As anyone who’s — sporadically — kept in touch with high school friends upon graduation knows, the passage of time can change a lot. I was reminded of how much things can change Sunday night when I stepped back in my life about 12 years by joining two high school friends at the 311 and Sublime concert at the LC.
I haven’t listened to either band more than a dozen times combined since I graduated high school way back in 1999. Similarly, I haven’t kept in the best touch with either friend since then either.
My one friend, let’s call him Austin, is my childhood best friend from the time we were four or five. He now lives in Chicago and so I see him a few times a year (mostly around holidays). My other friend (whom we’ll call Mike) lives in Columbus, but prior to moving here myself in January I had hardly seen more than once a year.
In high school, our lives mostly revolved around music, soccer and parties. Minus the soccer, this concert seemed like a good chance to hang out with some old friends and reminisce, regardless of how little I might be into this brand of music now.
I remember, firstly, the weather. It was a warm day, but beautiful. A few white clouds in the blue sky. A slight breeze. A great day for an outdoor show at the LC.
We entered the venue a few minutes before Sublime (with Rome) took the stage. As the group launched into its first song of the night, I couldn’t help but feel some remorse that I wasn’t seeing these two bands in the mid- to late-’90s when my appreciation of both was at its apex.
I don’t mean to sound disparaging to either band. Sublime sounded surprisingly fresh and tight considering the loss of singer, guitarist and principal songwriter Bradley Nowell back in 1996. Rome sounded surreally similar to Nowell, which helped the transportation back to the ’90s. Had I closed my eyes, I doubtlessly could have told you which singer was which if both were before more. Still, I couldn’t help but feel a little sad that a musician as talented as Nowell had left Earth so prematurely.
Still, Sublime ripped through most of its old material, playing fan favorites like “What I Got,” “Pawn Shop,” “Santeria,” and “Wrong Way.” Through the faster tempo, more punk-influenced songs, a dozen or so fans attempted a mosh pit, a few crowd-surfed. Nearly every one sang along, full-throated, hands raised, reciting the anthems of their childhood.
Speaking of which, the crowd, expectedly, consisted mostly of late-20s to early 30s-ish white dudes who were probably in the same demo I was in high school. There’s a saying I’ve often heard and suspected to be mostly true, and it is that people with dated haircuts and fashion sense dress and look the way they do because that was the time period when they were most alive, most comfortable with themselves. I suspect this is also partly true with music. Those of us who still listen to mostly the same music we did 10 years ago do so because that’s the music we most identified with then, when we were young and mostly carefree.
There was a visceral connection to Sublime’s songs that was evident each time a refrain was repeated among the crowd, each time a familiar chord was strummed. Many of those in attendance are still deeply connected to the band and that time period, and despite my deepest wishes, I couldn’t transport myself back to that time or that connection in quite the same way as those around me. And it wasn’t for lack of effort on my part or a poor performance on the band’s. Quite the contrary, most of those around me I surveyed proclaimed the show to have been rather “kickass.”
The experience changed some for me with 311. After waiting till the sun set, so the band could fully utilize its impressive light system, the band took the stage to chants of ‘three-eleven, three-three-eleven.’
This was the band I most closely followed and enjoyed in high school (aside from maybe The Beatles). I owned all the band’s albums, their live CD, their DVD, T-shirts, etc. As I’ve gotten older, I’ve struggled to get past some of the weaker lyrical moments in their songs. I’ve also struggled to reconnect to the rap-rock hybrid. So I was cautiously pumped.
As such, the songs I enjoyed the most Sunday were the ones filled with harmony between lead singers Nick Hexum and S.A. Martinez, which pretty much consists of their more recent output. My friends, however, wished for some deeper cuts, particularly those from “Music,” or “Grassroots,” like “8:16 a.m.” or “Feels so Good.” We did get “Beautiful Disaster,” “All Mixed Up,” and “Down,” alongside cult favorites like “Who’s Got the Herb,” which I knew from a compilation released in the mid-’90s.
I, personally, was most satisfied, at least musically, to hear a Chad Sexton drum solo and “P-Nut” bass solo, something I remember distinctly from live recordings. And anytime band members show their versatility, my impressions are raised a little. Such was the case when all five band members came on stage for a five-piece percussive assault.
