Incubus Drive Download
Sebastian Thorndike
According to lead singer Brandon Boyd, "The lyric is basically about fear, about being driven all your life by it and making decisions from fear. It's about imagining what life would be like if you didn't live it that way."[3][4]
Directed by Phil Harder[10] and based on M.C. Escher's Drawing Hands, the music video features a simple musical session intercut with a rotoscoped animation of Brandon Boyd drawing himself, which was handled by both Boyd and drummer Jos Pasillas. The non-animated scenes were shot in the McNamara Alumni Center on the University of Minnesota. The video was nominated for Best Group Video at the 2001 MTV Video Music Awards but lost to 'N Sync.
I saw them last night in concert and Mike only played his white Jazzmaster on two songs, and He played drive (as well as most of the other songs) with a Sg. Jr.!!! and he most definitely used the rotosphere for the solo, the man's got tone for days.
I could see people starting to like them less with time due to how much they revolve around the singer. Mike and Jose are insane at there instruments however, and alot of people don't acknoldge their chops because their music is very poppy and singer oriented.
They only played "Summer Romance" off S.C.I.E.N.C.E.; definitely a concert highlight I must say, They played most stuff from "A crow..." and "Light Grenades". They jammed, a LOT and it was great, lots of fx usage, that made up for them not playing more stuff from the good times, they also played "Look Alive" which is on the Japanese version of Light Grenades, I think there were even less people who knew that song than Summer Romance, Oh! and they also covered a Prince song, don't know the name of it, but my dad sang along ha!
Anyway, when I saw them in January it was a pretty even mix from all albums, except a couple less from SCIENCE. The science songs were all done differently but one I think. "REdefine" was re-done acoustic with a really dancy beat to it, it was cool.
Got to talk with Mikey though, he's playing the SG Jr. now because they're more comfortable for him to play. He was submitted to a surgery not so long ago, due to Carpal Tunnel Syndrome (sp?). I wonder if he'll switch back to Jazzmasters.
When the clock struck midnight on Dec. 31, 1999, rock music was in its prime. The Red Hot Chili Peppers dominated the Billboard Charts with songs from their seventh studio album, Californication, which was also nominated for Best Rock Album at that year's GRAMMY Awards. Nu-metal kings Korn, Limp Bizkit and Sevendust had planted themselves alongside rock and roll heavyweights like Megadeth, Melvins and Motrhead on the summer festival circuit. And mixed in amongst all the noise was a Calabasas, Calif. rock band named Incubus.
As the decade came to a close, however, Incubus found themselves in a bit of a bind. Though they'd made their major-label debut with second album S.C.I.E.N.C.E in 1997 and toured through 1998 on the Ozzfest lineup, not to mention with rock gods like Black Sabbath, Pantera and Rammstein, the era's aggressive, testosterone-driven sound never suited the band all that well.
While S.C.I.E.N.C.E was certainly a solid record, it mostly mimicked what was going on elsewhere in rock music at the time. Its strengths were in the lighter, melodic moments, where lead singer Brandon Boyd sang without the immediacy of heavy metal over a steady swell of guitar and turntable scratches. Incubus would soon move further in that direction.
Chris Kilmore (Turntables): [Ozzfest] was like summer camp for rock and rollers. A lot of things happened on that tour that you definitely could not get away with today. All of us are pretty respectful guys with parents that taught us morals, but we were like, wow, this could get crazy if we let it get out of control.
Mike Einziger (Guitar): That tour was us, System Of A Down, Tool, Megadeth and many others. It was heavy. We all liked heavy music, we all grew up listening and playing heavy music, but we wanted to be different to the male, aggressive, testosterone-fueled music that was happening at that time. So Make Yourself was our attempt at going a different path.
Mike: We met Scott back in late 1995 or early 1996. He had started a record label with a couple of other influential people in the music business, a label called Outpost Records that was putting out records through Geffen [Records], and they were interested in signing us. So that was how we met, and through that process I got to know Scott really well. I had been working on Scott the whole time. I had been calling him and inviting him down to the studio and I think he was going through some personal stuff at the time that was discouraging him from getting involved with what we were doing. But then there was one opportunity where I got him to come down [to the studio], and I think after he heard the songs and the state that they were in he realized that we had some great music. Slowly he started showing up to the studio more and then he started helping us mix.
