Haberdasher’s Review of 311’s Stereolithic
I had intended to write a review for this record for a couple days now, and think I can finally get to it. At first, I envisioned the review as a grand history of the intersection of the music made by 311 and my music tastes. I scrapped that idea and decided to focus on a comparison between their new album “Stereolithic” or rather “Ster3ol1th1c” (notice, if you will, calling it “311- Stereolithic” is a bit redundant because the 311 is in the word) and better offerings like, for example, their master work “Transistor”. But that too didn’t seem quite right.
I am on perhaps my 6th listen through of this record in three days. And I finally think I am ready for a review of the record on its own terms. I should state clearly that I am somewhat more than a casual fan of 311- they are one of the better bands that I have enjoyed for almost twenty years now, and they have never really stopped making decent-to-good alternative rock and roll. Their record “Transistor” is my favorite album of all time, of all records I have listened to in my life. There is not any record which comes close to that record in terms of my music preferences.
So, I am not exactly an objective critic of anything 311 has done. I still regularly listen to their first six studio albums, but “Evolver” and those following it get almost no play in my library because I have thought those records are boring, formulaic and self-focused. Due to my long enjoyment of their earlier stuff, it is therefore fairly safe to bet that I was going to check this record out as soon as I became aware that they had released it. That day was late last week. I heard the single “Five of Everything” and on the strength of my band loyalty, acquired the record.
Weaknesses First
First, let me say that there are some weaknesses on this record which will keep it from being on regular rotation for me 15 years from now. It is unfortunate that this record has these weaknesses- the good on this record is really good, but after my three hundred and eleventh listen through, the bad will probably prevent me from coming back to it. Much of it has to do with the forced introspection of the lyrics and their delivery which has also tainted several of their recent records. The delivery of lyrics that suggest self-doubt and confusion about a multitude of topics from one’s place in the world to one’s place in the affections of some unnamed “you”, to uncertainty about what one is doing at the moment is a thread which travels through a lot of these songs and it really gets kind of old after a while. The fact that the person who is uttering these lines is a good looking guy in a very successful and widely known band makes it even worse.
I just want to reach into the song and jar the narrator back into “sh– talking mode”, which is more reminiscent of earlier 311. It is the tendency of Nick Hexum to do this sort of nonsense which really turned me off to the band’s last four records. Hexum’s forced lyrics was occasionally multiplied in their evil purposes by SA Martinez’ solo singing at the top of his range, which was aesthetically grating to my ears because it was almost nasally when it wasn’t complimented by Hexum’s harmonizing and vice versa. Martinez’ urgency in his solo singing reminds me of why I really didn’t like the Strokes’ most recent record. But that is a minor issue compared to the just almost self-deprecation of Hexum’s lyrics, especially when he delivers them like a self-focused whining teenybobber who is struggling to find his place in this big complicated world. He’s gotta know that life really isn’t that uncertain, and tentativeness which oozes through the speakers is really off-putting.
So that is the major weakness I note to an otherwise enjoyable record. Other reviews, which I won’t reference, have mentioned some of the strange production choices the band opted for. One thing that was mentioned was the space effects. I actually wanted MORE space laser zooms and rocket thruster sounds. I think 311’s strengths are in the otherworldly themes employed on earlier records. The more they suggest alien technology and alternative energy and stuff like that, the more I am down with their message.
Another thing that others mentioned was the behind the scenes aspect of vocals left on the tracks which are extramusical, like people talking in the studio which is apart from the song itself. There is some of this on earlier records, but it seems fairly prominent in many instances on this record. If someone else didn’t mention it, I might not have paid any attention to it, but since someone did mention that they didn’t appreciate it, I listened for it. But I disagree that it is distracting. I think instead it is appropriate for the record. For example, one instance, on Track 8 “The Great Divide”, represents a band which is still amazed by music and the production process, and I think that enthusiasm for recording is important. Hell! Listen to the last word uttered in Track 9. The word “Sheeit” is basically what anyone who loves pre-“Black Album” Metallica is thinking at that point. (More on this below.)