Still, by the end of the night, I must say, as corny as 311’s unity/positivity vibe can come across sometimes, I left the LC feeling a little closer to Mike and Austin. After spending the previous 10-12 years not seeing the two of them as much as I would have liked, I couldn’t help but feel sentimental at the end of the show. I felt truly blessed to still have these two as friends and to share an evening watching two of our favorite bands from high school — 12 years later. Especially considering we've lost at least three close friends (and almost a fourth) to various life calamities since the start of high school and subsequent graduation.
That, truly, was pretty kickass.
http://uweekly.com/blogs/live-from-columbus/posts/concert-review-a-travel-back-in-time-with-311-235/
Wednesday, July 20, 2011
311: Universal Pulse Review (IGN)
311's blend of reggae sway and rock swagger returns with their tenth studio album. As mellow as the vocals of "Trouble" get, looking to shake free of the bad boy lifestyle, the crunchy riffs keep it from becoming simply a chill out album. The slippery guitar noodling its way in and out of loyalty anthem "Count Me In" lends the song more of a burly rock edge despite the dub kissed riffs casually drifting through the sandy vocals.
The album is at its best when they strike the balance between the thicker rock oomph and the calming sway of their reggae roots, with the snarling riffs stomping menacingly through "Rock On" feeling claustrophobic in comparison, despite some fantastic guitar work. The muscled-up distortion chugging through "Sunset In July" serves as the perfect foil for its dub flavored breeze and summer loving lyrics. The feel good vibe of the hook of "Time Bomb" balances well with the jagged pulsing rhythm and the jabbing dual-mic attack of Nick Hexum and S.A. Martinez.
The itchy, bristling guitar scratching its way through "Wild Nights" gives it a robust thrust to rough up the gooey sing-along vocals. The buzzing groove of the bass and guitar work well on "And A Ways To Go", but the song becomes far more interesting when drifting into psychedelic space rock territory with the bubbling bass breakdown near the end. The album would be a much more dynamic listen if it took more of those chances, with the shuffling bounce of "Weightless" feeling as if it lasts twice as long as its three minutes thanks to the overused, repetitive hook. Though only eight tracks long, if the album were even a song or two longer it may have worn out its welcome.
http://music.ign.com/articles/118/1182484p1.html
The album is at its best when they strike the balance between the thicker rock oomph and the calming sway of their reggae roots, with the snarling riffs stomping menacingly through "Rock On" feeling claustrophobic in comparison, despite some fantastic guitar work. The muscled-up distortion chugging through "Sunset In July" serves as the perfect foil for its dub flavored breeze and summer loving lyrics. The feel good vibe of the hook of "Time Bomb" balances well with the jagged pulsing rhythm and the jabbing dual-mic attack of Nick Hexum and S.A. Martinez.
The itchy, bristling guitar scratching its way through "Wild Nights" gives it a robust thrust to rough up the gooey sing-along vocals. The buzzing groove of the bass and guitar work well on "And A Ways To Go", but the song becomes far more interesting when drifting into psychedelic space rock territory with the bubbling bass breakdown near the end. The album would be a much more dynamic listen if it took more of those chances, with the shuffling bounce of "Weightless" feeling as if it lasts twice as long as its three minutes thanks to the overused, repetitive hook. Though only eight tracks long, if the album were even a song or two longer it may have worn out its welcome.
http://music.ign.com/articles/118/1182484p1.html
Album Review: 311 - Universal Pulse (Consequence of Sound)
311 is loved and hated; the two strong emotions permeate from music fans and concert-goers every summer during the band’s annual Summer Unity Tour. The hardcore fans get behind the music and will follow 311 for as long as they keep going. The haters will disrespect every slight imperfection– the kind that all bands encounter– and put it on a grand scale of the worst thing to happen in music. The truth is that there’s no right or wrong answer, and that’s what makes music so amazing. In the ears of some fans, 311′s new album, Universal Pulse, will be a great rehash of earlier efforts and a return to a less pop, more rap/rock sound. On the contrary, others may hear it as the same 311 album they’ve heard nine times before. Thus, the great debate begins.