Brandon: I remember coming back into the studio and they had this weird funk scratch situation happening. I was super stoked that it sounded so cool, but I was also butthurt because I didn't have anything to do with it.
Mike: Brandon and I went and played [an acoustic version of] "Pardon Me" at several different radio stations, and as soon as we did that, those radio stations started playing the acoustic version that they had recorded of us playing in their studio.
Mike: Then there was a reaction to it and we started getting requests from pretty much every radio station to come and play acoustic at their station. But it just wasn't feasible for us to do that.
Brandon: I think we were on tour with Primus towards the end of 1999, and on either a day off or on the morning of a show Mikey and I went and recorded an acoustic version.
Chris: I think that's what allowed radio stations to feel good about playing it, because we were doing something special for them, and I think the fact that we did that pushed that single as far as it did.
Mike: From there, it naturally went towards the album version of the song and our popularity started rising very quickly. KROQ championed the single and MTV started playing the video and the album version of the song blew up.
Brandon: The album cycle was done. We'd finished touring Make Yourself and we were very actively working on what would become Morning View. Our heads were in a different place, so when that song started getting played on television it was an unexpected surprise.
Mike: We toured behind Make Yourself and we sold about a million albums. I remember when the album went platinum. "Drive" came out after that and on the back of that we sold another million albums. It was a really exciting time for us, the success just kept piling up and it all made perfect sense to me at the time, but looking back on it now I kind of can't believe it.
Brandon: All the way through S.C.I.E.N.C.E, and then quite a way through touring Make Yourself, we would show up places and more people would come each time, but they all looked like us, they were young guys. People were thrashing and throwing stuff, it was like a boys' club.
Chris: During S.C.I.E.N.C.E our crowd was all teenage kids wearing black and they were all men. Once "Pardon Me" started getting some traction the crowd turned into half-girl crowds. Then when "Stellar" and "Drive" came out, those half-girl crowds became all screaming teenage girls in the front row.
Brandon: It was very interesting. I never knew what it felt like to be objectified, and so after I had my shirt off on television, if I didn't do it at shows you'd hear women yelling, "Take your f**king shirt off."
By 2001, alt-rock heroes Incubus were on the verge of something big. Their third album, 1999's Make Yourself, was a crossover hit, thanks to singles "Stellar," "Pardon Me" and "Drive," all of which were on constant rotation on alt-rock radio and MTV. To capitalize on the momentum and record a follow-up, the band rented a beachside mansion on Morning View Drive in Malibu instead of recording in a traditional studio.
For a little over four weeks, the band lived together in that beachside mansion, working on songs day and night, creating what would become their best-selling record, 2001's Morning View. As frontman Brandon Boyd remembers, the carefree setup helped Incubus create without any pressure to match Make Yourself: "For whatever reason, I never felt like we had to come up with something better or else it'd all be over. It was just fun and exciting."
The result was an album that moved them further away from the heavy nu-metal sound of their earlier records and leaning into their new mainstream appeal. Morning View debuted on the Billboard 200 at No. 2, kickstarting a trend that would continue with each of the band's preceding albums landing in the top 5 on the all-genre albums chart. By evolving their sound on Morning View, Incubus found connection with a wider audience and changed the trajectory of the band.
Recorded in the same mansion on Morning View Drive in Malibu with Boyd on vocals, Michael Einziger on guitars, Jose Pasillas on drums, Chris Kilmore on turntables and keys, and newbie Nicole Row on bass, Morning View XXIII sees the band stepping back into the snapshot of an album and paying homage their most successful recordings. These are not remixes or carbon copies; these recordings are a representation of wizened alt-rock veterans Incubus are now. As a result, it has rejuvenated the band: "There's this feeling of, 'Oh wow, there's still a lot of life in this,'" Boyd adds.
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