Finally, I can say I would prefer another concept album from 311. I believe, and anyone who knows anything about music would agree, that “Transistor” was a high-order concept album, and I am tempted to add “Grassroots” to the list of concept albums. But this album was not recorded as one. Instead, the songs don’t seem to share a theme over the entire record. I would like to try to put a schema on the record, but in fact, there is really none. Some of the songs seem like filler (this is true of many of 311’s records) while we are waiting to get to the better stuff. A couple of the songs are actually skipable, though I have noticed on other reviews those songs which I don’t particularly care much for are some of the favorites of the other reviewers (different strokes, I suppose.)
It makes the record feel a bit scattered. Not long- I don’t think the record is overlong. But I am sure there is stuff that the band is working on which is a lot more experimentally interesting which could have easily replaced songs like Track 6 “Boom Shanka” for example, and which would have contributed to coherency of the record qua album. And then there are other songs which are sort of boring for about half of the song before they really get cooking (I’m talking to you, Track 7.) The wind-up could have been avoided, but then there would be a bunch of 1:30 length songs scattered across the record. Again, not that there is anything particularly wrong with these songs, but it is not particularly groundbreaking work for the band. I want 311 to display the talent they have, not fall back to formula, even if it is their own.
I suppose it is wrong for me to hit the band on something they didn’t intend to do but I would have preferred that they do anyway. So it’s not exactly a weakness of the record, but more a failure for the band to live up to the expectations or hopes of exactly one of their listeners. It is fair to let them do as they wilt. But with a name like “Stereolithic” the only concept is that this record is more rock (see what I did there?) than most contemporary records currently available. Otherwise, if I was the producer, the record would be about a third shorter than it turned out and a lot of the filler would end up on a separate EP.
Strengths of the Album
On a purely taste level, this album is much more enjoyable for me than their last four studio records. I don’t mean to compare this one to those- I haven’t listened to those even enough to review them. They had most of the above listed weaknesses in spades, while this record only displays those weaknesses just enough to be noticed. Much of the lyrical content is reminiscent of their earlier catalog. If they are making the move back to the fundamentals, they keep at least one foot in the post-“Transistor” era as well. But this record seems like a synthesis of the work they have done to this point, and for that I am appreciative at least. Consequently, I have already listened to this record more, and enjoyed it more than I have any new 311 album since “Evolver” was released.
Right up front, the music itself is hard rock, with a good measure of reggae thrown in. The snappy snares and massive hats are featured in all songs. The fuzzy guitar is precisely as loud as it should be. Missing are the slap bass solos from previous records (that slap bass is only featured on one song, Track 10 “Simple True”, which is appropriately the most jam bandish track on the record.) But this is not to say that the bass is gone- I’d say the instruments are finally balanced across the entire band. Hexum’s lyrics and vocal singing style are still a little weird, but I’d say less so than in the previous four records. Martinez still sings solo at the top of his range a bit, but he also spends the majority of his time rapping, a la “The Blue Album”. And when Hexum and Martinez sing together, trading harmonies and MC duties fluidly and effortlessly- they make a great team. Even after all this time, when they work together, those are the songs where the record shines. It’s almost like going back in time to the best of “From Chaos” or “Grassroots”. Those two, when they share vocals, it is really exceptional- their voices are just different that put together, they sound like I think a group of alien robots who invaded my mind would sound like. Quite enjoyable.
The best songs on the record are, in my opinion: Track 4, “Revelation of the Year,” which kind of dwells on a soft-consciousness “help your brother” theme that I think should be in more music and is set to a super-catchy funk rock groove which instantly grabs you after the just-alright Track 3 and Track 13 “Existential Hero” which is a bombastic groove rap-rock song which takes me back to the “Blue Album’s” “Brodels” or Music’s “Hydroponic”, and might be the best track on the album if not for Track 9 “Friday Afternoon.”
