Every other summer since 1999, I have looked forward to indulging in a new Rx Bandits album. This summer was no different. They released their newest album, The Resignation, July 15 on the Drive Thru Records label.
Like many bands in the area of Seal Beach, Calif., the Rx Bandits sprouted out of the third-wave ska and reggae craze of 1996 and 1997. Like all fads, ska soon died and many bands lost money, interest and fans. A few, like the Rx Bandits, sifted back into the underground.
When they reemerged into CD players in 1999's Halfway Between Here and There, they did not sacrifice their reggae sound or horn section. They invented the unique sound of reggae fueled with poignant vocals and well-timed use of the distortion pedal.
2001's highly acclaimed Progress was no doubt a progression from Halfway Between Here and There. The Rx Bandits had made a new friend: a synthesizer. They weren't shy about using it either. Coupled with blaring trombone lines and written in an urbane mindset, Progress was amorously accepted.
Progress delivers a general anti-war message, which gave American listeners a feeling of power but detachment from the world's problems. The Resignation, however, stabs back into American society. For example, the first track, "Sell You Beautiful," satirizes America's beauty-crazed society. The chorus says it all with lines like, "baby you know if you're not beautiful just cover it up with make-up kits and perforated scalpel seams, we'll do you right up."
The Resignation is the perfect album for independent rock fans that have not formerly appreciated reggae and ska sounds. It is easily the most raucous and angry Rx Bandits album, and is not boggled down in the endless ticking of offbeat guitar strokes.
Additionally, lead singer and guitar player Matt Embree continues to compose soulful vocals. His lyrics naturally address sociopolitical subjects, like the war in Iraq, beauty, the concept of normality and the American lifestyle. Flooded with emotion but without the nasal whine of pop punk and emo, Embree inspires, enrages and questions every day life as we know it.
While everything seems in order, the album is thirsty for horn-lines. While Halfway Between Here and There and Progress each boast several memorable horn-lines, The Resignation has nothing special. When the horns do pop up, distortion, vocals and complicated drumbeats shove them out of the limelight.
The Rx Bandits' sound in The Resignation can best be described as a hybrid of reggae, rock and synth-rock on caffeine pills. The increased intensity mirrors Embree's scathing lyrics.
Involved drumbeats and sleek organ riffs also echo the attitude of the lyrics. Drummer Christopher Tsagakis defaults to his array of cymbals in nearly every song, characteristic in songs like "Prophetic" and "Never Slept So Soundly."
When the trombone and tenor sax do shimmer through, they add spice to that song. The horns, unfortunately, have a noteworthy presence in just a small handful of songs. The best examples of these are the intricate horn-lines in "Taking Chase as the Serpent Slithers" and "Mastering the List."
Because Progress seems to be the exemplary Rx Bandits album, many long-time Rx Bandit fans may be disappointed. This is due in part because The Resignation does not host the many catchy guitar riffs and horn licks that characterize Progress. The other issue is with those dedicated reggae/rock fusion lovers. They will find The Resignation caters to rock and has even less reggae sections than horn-lines.
The Resignation will appeal to anyone who has ever had a subversive thought, food for the liberal mind. It can also provide bright contrast for those people looking for something outside of the capitalized world of punk rock.
In general, The Resignation is a toss up. Fans with firm attachments to Progress will probably not like The Resignation as much as non-former Rx Bandits fans. If you want to hear something original outside of the bland stewpot of mainstream music, pick up The Resignation or any Rx Bandits album for fresh listening, but don't expect the same sound from each album.
Chris Kark is a reporter for the Web Devil. Reach him at christopher.kark@asu.edu.
