311 'Stereolithic' Review

311, 'Stereolithic'
                                                                                                                                          By: Max Sagan

        This a review I have been looking forward to doing for a while now. 311 has proved to be he most consistent bands from their first album 'Music' in 1993 to their latest 'Stereolithic'. On this album you will hear heavy droning guitars and funky bass lines that give it the classic fusion metal 311 sound. You will hear Nick Hexum's and SA Martinez's vocal melody lines that will get stuck in your head for days. (Seriously, I cant get some out of there) And after all these years, continuing with the 311 style this album keeps their message of positivity while slapping listeners in the face with its hard hitting rock/ reggae elements. I think this album is a great representation of who they are as a band and takes small characteristic elements from each of their previous albums and integrates into their latest and greatest, 'Stereolithic'

        I knew right from the beginning of the album it was going to be a good one when arguably the strongest track "Ebb and Flow" began. I've always been the guy who likes the energetic, get the people going openers and this one doesn't disappoint; it's nearly impossible to not start nodding your head to the beat. Following the opening track we have their other single "Five of Everything" which demonstrates that vintage Omaha sound with a HUGE guitar riff during the chorus. If you play you must check it out, and even if you don't you will hear what I am describing and surely love it. Okay, two solid opening tracks. But where's the Caribbean, reggae sounding, good vibe 311 that we know and love?  Right on cue, "Showdown" and "Revelation of the Year" make an appearance. "Showdown" demonstrates one of the most unique reggae rhythms I've ever heard, solidifying the unbelievable band chemistry these guys have together. Followed by this, "Revelation of the Year" has great use of  'Transistor' like spacey sampling complements of one of their Vocalist/DJ S.A. Martinez. 

        Moving on, "Sand Dollars" keeps the chill mood going by beginning with Tim's lovely signature bubbly tone we've heard in their popular song "Amber" and other songs like "Champagne". The next song "Boom Shanka" gives us a nice change of pace and shows us that that they are still tastefully utilizing that octave guitar tone they have been using for years. If you don't quite know what I'm talking about with this whole octave guitar thing, listen to the song Homebrew. It is a very cool effect that this Omaha native band started using in the early 90s. If their guitar tone interests you read more here. Next was the first track on the album that didn't particularly impress me. "Make It Rough" is my least favorite track on the album because it is just too generic. The next song "The Great Divide" picks it back up with an angry verse but a happy, sing-along chorus which is another unique thing that 311 does pretty frequently. Lyrically this song excels too. If you can use the word "indubitably" in your rap and still make it sound good, you're okay in my book. "Friday Afternoon" is one of those jams that starts nice and slow and like a snowball rolling down a hill it just picks up into a unstoppable groove. This one has one of my favorite guitar drum dynamics on 'Stereolithic'. Listen to right around 3:12 and you'll hear exactly what I am talking about. 

        "Simple True" is that track where they are just jamming. I totally get a Red Hot Chili Peppers vibe from the intro. And that super slow fadeout at the end is entrancing. Moving right along "First Dimension" totally reminds me of the song "Evolution" from 'Sounds System' with its crazy, otherworldly lyrics that keep the listener interested throughout. This just another way I hear them integrating other album influence into 'Stereolithic'. And that guitar solo near the end...DAMN. Props to you Mr. Mahoney. "Made in the Shade" had this cool Pink Floyd intro which I really dug. This was definitely the saddest song on the album but I thought it was cool to see that a band who preaches positivity isn't afraid to write about vulnerability. This song really speaks of redemption to me. I would love to know what it is really about, but that is part of the magic of music; using your imagination to make up your own story of what it is about and relating it to your own life. 

"You got to keep on climbing the hill, Cause if you think you'll make it you will".

        Their drummer Chad Sexton really shines on the next track "Existential Hero". He has some impressive drum fills near the middle of the song. Next, "The Call". I really can't say enough about this song. It's refreshing to see a song so low on a track list that is one of the most memorable and powerful songs on the album. This displays the perfect example of powerful vocal harmonies that will make the hair stand up on the back of your neck. This is my favorite track on the album and easily in my top five 311 songs ever (that's saying a lot because there are over 170 songs that I am familiar with!) "The Call" is a really, really great song and if anybody takes anything from this review, I encourage you to show your friends this one. I absolutely love when an album has a strong ending and I was ecstatic when 'Stereolithic' ended with "The Call" and "Tranquility". Such and appropriate ending to the best album I've heard in a long time.

