To say that bay-area rockers the Stone Foxes embrace the DiY philosophy would be an understatement. The Stone Foxes represent the next generation of multi-media musicians. Having grown up in the computer age, they simply know no other way. And with a desire to maintain as much control over their image and representation to the record buying public, modern technology has made this a reality for today’s multi-tasking musicians.

By all accounts, 2008 was a good year for The Airborne Toxic Event. They have become the darlings of Los Angeles press and radio and fixtures on the Southern California music scene. Their songs feature wide, sweeping hooks, garnering comparisons to Modest Mouse and Arcade Fire as well as the Clash and U2. The acts self-titled debut album—the band’s name is from the postmodern novel “White Noise” by Don DeLillo—is co-produced by Pete Min (Longwave, Ivy).

SCENE: Phoenix, Arizona, in the early ’90s. David (DLB) Bowers is honing his studio chops, recording local hip-hop acts and listening to rock, dreaming of the day he can mix everything he knows and loves together in a project that will reflect his passions. He meets a kindred spirit in fellow MC Doug (Rid) Moore, and the dynamic vocal duo eventually hooks up with fellow Phoenicians Sean Faulkner on bass, drummer Sean Gardner and guitarists Tracy (Tre) Thorstad and Cristin Davis to form Trik Turner. DLB was kind enough to sit down and speak with Album Network Rock Radio Director Michael D. Vogel (who is also a fan and outspoken supporter of Trik Turner) about his band’s history, their “keep it real” attitude, their self-titled debut and subsequent live experiences.

Webster’s defines a sound system as: sound (n), a particular auditory impression; the sensation perceived by the sense of hearing. And system (n), a regularly interacting or independent group of items forming a unified whole; a group of interacting bodies under the influence of a related force. Just like any great sound system, the eclectic Los Angeles-based rock band 311 is comprised of five perfectly matched–yet independently functioning–components, which when operating as a well-tuned unit creates an undeniable musical force.

Here’s an anecdote straight out of suburban youth culture (yes, it’s a true story–we have all lived this scenario in some way shape or form!). Jake–who at 13 years of age believes he resembles nobody, much less a pre-pubescent Eddie Vedder–is being shuttled by one of his parents to a Thursday afternoon guitar lesson. This week, he’s decided to take something of a break; he’ll grapple with no items from The Beatles songbook, nor will he try to master any of the requisite Jimi Hendrix solos. Instead, he plans to exchange the 15 hard-earned dollars crammed into the left pocket of his baggy black shorts for instructions on covering The Clash’s “Should I Stay Or Should I Go.” At the moment, though, he’s staring out the car window, listening to 311′s Soundsystem CD.

Fusing elements of dub, trip-hop, roots-reggae, hard-core punk with some vicious guitar rock, 311 create one of the most distinctive sounds in music today. It is this unique sound combined with insightful lyrics, and delivered in a highly potent musical cocktail, that has propelled 311 to rock SRO crowds as well as achieving multi-platinum status. From Hawaii to Hong Kong, Los Angeles straight home to Omaha, 311 have toured the globe, and along the way built a worldwide legion of followers through unparalleled high-energy performances and an uncompromising flow of consciousness.

Back almost eight years ago, inspired by some of the greatest groups of the early punk-rock movement, (i.e. Sex Pistols, The Clash, Ramones and the Buzzcocks), 311 formed in the heart of middle America–Omaha, Nebraska. Through three self-produced indie albums and an exhaustive touring schedule that has helped them cultivate one of the most intense (and biggest) “grassroots” fan bases around, the band has managed to maintain their straight-up, melodic hard-core style. Flash to 1991. 311 trades in nearly two years of hard work and sweat to go with “the man.” Goin’ corporate, if you will. At the time, bandleader Nicholas Hexum says, “We’re going to do what we want to do, and we’re always going to be the people we’ve always been. So, in the long run, I don’t think it makes much difference either way.”

The birth of Gov’t Mule began when Warren Haynes and Allen Woody sought an outlet to jam outside of the Allman Brothers. With the addition of Matt Abts, who played with Haynes in the Dickey Betts band, the trio was complete. “They’re a reckless rhythm section,” Haynes says of the other two. “They’re like an earthquake with an ‘on/off’ switch. When you’re improvising, a big part of it is how deeply you listen. These guys take up space, but in a very meaningful way. That’s what a trio is all about.”

Although 311 have become both mainstream and commercial in their appeal, they have managed to maintain, with the utmost care, the integrity and power of their message. Although they operate in the “commercial” arena of the alternative movement, that doesn’t mean they should be taken less seriously. Hailing from the midwest, the five guys of 311 are as close as we get in America to a “voice of the people.” Whether you like their music, you should listen up, for 311′s attitude runs the full gamut of their sound. It’s about noise, volume, speed and the sheer intensity of the music. It can make you want to jump around and act stupid or it can make you think and want to change your life. Hopefully, you’ll want to do a little of both.

Back almost eight years ago, inspired by some of the greatest groups of the early punk-rock movement, (i.e. Sex Pistols, The Clash, Ramones and the Buzzcocks), 311 formed in the heart of middle America–Omaha, Nebraska. Through three self-produced indie albums and an exhaustive touring schedule that has helped them cultivate one of the most intense (and biggest) “grassroots” fan bases around, the band has managed to maintain their straight-up, melodic hard-core style.