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Let’s Talk About 311

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So last night thanks to Cleveland.com I got to attend the 311 show at the Time Warner Amphitheater VIP style.  I was not planning on going at all but last week I “re-tweeted” a Twitter post that Cleveland.com put up for a chance to win a pair of tickets to the Unity Tour 2010 and I thought to myself “why not?”

A day later I got a message saying I won the tickets.  I was stoked.  I mean why wouldn’t I be?  Free is good these days plus I got to rendezvous with an old musical friend of mine.

311 and I go way back.  I am not trying to sound like one of those music trendy scraps out there who just say random things to impress others.  311 and I have been down (no pun intended) since I was in high school.  I have seen them many times live, owned countless overpriced bootlegs, was a member of their fan club before the internet existed, and even was knocked out at once of their shows at the Cleveland Agora.

I vaguely remember what happened but will always remember the incident.  I know I was in the pit of that show when a size 12 combat boot slammed into my head knocking me the hell out.  The next thing I remembered was my pal Philippe asking me if I was ok.  I think I said yes but I was more confused over anything trying to figure out why I was not in the pit anymore.  Apparently Philippe dragged the knocked out me from the pit and into an alley through some emergency doors.  He told me that I looked at him, smiled, and ran back into the pit.  And I wonder why my body hurts so much these days… (Additional note: I bought a 311 work shirt at that show and I still wear it to this day)

High school ragers were not only fueled by cheaply processed beer but also Grassroots and Music.  I remember when their self titled album came out in 95 my friends and I freaked out and basically listened to the album on repeat until the cassette wore out.  Yes, cassette.

We wore 311 apparel, did our best to emulate Nick Hexum and S.A. Martinez (sounds terrible when thinking about it these days), and might have stolen room number signs from various secret locations that said, you guessed it, 311.

In 96 Enlarged To Show Detail was released on VHS and we had competitions on who could watch it the most in a three month period.  I made it to 278 if I am not mistaken and my pal Brent surpassed 301 times.  We were addicted.

By 1999 though most of us friends were growing up, attending college, or maybe even raising babies.  311’s music style was growing up too and to be perfectly honest I lost interest in them.  I stopped wearing the shirts, the CDs collected dust, and I moved on to other things. I never stopped liking what they had done in the past but I just could not get into their material after Transistor (minus the cover of The Cure song of course).  311 kept putting out albums and touring obviously but I just did not care, that is, until those tickets I won reached my hands.

***Time Out – As I am typing this I can not help but grab my copy of 311’s self-titled record (yes, record) and throw it on the turntable…

It was a unseasonably chill night in Cleveland as I arrived to the venue.  Parking the car and walking the lot all I saw was kids who were either in college or never lost the college mentality pre-game it with beer pong games and jello shots.  Not into that anymore I walked past them and aimed towards the VIP entrance.

For the record, VIP is not that much better.  There is a little bar to the side that still charges you $42 for a beer as well as a private bathroom that some other VIP drunk ass will most likely vomit all over in (it happened later in the night).

After making it through a terrible set from a shirtless, shoeless, surfer boy band called Pepper I found out that the Offspring were not even playing the Cleveland stop of the 2010 Unity Tour.  I was bummed out as they were another band I used to really like in the 90’s but that is a whole other story.

While waiting for the headliner to take the stage I glanced at my ticket stub and realized I had box sets.  VIP and box seats?  That was a pretty good prize if you ask me…  I took my place in the box sets, which are not that good at all if you ask me, and took in a 311 show.

The boys, who are all almost 40 with the exception of P-Nut (36), took the stage just as the sun was saying goodbye to the day.  They all looked very youthful as they did 15 years ago and almost the same except this time there was no bleach blond hair.  More importantly they sounded amazing and I am not just saying that as well as were genuinely excited to be on stage.  They were on point for all of their songs regardless if I knew them or not and were all about the crowd.

It was not until 5 songs in when the band dished out “Taiyed” that I started feeling like I actually belonged there.  Immediately after they dropped into “Plain” followed by their first chart breaking hit “Down”.  During those songs I started having non-drug induced flashbacks of the times I previously mentioned.