        I can confidently say that head guys are the most consistent of any band I've ever heard. They continue to make fantastic music for over 25 years. 311 is one of my few favorite bands and I hold them to a high standard, and they did not disappoint. Tim's guitar playing has never been better. Chad's drumming remains as creative as ever. Nick and SA still have magic vocals melodies that leave an everlasting imprint in your mind. Tim was quoted saying that he can see no reason why the band couldn't continue to make music for at least another 20 years. That is great to hear, but for now let's take a page out of  the 311 handbook and stay positive and love our lives. 

ALBUM REVIEW 9/10

Notable tracks: The Call, Ebb and Flow, Revelation of the Year

Follow Max Sagan on Twitter: https://twitter.com/xvwmax

311 Stereolithic Album Review

by Tyler Flynn

311 is an alternative rock/rap rock/reggae/funk rock band out of Omaha, Nebraska. Receiving much success in the 90's and early 2000's with some of their songs like "Amber", "Creatures (For a While)", and "Down", they have always been a consistent alternative band releasing an album every few years. Since they were able to release the album on "311 Day" this year, that meant the band had a very busy 24 hours. Every 311 Day, the band plays a 5, or so, hour long show, including multiple setlists and hours of music, including old songs, new songs and everything in between. 

But enough about 311 Day, let's get to the album. Stereolithic (or STER3OL1TH1C starts very strong with the track "Ebb and Flow." Definitely one of the harder hitting tracks on the album, with a heavy riff, and a relatively heavy chorus with Nick and SA's clean harmonized vocals on top, the track really stuck out in my mind, especially for an opener for an album. I like me some heavy, fast openers. 

The album has a good mix of heavier songs, and reggae songs, but in my opinion, they lacked a little bit on the reggae songs. They have a few good ones in there like "Sand Dollars", and "Friday Afternoon" (which starts off that way, but goes wayyyy off into an Avenged Sevenfold ending). So, if I could change anything about the album, that would be my input.

The album has many strong qualities, however. The entire band seemed to step it up, in every aspect, on this album. Cooler drums, harder guitars, funkier bass, and amazing harmonies on the vocals. It is a typical 311 album, because you get all of those elements, but it seems like they tried to push themselves out of their comfort zones on this one. They have some tracks that sound totally different than anything that they have done before. They even stepped it up production wise on this album. I would argue that this is by far the best sounding 311 album, sonicly. 

All in all, this is a very impressive album from one of my favorite bands of all times. They really stepped it up on this record, and I couldn't have asked for anything more as a dedicated fan. I'm looking forward to seeing them this summer, and I'll be writing a review on the concert. But if you're a fan of 311, or you were a fan, or you have never heard anything by them, give this album a shot. I promise that there's one track for everyone.

Favorite Tracks: "Boom Shanka", "Sand Dollars", "The Great Divide"

St. Vincent, 'St. Vincent'

By: David Savage

I’m hopping on the bus a little late on this one, but St. Vincent’s new record, St. Vincent, is brilliant. As soon as the first track, “Rattlesnake”, begins you are set up for a fun synth-pop dance record. For those of you who are unfamiliar with this artist, St. Vincent is the stage name of Annie Clark. NPR Music did an interview with Annie Clark, about the new record, which was an interesting insight to the foundation and depths of the album. A busy Annie Clark stated that “I got home and I started writing this record about 36 hours after I finished a year of touring [with David Byrne]”.

The instrumentation is really intriguing and “You get the feel of a human, but the sound of a machine”, according to St. Vincent in the NPR Music interview. The band is playing these instruments, but the sounds get tweaked, pushing the boundaries of your typical instrument, like the guitar. “Digital Witness” may or may not be a horn-heavy cut or it’s simply the electric guitar being dressed up to sound like a horn section, but regardless of the fact, this song is so catchy and probably describing herself with the lyrics “what’s the point of even sleeping?”, seeing as St. Vincent never stops writing and touring.

Right in the middle the album, “I Prefer Your Love” takes a breather from the upbeat, catchy, dance-rock tunes, with a soft symphony with Annie’s voice singing out “I prefer your love to Jesus”, surrounded by strings and a smooth crisp beat. This ode to her mother has beautiful lyricism, “Sure as mother licking her finger/ wipe the blush and smudge from my cheek and/ wonder what will become of your little one”. Lyrically this song is powerful and the instrumentation only further exemplifies the strength of this song.