To have an appreciation for what this album is, you have to have a sense of where this band has been. 311 went from being the next big thing in 1995 following their smash self-titled album, to nearly falling completely off the charts with the exception of a few strong singles. This happened because they continued to evolve and change the way they made music and their sound. However, without the help of album sales and strong radio play, 311 still manages to tour two to three times a year and successfully fill amphitheaters and clubs. That doesn’t necessarily speak to the quality of music itself, but does give a nod to how the music affects their fans. Even without an album or single to tour behind, they are still in high demand every time they hit the road.
When the band brought in Bob Rock to produce their previous effort, Uplifter, he took them into a sound that sells, and it worked. The only problem with this method was that the music really suffered. The album wasn’t considered poor overall, but it just lacked a certain punch. They brought Bob Rock back for Universal Pulse, and though you can still hear his influence, it seems 311 have thrown in more of their own ideas this time. That’s what makes this album so much more enjoyable than the former. There is still pop to be found on “Wild Nights” and “Count Me In”, but the fact that the album was mixed by drummer Chad Sexton (instead of Bob Rock) is an interesting twist, and possibly the reason the sound is so much more improved. Uplifter had the same steady tone throughout the whole album. Nick Hexum and S.A. Martine-z’s vocals never seemed to change volume; the whole thing was a little redundant. The new disc has a nice variety and effects in the mix, and the differences between the albums are profound.
The first single off Universal Pulse, “Sunset in July”, is a fun, upbeat track with a truly catchy chorus, and it (along with the heavy reggae track “Time Bomb”) is written about the fans themselves. The band clearly appreciates the fans’ willingness to accept their strengths and faults, and both tracks are an ode to the “excitable crew” and their devotion.
311 returns to its rap/rock origins on “Rock On”, which is arguably the best song on the disc (despite its generic title). The heavy, distorted track gives Hexum and Martinez a chance to channel their inner “Grassroots”, and it’s sure to become a live show staple. The lyrics themselves aren’t anything too special, but the fact that 311 went back to this style and can still flow at age 40 is admirable. Guitarist Tim Mahoney provides a great outro guitar solo to close it out, as he has done on every album to date, with ease and originality.
The single-worthy “Weightless” might have been one of the first tracks written for the effort when it was thought that this might be a concept album about space travel. It has high energy, and the chorus is desperately catchy: “Weightless, weightless/We’re all weightless, weightless.” You won’t find anything like “Amber” or a slow song on this disc, and that’s a welcomed change. Universal Pulse hits hard all the way through the eight tracks and comes full circle with the closest thing to a ballad in “And A Ways To Go”. The bass solo by Aaron “P-Nut” Wills on this track is jaw-dropping. The song has a slight resemblance to the track “There’s Always An Excuse” from the often overlooked Don’t Tread On Me. Martinez shows his best performance on the disc as he embraces his rapping skills. His delivery and presence are well-heard and needed.
Once this album has completed its first full rotation, there’s an immediate urge to play it again. It’s short, sweet, and a perfect follow-up to where the band was in 2009. Universal Pulse is the band’s best release since 2001′s From Chaos. Attribute this to the short number of tracks or to Bob Rock and Chad Sexton’s influence, but 311 had confidence when recording this record and it shows. Ten albums in, this band has nothing to prove to critics, and fans will follow them wherever they decide to go. They were out to prove to themselves they could still do this, and they just did.
http://consequenceofsound.net/2011/07/album-review-311-universal-pulse/
To have an appreciation for what this album is, you have to have a sense of where this band has been. 311 went from being the next big thing in 1995 following their smash self-titled album, to nearly falling completely off the charts with the exception of a few strong singles. This happened because they continued to evolve and change the way they made music and their sound. However, without the help of album sales and strong radio play, 311 still manages to tour two to three times a year and successfully fill amphitheaters and clubs. That doesn’t necessarily speak to the quality of music itself, but does give a nod to how the music affects their fans. Even without an album or single to tour behind, they are still in high demand every time they hit the road.