Shortly after all the members of the band minus Chad Sexton left the stage so he could beat on the skins for a while.  He put on an amazing drum solo that lasted at least 15 minutes and to make the little segment cause for more applaud, the rest of the band came back out and joined in on a synchronized drum circle of sorts.  Kind of jam band if you ask me, but it sounded great and all the fans loved it.

The remainder of the night again consisted of a good blend of older and newer material.  I do not think at any time did I not see movement in the huge crowd.  Song after song people were jumping around having a good old time just enjoying themselves.  The band really pushed forth a solid set and delivered just as good of a show as when I saw them almost 15 years ago live.

This was a shirt at the merch booth and I am kicking myself in the ass for not buying one...

During that show all these juvenile memories of my friends and our love for 311 hit me.  I could not help but shoot a few texts to a couple of the guys who I remain in touch with letting them know where I was that night.  It was a good night indeed thanks to a one time unknown Omaha act that has been rocking out since 1988.

311 Setlist:
Jackpot
Sick Tight
Mix It Up
Freeze Time
Taiyed
Plain
Down
Hostile Apostle
Brodels
Applied Science
All Mixed Up
Livin’ & Rockin’
Come Original
Eons
Hey You
Never Ending Summer
Nix Hex
(bass solo)
Off Beat Bare Ass
Amber
Creatures (For a While)
Encore:
Beautiful Disaster
F*ck the Bullshit

Download This!, Music, Music Video, New Release, Punk, Review, Rock, Ska

The Flatliners – Cavalcade – CD Review

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The Flatliners are about as punk as they come and I am not just saying that.  The foursome who hail from Toronto, Ontario does not care about the fame and fortune so many bands seek these days.  They prefer touring in vans, playing in dive bars, and sleeping on floors over lathering in luxury.  Recently releasing their third full length entitled Cavalcade on Fat Wreck Chords, the band continues on with their seven year career with just one thing in mind – play punk rock music because they want to.

Starting off as a ska-punk act, the band has matured into a more melodic punk rock outfit that clearly is represented on Cavalcade.  The powerful opening track “The Calming Collection” starts off album and introduces the listener to what is to be expected throughout the twelve song release.  “Carry The Banner” continues with a forceful track that was heavy on the rock with gritty group singing throughout.  Their sound is more likable than ever and just by hearing one song I knew I was in for something good.  I also got a kick out of the opening line sampled from the 80’s metal spoof band Bad News.

Bordering on pop-punk, “Bleed” is exactly what you would expect in a punk anthem sing-a-long with plenty of opportunities for the listeners to get involved.  It was the best track on the album i my opinion hands down.   “He Was A Jazz Man” reached back to their ska-punk roots and sounded just amazing.  “Shithawks” followed fast and furious with great harmony.  Then there was “Monumental” which laid off the punk for a moment producing a great rock track I really enjoyed as well.

Proving that they have no solid genre of punk “Filthy Habits” kept a heavier sound with plenty of screaming and authority.  “Count Your Bruises” stood out over most tracks with a much more mature style musically and lyrically.  I was impressed thoroughly with the whole album that displays how mature this young band has become.

The Flatliners have already been going places and will continue to do so based upon their way of life and ability to rock out.  Following their dream one day at a time, the band seems to always be on tour and not to mention continues to release solid punk rock efforts in a timely manner.  Fans of the real punk rock, not that fashionable crap, need to have the Flatliners on their playlist.  This release holds high as one my favorite punk releases so far this year and once you listen to it you just might agree.

DOWNLOAD THIS! – The Flatliners – “Carry The Banner”
DOWNLOAD THIS! – The Flatliners – “Monumental”

Music, Music Video, New Release, Pop, Rock

Hank & Cupcakes cover Joy Division

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Brooklyn drum and bass (no, not techno) duo Hank & Cupcakes just dropped an impressive video for their cover of Joy Division‘s “She’s Lost Control”.  The band recently dropped a 4 song self-titled EP showcasing their impressive style.  It may sound like a whole lot more but it is only drum, bass, and vocals.

