On their first indie release in more than 20 years, reggae-fied alternative rock band 311 still hasn’t broken much new ground. While that’s not a total deal-breaker, their new album, “Stereolithic,” suffers greatly from a lack of energy and variety.

The band’s 11th studio album is still packed with the same old blend of rock, hip-hop, reggae and funk that made their 1995 self-titled record a hit, but 311 takes one step forward and a few steps back with their latest release. Their sound is cleaner than it was in 1995, but it’s not exactly a welcome change. There’s something less genuine about the heavy side of their music now that it’s not as muddy.

“Showdown” is one of the album’s heavier songs, but it’s a prime example of how production can ruin a good piece of music. The guitar sound is flat and muted, lacking any energy at all.

The song, in theory, has solid contrast between the clean verse and its distorted chorus, but the transition is ineffective because there is no change in dynamic. If 311 had achieved a great hard rock guitar sound, like something on a System of a Down record, “Stereolithic” would have been vastly improved. Instead, the guitars on the album have no bite.

The vocals are duller, too, which tends to happen with bands that have been around for more than 20 years. Singer Nick Hexum’s delivery sounds lazy, either because he has lost some power in his voice or some passion after being in the music business for so long.

Another problem with the album is its lyrics. Hexum sings in such a lackadaisical way that you don’t care to pay attention to the words in the first place. If you do listen closely, you’ll find lyrics that aren’t terrible, but not really good, either. They offer no personality, no message you feel you couldn’t have lived without and they’re not written in eloquent language.

The lyrics on “Stereolithic” are nothing but a means to melody, which actually would have been just fine if the music and delivery were enough to make up for it. But with unimpassioned vocals and flat production, the album doesn’t come close to meeting its potential.

“Stereolithic” does exhibit some positive growth, though. The musicians seem to be paying closer attention to melody if not to lyrics, creating varied sections in their songs. If they’re going to slide in energy, at least they’re taking steps forward in songwriting.

Album opener “Ebb and Flow” is a catchy and straightforward rock song. Its drum part is simple during the verses, but it’s that snare hit on the backbeat that just forces listeners to bob their heads.

Drummer Chad Sexton is without a doubt the most valuable member of 311. He has an impeccable sense of when to fill up the silence and when to lay back and let the space between the beats breathe.

The tunes, for the most part, are hard not to dance to. But by the middle of the 15-track album, you’re going to start wanting something deeper. There are some really cool musical moments, but there is not enough variety among the songs to warrant listening for an hour.

The standout track that really saves “Stereolithic” from falling into mediocrity is “Friday Afternoon.” It’s the first song on the album that could be considered a ballad, but the band took it beyond being a straightforward, obligatory slow song.

The moments of clean, fingerpicked guitar are where “Friday Afternoon” really shines. The guitar is backed up by a bass line that doesn’t steal the spotlight, but offers its own special beauty. It’s not the catchiest song on the album, but it’s the best example of risk-taking.

After putting out music for more than 20 years, it says something that 311 can still make something that sounds fresh. It’s just a shame the band couldn’t write more songs like “Friday Afternoon” on the album.

Published on March 18, 2014 at 12:45 am

Contact Jessica: jmcabe@syr.edu | @Jessica_Cabe