When the band brought in Bob Rock to produce their previous effort, Uplifter, he took them into a sound that sells, and it worked. The only problem with this method was that the music really suffered. The album wasn’t considered poor overall, but it just lacked a certain punch. They brought Bob Rock back for Universal Pulse, and though you can still hear his influence, it seems 311 have thrown in more of their own ideas this time. That’s what makes this album so much more enjoyable than the former. There is still pop to be found on “Wild Nights” and “Count Me In”, but the fact that the album was mixed by drummer Chad Sexton (instead of Bob Rock) is an interesting twist, and possibly the reason the sound is so much more improved. Uplifter had the same steady tone throughout the whole album. Nick Hexum and S.A. Martine-z’s vocals never seemed to change volume; the whole thing was a little redundant. The new disc has a nice variety and effects in the mix, and the differences between the albums are profound.
The first single off Universal Pulse, “Sunset in July”, is a fun, upbeat track with a truly catchy chorus, and it (along with the heavy reggae track “Time Bomb”) is written about the fans themselves. The band clearly appreciates the fans’ willingness to accept their strengths and faults, and both tracks are an ode to the “excitable crew” and their devotion.
311 returns to its rap/rock origins on “Rock On”, which is arguably the best song on the disc (despite its generic title). The heavy, distorted track gives Hexum and Martinez a chance to channel their inner “Grassroots”, and it’s sure to become a live show staple. The lyrics themselves aren’t anything too special, but the fact that 311 went back to this style and can still flow at age 40 is admirable. Guitarist Tim Mahoney provides a great outro guitar solo to close it out, as he has done on every album to date, with ease and originality.
The single-worthy “Weightless” might have been one of the first tracks written for the effort when it was thought that this might be a concept album about space travel. It has high energy, and the chorus is desperately catchy: “Weightless, weightless/We’re all weightless, weightless.” You won’t find anything like “Amber” or a slow song on this disc, and that’s a welcomed change. Universal Pulse hits hard all the way through the eight tracks and comes full circle with the closest thing to a ballad in “And A Ways To Go”. The bass solo by Aaron “P-Nut” Wills on this track is jaw-dropping. The song has a slight resemblance to the track “There’s Always An Excuse” from the often overlooked Don’t Tread On Me. Martinez shows his best performance on the disc as he embraces his rapping skills. His delivery and presence are well-heard and needed.
Once this album has completed its first full rotation, there’s an immediate urge to play it again. It’s short, sweet, and a perfect follow-up to where the band was in 2009. Universal Pulse is the band’s best release since 2001′s From Chaos. Attribute this to the short number of tracks or to Bob Rock and Chad Sexton’s influence, but 311 had confidence when recording this record and it shows. Ten albums in, this band has nothing to prove to critics, and fans will follow them wherever they decide to go. They were out to prove to themselves they could still do this, and they just did.
http://consequenceofsound.net/2011/07/album-review-311-universal-pulse/
Tuesday, July 19, 2011
LP Release Tuesday: July 19th, 2011 (Pop Blend)
Oh, yes… 311. Adhering to the popular mechanics of making an album, 311 followed the normal procedure. Tour for a year and then spend another year writing your next record. A seemingly lazy work ethic like this seems okay though if your band makes good music, and luckily for 311, they do. The “All Mixed Up” hit-makers don’t create great tunes, but most of their efforts are enjoyable enough to get excited about. Universal Pulse does have an awesome album cover, while the tracks on this record prove the claim “don’t judge a book by its cover,” wrong. The hit single “Sunset in July” seems to explore new sounds and lyrical ideas. Touching on the contemplation of space and life, it’s a great track. An explanation of this new trend could be accredited to Bob Rock who produced this record. Overseeing albums for groups ranging from The Offspring to Mötley Crüe and Bon Jovi, Rock adds a surprising element to Universal Pulse.
