reat - another Ross Robinson-produced album. Robinson, of course, is the Wizard behind the Oz of the recent rap-metal trend, including such "bands" as Papa Roach. Rap-metal is fast becoming the modern-day equivalent to hair-metal, and Robinson seems only too happy to perpetuate this dreck. And now, he has the gall to produce a record by the perfectly fine punk band At The Drive-In, turning in - an absolutely blistering and energizing set of songs.

At The Drive-In's new release, Relationship Of Command, is a wild collection of light-speed punk songs with just enough aggro-rock flourishes to appeal to all the Limp Biz-kids out there. At times, Relationship Of Command sounds like the second coming of hardcore gods Husker Du; other parts sound like D.C. gurus Fugazi and Bad Brains, and sometimes you'll swear you're listening to Rage Against The Machine (the only artistically competent rap-metal band).

Prior to Relationship Of Command, the Texas-based At The Drive-In was mostly known for their incredibly intense live act. Lead singer Cedric pogos around the stage like a jackrabbit on crack, his huge sweaty afro threatening to fly off his head. Maintaining non-stop energy and aggression is held above all. For a good example of their live antics, check out the video for the single, "One-Armed Scissor." However, At The Drive-In's albums weren't nearly as exciting or engaging, suffering from poor production and bad mixing, which leeched the band's fury.

Relationship Of Command, on the other hand, is the closest you're ever going to get to the "live sound" in the studio. Some critics may accuse ROC's sound as being too thin, but it's the lack of bass that allows the album to take flight. Without a deep, anchoring bass sound to hold the album down, songs like "Arcarsenal" and "Mannequin Republic" are mean and lean; ultra-streamlined and precise barrages aimed to knock you flat on your ass. You'll swear that you're in a packed and overheated club with the band just a few feet in front of you.

The first thing about ROC that you notice is the fact that these guys are playing actual riffs. Let me say that again: riffs, not beefed-up, dumbed-down, "chunka-chunka" power chords (exemplified by Limp Bizkit and newer Korn). And what riffs they are - glorious sonic bursts of pure rock passion that'll have you bouncin' round the room with your best air guitar moves and rock-god posings. This is some of the most refreshing and inspired punk guitar playing recorded since Rancid's 1997 Life Won't Wait.

Atmospherically, ROC's closest cousin is probably Husker Du's 1984 opus, Zen Arcade. Zen Arcade was another album that attempted to translate a furious live act to record, and also was accused of a washed-out sound by mainstream critics. ROC not only mirrors the Minneapolis rockers in terms of sound, but also in songwriting. If At The Drive-In had simply gone into the studio, hammered out a few noisy bursts of chaos, and called it a day, ROC wouldn't be half as good as it is.

After the album's zealous immediacy wears off, the songs are left to stand on their own merits. And stand they do, like mighty redwood trees. Tracks like "Sleepwalk Capsules" and "Quarantined" are positively anthemic and epic in structure and scope. The hardcore-based songs practically spew forth Husker worship, the punk rockers are as melodic and speedy as the Clash's heyday, and the few rap-rock leanings of the album should send Korn back under whatever dank rock they crawled from.

Cedric is one hell of a colorful frontman, to boot. Vivacity exudes from his every squeal and shout, and he sounds every bit as righteous as a young Bono. As to what he wants you to rally around, your guess is as good as mine. Cedric's lyrics are pretty cut-and-paste, though most have disoriented and shifty political leanings. "Yes this is the campaign/Slithered entrails in the cargo bay/ Neutered is the vastness." Huh? I dunno, but it sure is fun to yell out. He can turn quite a colorful phrase, though.

Standout tracks include the rebellious and dissonant opener, "Arcarsenal." Here, Cedric shreds his throat, telling you to "Beware! Bewaaaaare!!!!!" "One-Armed Scissor" is one of the best rap-rock songs ever (oxy-moron alert), providing an arty flipside to "Nookie." "Invalid Litter Dept." shows that the boys are just as comfortable in a slower setting, as the song's verses slink by in a meditative state, and creepy electronics appear around the fringes. "Rolodex Propaganda" sports a wonderfully weird cameo from one of punk's godfathers - the one, the only Iggy Pop! He incoherently pops up in the chorus to blubber "Manuscript replica!" before being buried under a tsunami of guitars. And "Mannequin Republic" will have you frothing at the mouth.

The only track where At The Drive-In really stumbles out-and-out is the pathetic attempt at art rock that "Non-zero Possibility" is. Cedric sounds whiny, there's no direction for the song (almost 6 minutes of meandering), and ends the album on a real bum note. Aside from that, there really are no major complaints with the album. Not all the songs are first-rate, but hey, we all can't be Bob Mould. ROC will reaffirm your belief in punk (hell, rock in general), and will get you juiced-up after many repeated spins. And hey - love the afros, dudes.