It is tough to realize until reaching the end of the entire album for the first time, but a sort of a downward spiral of awkward experimentation and rush-released songs begins to appear laced with the otherwise great strand of satisfactory tracks written for this album.

In addition to all of this, there are yet more memorably decent moments throughout “Transistor,” so what exactly seems to be the problem with this record as a whole? The following track, single “Prisoner” is positively groovy and transient of any and all relaxing energies it will undoubtedly cause listeners to zone out until its near three minute span comes to a sharp end.īoth “Starshines” and “Borders” rock hard and raw like material from the Blue Album, “Strangers” is undeniably funky, “Inner Light Spectrum” is ambient and inventive, and “Electricity” demonstrates a nearly perfect merger between mainstream riffage and more indie-friendly delivery. Opener “Transistor” is as punchy and hypnotic as smash-hit “Down” was, but introduces the song’s hook in a different fashion that keeps their signature fashion fresh. Now keep in mind, there are some great moments amongst this lengthy album, and how could their not be? After the quintet has delivered three rock-solid albums one year after another, it would be a true meltdown for this album to have nothing great on it, and thankfully it does. The truly upsetting aspect of “Transistor” overall, is that it comes out fully baked with a heaping load of filler and cut-rate tracks that seem intent on watering down the group’s discography as their sole purpose. However, with 21 tracks on one disc, that is a fact that’s bound to make an appearance as a characteristic, especially with a quick-natured group like 311. There are times on this record where it seems like the Omaha boys are content with releasing any half-assed jam-session they please as an A-side to listeners. Unfortunately on their fourth record, 1997’s “Transistor,” their newfound mainstream sense of songwriting has left them with lower self-standards for putting tracks together. Of course, it took quite a while for that record to take off, and even though the transition was quick when it occurred, it was still a completely authentic 311 release, receiving little alteration or involvement with song-writing from the label. Many a long-time 311 fan could serve as instant proof of the group’s charm upon prompting them with the right questions, such as “How do you feel about the Blue album?” The majority of whatever sample you survey will likely damn the album’s responsibility for the group’s crossing into mainstream indefinitely, while simultaneously admitting that the record is albeit remarkable. Despite all of this fan-base development over the span of ’93-’94, the band hadn’t managed to surface the mainstream after two major-label releases. The release of “Grassroots” then not only proved that they weren’t one-trick ponies, but that they had plenty of other tricks up their sleeves to show the world. Their debut “Music” is obviously the headquarters of any actual “hardcore” fan the reference from which they withdraw the credibility of their loyalty to the band. Over the entire span of their career, 311 have managed to create a following that draws in a new generation with just about every album-release. Review Summary: There's plenty of Good and Great material on Transistor to make it worth your time and money, but there is a considerable chunk of un-refined work performed on this 21 song epic.

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