In their previous albums, 311’s record label, the Dave Matthews co-founded ATO Records, requested that the drum sections be recorded at an alternate location. Instead of sticking with this old method, all the tracks including the drums were recorded at the Hive Studio in North Hollywood, California. To support the album, 311 invited Sublime with Rome to co-headline their 2011 Unity Tour, which despite popular belief, I’m very happy about, much like 311's newest effort. Not only does Universal Pulse extend to new territory; it’s a proper installment in their legacy.
http://www.cinemablend.com/pop/LP-Release-Tuesday-July-19th-2011-33597.html
In their previous albums, 311’s record label, the Dave Matthews co-founded ATO Records, requested that the drum sections be recorded at an alternate location. Instead of sticking with this old method, all the tracks including the drums were recorded at the Hive Studio in North Hollywood, California. To support the album, 311 invited Sublime with Rome to co-headline their 2011 Unity Tour, which despite popular belief, I’m very happy about, much like 311's newest effort. Not only does Universal Pulse extend to new territory; it’s a proper installment in their legacy.
http://www.cinemablend.com/pop/LP-Release-Tuesday-July-19th-2011-33597.html
311 “Universal Pulse” review (Press P to Play)
There’s a few things in life that are ubiquitous about summer. There’s ice cream, the hot sun, longer days, and 311. Throughout their 21 year history, 311 has struck the balance between fun-loving party goers and positive new agers in their music, finding themselves as the unofficial ambassadors of summer.
It’s only been two years since the band’s last album, Uplifer, and yet we’ve already got a new album from the band that finds time to record after touring all summer, every summer. Universal Pulse has been promised as a return to the band’s 90′s roots, full of heavier guitars and space imagery ( a quality that distinguished the band from their peers with their early albums). It turns out those promises were kept.
Uplifter producer Bob Rock returns for Universal Pulse, and furthers his ability to be able to bring each band member’s strengths to the surface. Also of note is that this is the first 311 album where every member laid the tracks down together in the studio, instead of recording parts seperatly. What results is a tighter, more cohesive sound that undoubtly stems from their years of playing live together every summmer. Similar to the Foo Fighter’s “Wasting Light” album from earlier this year, “Universal Pulse” is crafted for the fans. Almost every track could be a B-side from earlier albums like Transistor, Sound System, or the band’s self-titled breakthrough. SA Martinez is suddenly up front rapping in a lot more songs that he had last time around, and even Nick Hexum mixes up his smooth vocals with some rhymes.
Unfortuantly, there’s two major caveats that hinder Universal Pulse from becoming the best 311 album ever. The first is fairly obvious: Clocking in at only 8 tracks, this is the shortest 311 album, and one could argue ( rather correctly) that it’s barely longer than an EP in length. At a little over a half hour in length, be prepared to be starting back at track one a lot sooner than you’re accustomed to.
The other knock against the album can be traced back to the band trying to tap back into it’s aforementioned 90s roots: Every once in awhile, things just get cheesy. It was a problem that permeated their previous album, and it’s even more pronounced this time around. On the album’s capper, “A Ways to Go”, SA ackwardly raps just a little too long, and there’s a few instances of lyrics that’ll make you cringe ( be prepared for a very awkward and out of place “ooooooooooh” on a track that I won’t spoil). Having said that, 311 seems to get away with it, being at the top of their game and obviously comfortable in their own skin. They’re having a great time, they want you to have a great time, and who cares about anything else?
Just like the summer season, Universal Pulse is energetic, fun, light-hearted, and seems to end way too fast. Very few bands ( especially from the hip-hop/rock mix genre) can claim post-90′s stadium selling success, but 311 has found themselves culturally relevant by tightening the screws on their quality and keeping consistant. It’s officially summer everyone.
http://presspforplay.wordpress.com/2011/07/19/311-universal-pulse-review/
It’s only been two years since the band’s last album, Uplifer, and yet we’ve already got a new album from the band that finds time to record after touring all summer, every summer. Universal Pulse has been promised as a return to the band’s 90′s roots, full of heavier guitars and space imagery ( a quality that distinguished the band from their peers with their early albums). It turns out those promises were kept.
Uplifter producer Bob Rock returns for Universal Pulse, and furthers his ability to be able to bring each band member’s strengths to the surface. Also of note is that this is the first 311 album where every member laid the tracks down together in the studio, instead of recording parts seperatly. What results is a tighter, more cohesive sound that undoubtly stems from their years of playing live together every summmer. Similar to the Foo Fighter’s “Wasting Light” album from earlier this year, “Universal Pulse” is crafted for the fans. Almost every track could be a B-side from earlier albums like Transistor, Sound System, or the band’s self-titled breakthrough. SA Martinez is suddenly up front rapping in a lot more songs that he had last time around, and even Nick Hexum mixes up his smooth vocals with some rhymes.