So, let’s talk a bit about that track. Here’s a link:
311’s “Friday Afternoon” (In case you wanted to listen to it while reading this review”
Hexum describes this song as one of his favorite songs on the record, referring to it as one of 311’s “epics”. I agree. It starts off real quiet, very melodic, like a “dreamy, wake up next to the one you love on a lazy afternoon in a beach cottage” sort of way. This song is about sex, just in case the listener couldn’t figure it out. The song proceeds with observations of a conversation with said loved one, the pillow talk which precedes the act, I suppose. And then the heavy fuzz rhythm and bass combo kicks in complimented with some big delay effects on a cali-reggae guitar and vox as the excitement is building to a little mini-crescendo between these two individuals- this is the foreplay. But then a release as built up anticipation is resolved- the song switches back to the first dreamy motif, complete with spacey triplets, but it is not as sleepy as the first time around, and the key changes ever so slightly to hint a different path than the first go round took. Topically, this verse is not subtle- the couple is clearly getting it on, but REALLY trying to keep it romantic. Unfortunately for sex, it is entirely too easy to forget “lovemaking”: almost as a warning about what is coming next, there is an explicit declaration that the roller coaster is about to drop off the cliff.
Then the romance just breaks completely. Its like we all of a sudden discover ourselves in the middle of a modern cock rock anthem! The song leaves the dream behind, and launches onto course to Planet Mongo. As the romance motif is completely abandoned to straight out f–king, Metallica comes out of 1990 to finish up the song while 311 is, er… indisposed. There are points on “Stereolithic” which come close to groove metal. This song definitively crosses the line into heavy metal territory. It is such a treat to listen to this switch, and each time I hear it I wish it was about 5 minutes longer. By far, this is the best song on the album, in my humble opinion. It is certainly the most fun. And I will say, its subject matter is dealt with tactfully.
The Best of the Rest
There are a lot of good songs on this one. Most are safe 311 songs with loud guitars, snappy drums and vaguely mystical lyrics. If you like that, you’ll definitely enjoy this record. Many of the songs feel like they are for different subgroups of fans: with a wider audience, sometimes you are going to get songs which do not satisfy your tastes, but they satisfy someone’s, and so it is good that 311 is catering to their whole fan base on this record- I think that marks them as professionals, at the very least. Besides the songs mentioned above, I enjoyed Track 1 “Ebb and Flow”, and Track 2 (the single) “Five of Everything”. Track 3 “Showdown” starts loud and proud, but then falls into a more mellow reggae groove, though it returns to the distortion in the chorus and the bridges. Track 11 “First Dimension” is a pretty good hard rock track that reminds me of “Transistor’s” “Borders”. Track 14, “The Call” is kind of like a political-lite call (ahem) to activism of some sort, but musically, the song is solid and coherent, and is enjoyable. These tracks more than make up for the ones which I didn’t particularly care for.
The record ends interestingly. Track 12 “Made in the Shade” is a tune which I didn’t care much for the first couple times I listened to it. But it is beginning to grow on me. The song itself is sad in a way. It’s as if a person accomplished some goal and should be happy about it, but the payoff wasn’t what they expected… I listen to the song as a lament of superficially good fortune. Its kind of a strange theme, but it resonates with me, as I am sure that it would resonate with a lot of folks who have finally woken up to the fact that the American Dream ended a long time ago for the vast majority of people under the age of 40, and it ain’t ever coming back.
The last full song of the record is also interesting, but for a different reason. The song “Tranquility” is a benediction- sending the audience out with a message of peace. Paired with “Made in the Shade” it is almost like a call to come to terms with a different reality than the one you thought you lived in. The fact that the song ends as a full on anthem only makes it that much more interesting. That tune, and the following windchimes, is a fine way to end the record.
Suggestions for the Future
In closing, I have three words for 311, if they for some reason ended up reading this: Dub. Reggae. Record. If they put one out, that would be the only record I would listen to for the next year.
Rather than giving the album a rating out of 10, I would just say that its worth at least one listen to. If you have listened to 311 in the past, you will find something that you love on this record. And when you find the things you like, you will want to listen to it a bit more, because if you like 311 but are not a rabid fan who likes everything they ever did, you will enjoy having new 311 music to listen to.
