 "Photo: Frank Gatto")
To give you the skinny, At the Drive-In spent almost a decade perfecting its post-hardcore sound. Upon reaching mainstream success in 2001, lead singer Cedric Bixler-Zavala and guitarist Omar Rodriguez-Lopez left and pursued prog-rock as the Mars Volta. The rest of ATDI, currently Jim Ward and Tony Hajjar, continues to pursue its rock tendencies as Sparta.
The members of Sparta bounced back and released their first album Wiretap Scars in 2002 and followed with the "middle child" album Porcelain in 2004. Finally, five years following its inception, Sparta delivers what is possibly its best work yet, Threes.
Sparta has developed a name for itself by sheer song construction. While avoiding pretentious temptations, the band has mastered its ability to layer songs in a climactic fashion. Threes, which will be released Oct. 24, finds Sparta continuing its specialty while embracing growth as a band.
Overall, Threes marks a milestone in Sparta's progression. The band's growth is loud and clear. While they stay true to their roots in song development, the members of Sparta venture into new territory that is well within their reach.
Preceding this release of its third full-length album, Sparta is putting its name back in the rock game by means of a fall tour, hitting clubs across the United States. The Texan group invaded New England as they performed at the Axis in Boston last Thursday.
The setlist, oddly enough, emphasized the band's older material. Songs such as "Cut Your Ribbon," "Air," "While Oceana Sleeps," and "Rx Coup" lit the Axis and ushered in a surreal blanket over the audience.
Once Sparta tried out some of its new songs, it was clear why the show was dominated by old favorites from Wiretap Scars and Porcelain: live, the new material simply does not hold up compared to the band's older stuff. Sparta previewed Threes with songs such as "Erase It Again," "Weather the Storm," and "Taking Back Control."
Sure, these songs were hooky and melodic, but they immediately filled the venue like a vehicle airbag. And that was just it - the songs exploded on impact as the band insisted on energizing its artistry.
This in-your-face approach left little room for Sparta's work to grow, climb, and resolve in a live setting. Instead of crafting mood and ambience, as it does so well on its albums, Sparta chose to blast into its new songs as if going to war.
Was there a sense of urgency and energy? Definitely. But where are the dynamics, the variables, and the unspoken magic? This is not to say the members of Sparta are poor live performers. Rather, the band is known for its ability to be "on" every night. Sparta's show at the Axis by and far supported this claim. Singer Jim Ward's vocals actually outshined his studio work, and the band's fit is undeniable as it masterfully wove older songs into radiating bliss.
For these reasons alone, Sparta is worth the price of admission. Yet, it would nice to see Sparta further capitalize on its nuances and ability to infuse its songs with lush intensity and beauty.
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