Yeah I know, another male female duo.  Don’t be too quick to judge though.

Their take on the Joy Division track is worth checking out.  I especially got a kick when the bassist Hank took the song into his own hands and added his own funk bass lines while Cupcakes mimicked Ian Curtis in a positive way.  Good stuff.  I’ll be looking into this rock act a little more…

Download This!, Electronic, Garage, Grunge, Hip Hop, Indie, Jam, Music, Music Video, New Release, Pop, Review, Rock, Soul

The Constellations – Southern Gothic – CD Review

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I cannot believe it is June 22nd already.  Summer is officially here and what better way to bring in the warm fun season than to jam out to some amazing music – but what exactly is out there to listen to?  Luckily Atlanta act The Constellations have decided to drop their debut release titled Southern Gothic just in time to provide a great soundtrack for your summertime fun.

After two years in the making with assistance from producer Ben H. Allen (Gnarls Barkley, Animal Collective), the eight piece act has released an album that mixes all the fun of bands like Outkast, MGMT, and the Gorillaz with almost a 90’s grunge / soul combination all while adding their own flair.

Honestly there really is no way to define a genre for this band as their songs range from rock to hip hop to pop – that is not necessarily a bad thing.  Lacking consistency never sounded so good.  Add in love for Tom Waits and guest appearances by Cee-Lo Green and Asher Roth, it is quite apparent this band is not a gimmick you are listening to.

“Setback” opened the release with a funky electronic jam heavy on the bass with lead vocalist Elijah Woods almost rapping over music that easily could be thought on something the Chemical Brothers might have created or even Fatboy Slim.  This was the song that was brought to my attention to earlier in the year and needless to say it sparked my attention tremendously.

Not giving the idea that Southern Gothic might be only an electronic album came “Perfect Day” a relaxed and very cool sounding track reminiscent of good ol’ Gnarls Barkley.   It’s only fair to mention Gnarls Barkley seeing as “Love Is A Murder” featured ½ of the act otherwise known as Cee-Lo Green who provided a monologue throughout the track.  This was one of those songs that easily will stick to the minds of many and be broadcast all over the radio.

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“December” was another track that just screamed to be played on the radio and sounded like a unreleased Broken Bells track.  I could not help but think of how perfect the song would be for a going out on the town mix.  “Take A Ride” proved to be another inebriated party track with the message to just raise hell starting at the barstool.

“We’re Here To Save The Day” sounded like a strange alliance between Beck and Eminem.  Listening to Asher Roth supply a flow of heavy heard rhymes throughout it was apparent song clearly was out of place with the rest of the tracks yet was amusing to listen to.  I also could not help but wonder why Asher Roth was almost blatantly shown the spotlight on the song while earlier Cee-Lo barely crept through his spoken word of sorts.

“Step Right Up” was by far my favorite track on the album as it was a clear tribute to Mr. Tom Waits.  The song was a completely off the beaten path revolving around one of my favorite artists of the 70’s.  Keeping with the iconic storytelling individual this song also keeps the funk moving around for almost ten minutes.  I can not see everyone getting a kick out of this song but something tells me this is one of those songs best seen live.

“Remurder Is A Lovemix” was a soulful piece with the commonly heard advice “if you really wanna live, you gotta be ready to die”.  I enjoyed this song with Elijah Woods changing up his singing style as well as the random distorted guitar solo that jumped in the middle of the track.

Southern Gothic is a gallant release by a group of musicians who seemingly refused to keep their material contained.  Usually the result of something of this nature could be disastrous but The Constellations manage to pull it off in a great way.  Already turning heads at SXSW and Bonnaroo the band continues to tour and will be making a stop at Lollapalooza.  Do yourself a favor and make sure that Southern Gothic is part of your playlist one way or another this summer.  This band will be going places, I know it.

