band members quickly formed new projects. Though Bixler-Zavala would go on to say that the rushed recording forced them to omit 30 percent of the ideas they wanted to execute, it felt like their live shows. The following year, At The Drive-In would release Vaya , an EP that streamlined their songs even more and saw them stretch out a little bit. Aside from a handful of outliers like Chinchilla, Rainer Maria, and Franklin, the emo scene was dominated, largely, by white dudes. On the other hand, Ward, Hinojos, and Hajjar planted their feet and plowed through the songs, keeping the train on the track while their other members ran wildly through the cars. The song detailed the experience of him learning two of his friends, and former bandmates, were killed in a truck accident before having to play a show in New Orleans. They flailed around stages with no regard for their bodies; swinging microphones, bashing guitars, and climbing anything that could hold them. In , plenty of punk bands were getting weird. It was the sound of the band achieving their intended goal, of making a record that encapsulated all their assorted interests while setting a bar that everyone else would need to clear. At The Drive-In would be mercilessly heckled during that set, and Bixler-Zavala took that feeling of loss and dehumanization and turned it into invective of living in spite of genuine loss, which showed emo was more than a place to immortalize minor slights. Each group would shit-talk the other and distance themselves from At The Drive-In, making it so that their former band was shrouded in mystery. Aug 23 , pm.{/INSERTKEYS}{/PARAGRAPH} At the time, their influences were equally fluid, as early At The Drive-In releases flipped between may of the sounds that were gaining a foothold in punk. As a result, and as is the case for so many bands that broke up before prematurely, their legend began to grow bigger than they ever really were. Instead of laboring over tones, the band ripped through the songs as if they were playing live. But for all the excess energy, their songwriting had sharpened, to the point where it was no longer possible to dismiss them as a band only worth seeing live. Yet, while those bands were a part of progressive hardcore scenes, At The Drive-In was lumped in with emo. It was enthralling, as At The Drive-In took recognizable component parts and spit them out the other side as something totally new. Ward took a brief sabbatical from the band that same year, but when he returned to At The Drive-In a year later, it was with a newfound vigor. They incorporated even more complex rhythms and stronger electronic elements without cutting out their feral qualities. Even when At The Drive-In's shows devolved into actual messes, it was always compelling. That sounds awfully quaint now, but those games were a major cultural force in the mids, and it did wonders for a band that broke up just as they were crossing over into the mainstream. And when the band slipped into double-time in the chorus, it showed that At The Drive-In finally figured how to jump between styles without stumbling. It was partially because no one could recreate this unique brand of controlled chaos, even though many would try. This din lasted only a few seconds, as Hajjar smacked his snare drum and corralled the band into action. They left their border town inspired to create something no one else could, and the result is a record that suggested they could take over the world. {PARAGRAPH}{INSERTKEYS}The Shape of Punk revisits some of the seminal albums turning 20 years old in , tracing their impact and influence on the future of the scene. It was speedy and chaotic, with the band sounding as if the entire house of cards would come tumbling down at any second.