St. Vincent gives a combination of hard rock and synth-pop in a way that seems truly unique and original. St. Vincent’s fourth (fifth if you’re counting Love This Giant) album, St Vincent, is a magnificent medley of synth-pop, dance, and rock that plays out so wonderfully, ending with the nostalgic “Severed  Crossed Fingers”. If you haven’t heard this record yet I strongly suggest that you do so. 

Favorite Tracks: "I Prefer Your Love", "Rattlesnake" and "Digital Witness"

Pharrell - G I R L Review

by Tyler Flynn

It seems like Pharrell has been EVERYWHERE this past year. He won 4 Grammys, including producer of the year, and featured on Daft Punk’s album of the year. He was also a member of the hit song “Blurred Lines” by Robin Thicke. Pharrell has been part of the music scene for almost 15 years, working with artists such as; Snoop Dogg, Jay-z, and T.I. Pharrell has made most of his career by just acting as a featured artist in songs until 2006 when he released his first album In My Mind.

This past week, Pharrell released his newest project G I R L, a dance-pop/funk record that really pulled me in. I’ll be honest, I really only bought the album because of his work with Daft Punk, and his single “Happy” that was attached to the movie “Despicable Me 2”. But upon listening, I was very surprised at the diversity on this album.

While it is a pop album, and it has those elements, Pharrell seems to take a liking to funk music as well, and the sound definitely resonates throughout the album. With the typical funk driven bass lines, and fairly simple muted guitar chords, the album just screams 70’s funk. I feel like funk music is definitely coming back and I feel like Pharrell is going to be one of the major influencers in the bringing back of this genre.

Another element that took me by surprise about this album is how diverse all of the songs are. While they all have similar pop and funk elements, he did a great job of making the album unique, allowing the listener to feel like they’re not listening to the same song over and over again. The wide range of featured artists also helped give the album a unique sound.

Overall, this is probably going to be one of my favorite pop albums of the year. Yes, I can tell that already. I also feel like “Happy” is definitely going to be a front-runner in my favorite song of the year as well. That song grabs you in, and never lets you go. After listening to that song once, it will be stuck in my head for days. It’s amazing.

Beck, 'Morning Phase'

By: David Savage

                There are some bands that I feel everyone else is very familiar with, or they are very well-known, yet I seem very unfamiliar with them. These could be bands that I never grew up listening to, or my parents never played when I was a kid, or just artists that I never explored more deeply. I feel like Beck is one of those artists. The most I know of Beck are mainly singles like “Loser”, “Girl”, and “Nausea”; the ones that everyone knows. When I heard about Beck headlining some festivals this year, and his new record getting some great critical reception I figured now is my chance to get into Beck and see just what he is all about, and it was a great decision.

                 Morning Phase is Beck’s newest full-length studio album in about six years. It is said to be a type of “sequel” to Beck’s Sea Change. When I used to hear the name Beck I thought of whacky guitar and fun, almost psychedelic-rock, full of slide guitar, but Morning Phase has opened my eyes and proven me wrong. Maybe I was quick to judge before actually getting familiar with Beck’s repertoire.

                Morning Phase opens up with a 40 second orchestral snippet that basically paves way for the entire record and flows right into “Morning”, a beautifully slow ballad that sounds vast with vocals enchanted with reverb. This record features a very folk driven acoustic guitar, but not the crazy fast finger-picking type, but a chord-heavy decadence that is coated with the string section. As much as there are some drums present, as well as a prominent string section, it is really the acoustic guitar that takes over the record, for me. Quite possibly my favorite track is “Heart is a Drum”. The picking style on this one sounds similar to Nick Drake, and the bass notes just float so well through the track, then ends up being intertwined with piano fills and whirring effects.

                This album gives off a summery vibe, which surprised me with the February release, but nevertheless brilliant. Topically, this record expands to a more self-reflective theme than previous works. On “Blue Moon” Beck begins with “I’m so tired of being alone/ These penitent walls are all I’ve known/ song bird calling across the water/ inside my silent asylum”, which is absolutely stunning lyricism if you ask me.

                There are pieces of this album that retrace back to the opening orchestra; “Cycle”, “Wave”, “Phase”, and then concluding with “Waking Light”. For being someone who was pretty unfamiliar with Beck prior to now, I must say that I am intrigued and impressed. I love Morning Phase. The flow of this album is arguably perfect. There just something wonderful about an album that flows together and doesn’t feel like a compilation of tracks, and I think that is one of the main reasons I truly enjoy Morning Phase.

Favorite Tracks: “Heart is a Drum, “Blue Moon”, and “Waking Light”