![]() The chorus consists of the same lyrics chanted in the album’s intro. It enters with no fancy intro at the fastest tempo heard on the album so far with spastic guitars much like Omar Rodriguez (TMV reference #2), and it maintains sounding very punk until the singing arrives in the first verse. At 2:44, it is the shortest song on the album, but at 2:44, it still goes nowhere at all.ġ980 – Picking back up from the lowest point of an album is never easy, but 1980 does it very well. This song is neither outstanding or too terribly bad, but it kills the energy that was flowing from the first three songs. On A Lonely Screen – The effect this song has on the album is like running full speed down a straight road and then hitting a brick wall. At about 2:10 a drum section enters and Embree’s voice is faintly heard in the background wailing away. The use of horns is very present in this song, yet they are still used sparingly. It is mellow for the most part, yet it picks up in the chorus. This is the only song I’ve had trouble placing in one of the two categories this album’s music falls into, as it could fit in either. It’s slower paced than the previous two, but that doesn’t reduce any of the energy you felt with those. Only For The Night – This is the third entirely solid song in a row from the start of the album. Perhaps the best use of the horns is in this song. The song closes with the way it opened up. After a small solo on the keys, the song increases in tension with Embree chanting “Would you? Would you ever?” and the song erupts into the chorus once more. We’re then treated to some more frighteningly catchy verses and choruses. Scribbled down solutions to erase the past” ![]() Embree’s lyrical songwriting shines here. Then we kick into full gear with a very upfront presence from the horns section. It kicks off with another drum intro, but it’s much more complicated than the previous song’s. In Her Drawer – Here we have another highlight from the album (there are quite a few of those). A nice delayed-guitar-ridden bridge with a little BASS SOLO (nothing much), and the song comes to a close with a final chorus. The sparing use of horns is a very nice touch, also. The guitars sound wonderful, and a lot like Omar’s tone from The Mars Volta. The song crescendos into the first addicting catchy chorus. One element that you don’t find in your run-of-the-mill ska band is atmospheric keyboards, which also bubble in during this section. The song enters with a simple drumbeat fading in, and Embree’s entrancing mellow singing comes in softly over it with a palm-muted chord progression. It just shows what you what Embree has in store vocal-wise.Īnd the Battle Begun – Quite possibly one of the greatest ways to open up an album. ![]() Untitled – Untitled is a simple little intro track to this album that is entirely a’cappella that is extremely well-done for a 45 second song. No one song on this album is bad (though some are average). It’s either fast-paced, energetic ska, or relaxed reggae. Each song usually falls under two categories. I still have yet to see them live, and I must say I can’t wait for them to arrive somewhere near me. This was my first RX Bandits album, and I was absolutely blown away by the energy and emotion that comes from listening to their music. It makes it all the better.Īs for the new material, it is all equally amazing. And The Battle Begun is recorded live to prove to you that RX Bandits rips it up live, so go see them and tell me how they are. ~Yes everyone, the crystal-clear production and flawless performance you hear on. RX BANDITS then make it a priority to go about making sure that they create a unique and different experience from those recordings for their live shows.” For them musicianship is paramount and is always the top priority which is why the band's 5 th album 2006's ".And the Battle Begun", and their previous release 2003's "'The Resignation' were both recorded live. “RX BANDITS thrive on playing live, and have become well known for putting on both physically and musically explosive shows. Christopher Sheets – Trombone/Vocals/Percussion
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