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Rooted firmly in the punk explosion of the late ’70s, The Last Drive burst into the Greek music scene in the mid-’80s, captivating audiences and critics alike. Their unique speed-trash-garage-punk sound along with their explosive gigs creates a stir in the underground at the time, establishing them in the consciousness of Greek rockers.
Their first LP, entitled “Underworld Shakedown” (1986), is met with critical praise, prompting them to get out of the confines of their country and carry out their first European tour. The Last Drive create a stir abroad as the US label Voxx releases three songs off the LP as a single, while others are included in garage compilation albums (Battle of the Garages, Sounds of Now!).
So, it is no surprise that their next album, “Heatwave” (1988), is co-produced with Peter Zaremba of The Fleshtones and is released in Europe through the German label Music Maniac. At about the same time, Theo Angelopoulos includes two of their songs in his film “Landscape in the Mist”. Not long after that, Music Maniac, excited by the reception to “Heatwave”, releases the CD “Their Story So Far”, which contains their first two albums.
In December 1989 they release the “Time” E.P., which was recorded in Berlin, winning new fans. Also, through their meeting with Dream Syndicate, they collaborate with Paul B. Cutler, who handles production duties on their next album, “Blood Nirvana” (1990).
“Blood Nirvana”, one of their most accomplished recordings, marked a turn to harder sounds and was released in Germany and Spain, and a short while later in the US by Restless Records.
In the summer of ’92, Paul B. Cutler returns to Greece for a new “magical” collaboration. Recording and mixing of the 11 songs that comprise the material for their next album took place in Athens, with mastering at Futuredisc Studios in Hollywood. The result, their fourth album, entitled “F*head Entropy”, is an altogether different concept, with more tone-color and harsher language, but also a deeper taste of optimism.
In 1993 The Last Drive tour Spain and then Greece. They are featured in international compilations, as in a tribute album to Suicide, with a cover of Alan Vega’s “Outlaw”.
In April 1994 they enter the studio once more to record new material, assisted by Jim Spliff, their live soundman. “Subliminal” bears the identity of a band that can draw on its various influences, putting their personal stamp on anything they choose to work on.
The band breaks up in 1995 but reforms twelve years later, in 2007, for a series of highly successful concerts in Greece and abroad.
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