DOWNLOAD THIS! – The Constellations – “Setback”


The Constellations – “Setback”

THE CONSTELLATIONS | MySpace Music Videos

Folk, Hip Hop, Indie, Music, Music Video, New Release, Review, Rock

Sage Francis – LI(F)E – CD Review

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Hip-hop artist Sage Francis recently returned with LI(F)E, an all new album on ANTI- Records.  This time around the lyrical genius has tried a different approach to his music by asking for assistance from various musicians who provided personal selections for him to work with.  Skip the bass heavy beats and typical hip-hop soundtracks that have gone with many of his previous works, this time around LI(F)E proves to be Sage Francis’ most sundry work to date.

Having been a fan of Sage Francis since about the time Y2K seemed a threat, I have only gotten more thrilled in anticipation with each of his releases.  I never listened to his albums as much as I studied them.  The man always impressed me with his ability of taking words and formulating them into something intriguing all while accompanied with sometimes self-made hip-hop and even jazzy beats.  This comes from the guy who bought a Sage Francis hoodie from Sage himself a couple years back at one of his shows and did not even realize it was him until mid-way though our conversation.  Oops.

I had to admit I was stoked to see the album cover for LI(F)E was drawn up by contemporary street artist Shepard Fairey.  A young Sage Francis graces the cover and I later found out that it was a dated photo of Sage Francis reminding him of the harder times in life when he slept on the floors at his friend’s houses and just lived day by day.  Not getting down by this things have obviously changed for the better over the years.

“Little Houdini” opened up the album featuring music written by ex-Grandaddy turned solo artist Jason Lytle.  The music, previously written as an instrumental by Lytle, originally had no lyrics to go along with.  Once obtained Francis worked his magic and created a song focused around a fugitive who escaped custody to see his dying mother based from actual events.  Francis had no problem putting his flair on top of the music and one would think both were written at the same time.  The song was one of the better cuts on the entire album.

“Three Sheets To The Wind”, featuring music by Chris Walla of Death Cab For Cutie continued with a appealing track but it just did not match up to the opening track  The questionable “I Was Zero” started out great until Sage just inserted a weak refrain repeating  “when I came out my momma, I was zero”. For a seasoned hip hop artist that holds many wins on freestyle challenges in the past I felt more effort could have been put forth in this track lyrically.  Perhaps my expectations were set high for Sage and I should include that some of the lines he flows out during the song contained amazing selections of words but the music provided perfect for a rap of sorts with a generic chorus killed it for me.

I enjoyed “Slow Man”, a slow folky track summing up the thoughts in many aging individuals, if not Sage himself.  If Sage’s voice had more baritone in it on “Diamond’s & Pearls” I swear I would have been listening to Everlast.  The impressive “The Baby Stays” was a profound story based around the results of a redundant establishment called life only to succumb to the new outlook at the result between an unlikely pair.  The folk soundtrack, courtesy of Tim Rutili, aided Sage to the very ideal story about an unwanted life turning into the greatest thing ever.

Screaming children assist Sage in “London Bridge” a fun track full of random wonders and events in the world.  The song was fun and I think that is all it was meant to be featuring Sage, a bunch of kids, and once again Chris Walla.  Without looking too deep into it I left it at that and enjoyed it.

The late Mark Linkous (Sparklehorse) collaborated with Sage on “Love The Lie”, perhaps my favorite cut on the entire CD.  It was chilling to hear this song knowing that Linkous ended his life for reasons that will never be known.  The track was upbeat from start to finish and almost inspiring yet clearly full of sarcasm.  This is the kind of song you had to actually listen to in order to understand how Sage works.

“The Best Of Times” was another track on LI(F)E that I admired over the others.  The more spoken word track recalled personal stories of Sage making for a powerful close to an impressive release.  As if sitting there listening to Sage was not great enough the musicthat accompanied Sage’s verbal memory was created by Yann Tiersen.

I loved how the album ended as strong as it began.  Sure there were a couple head scratching tracks in there but overall LI(F)E was a pleasure to listen to.  It’s not a hip-hop album by any means but more of a carefully premeditated project from a guy who happens to be good at rapping.  It’s easy for anyone who is familiar with his older material to just not get it – it’s different.  Taking written music in favor of generated beats this round, Sage has created a branch off of what he loves to do and I honestly admire his doing.  Without sounding too cliché, give LI(F)E a chance.