Unfortuantly, there’s two major caveats that hinder Universal Pulse from becoming the best 311 album ever. The first is fairly obvious: Clocking in at only 8 tracks, this is the shortest 311 album, and one could argue ( rather correctly) that it’s barely longer than an EP in length. At a little over a half hour in length, be prepared to be starting back at track one a lot sooner than you’re accustomed to.
The other knock against the album can be traced back to the band trying to tap back into it’s aforementioned 90s roots: Every once in awhile, things just get cheesy. It was a problem that permeated their previous album, and it’s even more pronounced this time around. On the album’s capper, “A Ways to Go”, SA ackwardly raps just a little too long, and there’s a few instances of lyrics that’ll make you cringe ( be prepared for a very awkward and out of place “ooooooooooh” on a track that I won’t spoil). Having said that, 311 seems to get away with it, being at the top of their game and obviously comfortable in their own skin. They’re having a great time, they want you to have a great time, and who cares about anything else?
Just like the summer season, Universal Pulse is energetic, fun, light-hearted, and seems to end way too fast. Very few bands ( especially from the hip-hop/rock mix genre) can claim post-90′s stadium selling success, but 311 has found themselves culturally relevant by tightening the screws on their quality and keeping consistant. It’s officially summer everyone.
http://presspforplay.wordpress.com/2011/07/19/311-universal-pulse-review/
Album Review: 311-Universal Pulse (B-Sides)
If you need a summer pick-me- up, Universal Pulse is the one to listen to. 311’s tenth album is full of upbeat lyrics, bass and fantastic funk. Going strong since 1993, 311 has kept their original sound, but somehow they’re still managing to be as hip as ever. They’re keeping it real, keeping it fresh and keeping it fun so that just about anybody can listen to these eight songs and find something to appreciate.
The album immediately starts off with “Time Bomb,” which is jammed packed with heavy guitars, light vocals and fun lyrics. Although the band seems to be anything but tough, they make a statement with this track saying they’re, “ticking like a time bomb, watch me go off.” Nick Hexum displays some of his best rapping efforts on this track with, “Innovation ruling the nation. The dancehall’s back. What you know about that?”
The album goes on with many more fun danceable, yet rocky tunes. But “Trouble,” is a little bit more on the experimental side. Heavy bass, a reggae beat and a wailing lead guitar make this track a unique find for dedicated fans. The lyrics get explicit as Hexum sings, but even with some negative connotations, it keeps a positive feel. Hexum explains to his fans that the bad-boy lifestyle is no longer for him, and even though “trouble,” always seems to always find him, he’s trying hard to stay out of it.
--> Cheaper than Downloads - 500 CDs under $10!
While each song has a different message on its own,“Weightless” takes the album in a different direction all together. In this one, the band gets to make a deeper statement about humanity. Listening to the lyrics in combination with the airy guitars, you might start to feel like you’ve been transported to space. But the main message here is that we are, or all should be equals as human beings. This is where fans will definitely hear the “universal pulse,” beating on, as the band reaches out to the world. Hexum sings in his monotone rapping voice, “We are beyond supposed separations. All of those are just our creations. Caught up in the ways of instating this. Everyone of us is weightless.”
What makes 311 great is that they know what they do best. They’ve incorporated so many different genres into their alternative style that there won’t be any need to change. Whether you like alternative, hip-hop, reggae, rap or funk, there’s a little bit of everything to keep you listening. Here at B-Sides, we appreciate the variety, the originality and of course, the fun. It’s not that often that you find a true rock album that makes you just want to smile. But we definitely found one here.
http://bsides.myx.tv/album-review-311-universal-pulse/
The album immediately starts off with “Time Bomb,” which is jammed packed with heavy guitars, light vocals and fun lyrics. Although the band seems to be anything but tough, they make a statement with this track saying they’re, “ticking like a time bomb, watch me go off.” Nick Hexum displays some of his best rapping efforts on this track with, “Innovation ruling the nation. The dancehall’s back. What you know about that?”
