One thing is certain: This is definitely 311's most experimental album, so many of the people who jumped on the bandwagon with "Down" would be disappointed that this album doesn't feature several "Down" rehashes, as many bands who have a hit song tend to do (ex, Sugar Ray and Smash Mouth). I've been a 311 fan since Grassroots, and it puzzles me that everyone calls this "311's worst album". I cannot wait to hear what's in store next. It's probably best to listen to in an atmosphere that is conducive to feelings of comfort and peace, humming along with headphones on. I give a lot of respect to them for pushing the envelope and having this much ambition at a time when they were enjoying much success. I don't believe there's anything wrong with going against the norm (sometimes it's needed badly), and 311 displayed this by writing what they wanted. There is a notion to be easily digestible and not overstep any creative bounds beyond simplicity. If 311 ever decide to follow such an abstract direction again, then they will truly shatter the limitations that musical mediators try and use to weigh down recording artists that have made it big. Transistor rocks, but it has so much more to offer than any casual fan will be ready for. To me Transistor feels like the future of music, combining many styles and infusing skilled instrumental play with ambient progressions of vocals, melodies, and song ideas. For too many others, they wanted the same thing that came before, dismissing this album. You sort of have to feel it out for yourself and see if Transistor rubs you the right or wrong way. I believe such criticism must be taken lightly when judging this art form, for we all have our own subjective tastes and separate definitions of what "good music" must sound like.
311 found their artistic niche with Transistor, and they went against a lot of expectations by the mainstream audience and disapproving media who wanted another "blue album" (a nice record itself, but not as artistic or musical as this one). This album was way ahead of its time when it came out in 1997. I find the beats and rhythms stellar, while the songs transport me to different places with their psychedelic appeal, voyaging into new territory almost on each track. This record may take a little time to grow on you, but once it does, you'll be glad it did. Other sad examples of this are Nine Inch Nails' "The Fragile", Led Zeppelin's "Presence", and Pearl Jam's amazing "No Code". Interesting how bands' most creative and interesting albums are often discarded and forgotten by folks these days because they lack the old reliable sound of the band. 311 has yet to match this album's artistic integrity and genius. This album may not have all the headbanging party songs from earlier records, but the songwriting is undeniably their best ever. They had been doing this act for some time, and it was about time they dared and challenged their listeners to enter new territory with them while still remaining true to their roots. Many people criticize the record for not being like the self-titled "blue" album, but there's one thing you must remember: the self-titled album, while being the band's first big hit album, was in fact their 3rd major label album. Don't get me wrong 311 is always good at rapping lyrics, but it's nice to hear two extremely gifted singers finally showcasing their deeper talents. The first thing the 311 listener will notice upon first listen is the greatly reduced usage of rapping. Mahoney's guitar work is amazing on this record, focusing less on metal-influenced chords and more on jazz, blues, and reggae soloing. The songs often do not follow traditional song structures, throwing in some interesting time signature changes and rhythmic transitons such as the reggae jam at the end of the title track. The lyrics here are top notch, not falling into the cheesy territory of the "From Chaos" record. This is a long album with only a handful of roof-raising hard rock songs, focusing more on expanding the band's sound into larger territory with songs like "Inner Light Spectrum" and "Stealing Happy Hours". Haven't quite figured that one out yet it's just not 311 at all. Every song on here is amazing, except maybe for "Rub a Dub". This is undeniably 311's most eclectic and experimental album to date, and understandably so the band was simply at a point in their career where making the same record twice was not an option anymore. I don't understand the so-called "fans" who bash this album for not sounding like old-school 311.
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