The album goes on with many more fun danceable, yet rocky tunes. But “Trouble,” is a little bit more on the experimental side. Heavy bass, a reggae beat and a wailing lead guitar make this track a unique find for dedicated fans. The lyrics get explicit as Hexum sings, but even with some negative connotations, it keeps a positive feel. Hexum explains to his fans that the bad-boy lifestyle is no longer for him, and even though “trouble,” always seems to always find him, he’s trying hard to stay out of it.
--> Cheaper than Downloads - 500 CDs under $10!
While each song has a different message on its own,“Weightless” takes the album in a different direction all together. In this one, the band gets to make a deeper statement about humanity. Listening to the lyrics in combination with the airy guitars, you might start to feel like you’ve been transported to space. But the main message here is that we are, or all should be equals as human beings. This is where fans will definitely hear the “universal pulse,” beating on, as the band reaches out to the world. Hexum sings in his monotone rapping voice, “We are beyond supposed separations. All of those are just our creations. Caught up in the ways of instating this. Everyone of us is weightless.”
What makes 311 great is that they know what they do best. They’ve incorporated so many different genres into their alternative style that there won’t be any need to change. Whether you like alternative, hip-hop, reggae, rap or funk, there’s a little bit of everything to keep you listening. Here at B-Sides, we appreciate the variety, the originality and of course, the fun. It’s not that often that you find a true rock album that makes you just want to smile. But we definitely found one here.
http://bsides.myx.tv/album-review-311-universal-pulse/
311 – ‘Universal Pulse’: A Review (A&E Playground)
Starting off with the snappy tune “Time Bomb” 311 gets things going right off the bat in a hurry on their new release Universal Pulse. Catchy at the same time, I must say. “Wild Nights” has a tougher guitar sound. I like the variety right from the start. Although short with only eight songs, I don’t hear anything lousy. “Sunset in July” is simply a marvelous song. The guitar will get in your head and drive you nuts.
“Trouble” is another song with great guitars and a pretty nice lead. It may not put Omaha, Nebraska on the music map, but it sounds good all the way through. “Count Me In” shows how funky they can be. Whoa! Nice departure in sound! You have to hear this one for sure. This could very well be my favorite on a release of solid material. “Rock On” has a interesting sound, not sounding like the rest. The variety aims to please.
“Weightless” has some more excellent guitar playing. I like this enough to wish there were more songs, but what a solid release this is. ”And a Ways to Go” features a more mellow laid back guitar sound and is a nice variation from the other songs, then kind of kicks in for the second half of the song. This is like more than one song. Ooh! That end finishes this release out very strong. What a funky sound! Check it out!
311 is: Nick Hexum (vocals/guitar), Doug SA Martinez (vocals/turntables), Tim Mahoney (lead guitar), Aaron P-Nut Wills (bass), and Chad Sexton (drums). This is easily a 4 and a half star effort.
http://artsandentertainmentplayground.com/2011/07/19/311-universal-pulse-a-review/
“Trouble” is another song with great guitars and a pretty nice lead. It may not put Omaha, Nebraska on the music map, but it sounds good all the way through. “Count Me In” shows how funky they can be. Whoa! Nice departure in sound! You have to hear this one for sure. This could very well be my favorite on a release of solid material. “Rock On” has a interesting sound, not sounding like the rest. The variety aims to please.
“Weightless” has some more excellent guitar playing. I like this enough to wish there were more songs, but what a solid release this is. ”And a Ways to Go” features a more mellow laid back guitar sound and is a nice variation from the other songs, then kind of kicks in for the second half of the song. This is like more than one song. Ooh! That end finishes this release out very strong. What a funky sound! Check it out!
311 is: Nick Hexum (vocals/guitar), Doug SA Martinez (vocals/turntables), Tim Mahoney (lead guitar), Aaron P-Nut Wills (bass), and Chad Sexton (drums). This is easily a 4 and a half star effort.
http://artsandentertainmentplayground.com/2011/07/19/311-universal-pulse-a-review/
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