12th album rumors and speculation

[tragabigzanda]

"digitally simulated analog saturation"

is this dirty talk?

I'm starting to think trag is AI

I'm talking about plugins like this all over everything:

[Jorge]

First time I see cheugy used in that broader, chasing-relevancy meaning instead of specifically as a way for Gen Z to make fun of millennials

[tommy]

The first single is gonna blow this place up. I can’t wait! I might be more interested in our reactions to it than the thing itself!

i can assure you that our reactions to it are always more interesting than the thing itself

I'm here to discuss the music, which is far more interesting than all the bloviations. Without the music, none of us are here.

I'm here for the hot takes

[Jorge]

I'm here for the bloviations

[tragabigzanda]

First time I see cheugy used in that broader, chasing-relevancy meaning instead of specifically as a way for Gen Z to make fun of millennials

[stip]

This is gonna be a train wreck

I don't like this version of you

If only they could’ve gotten Albini to produce.

Albini is an awful choice for them. But I’m not sure what article you guys read, but the one I read yielded two key takeaways:

1. Bands that are over the hill and no longer functioning like a culturally relevant creative ensemble require fresh, outside perspective to get them back to a place of fruitful creativity and cultural import

2. Despite his bread being regularly buttered by Billboard, Andrew Wottman is a rock fan at heart, and we shouldn’t let his discography color our preconception of what he can bring to the table

These two ideas are diametrically opposed to one another.

And not for nothing, but when has a band working under the confines of #1, when paired with a hot producer, turned out a great record?

Beatles + Spector gave us the uneven Let It Be and then broke up

U2 + Danger Mouse = Songs of Innocence

RHCP + Danger Mouse = The Getaway

Aerosmith + Jack Douglas = Music From Another Dimension

Rolling Stones + Don Was = Voodoo Lounge

Metallica & Lou Reed + Hal Willner = Lulu

Pink Floyd + Bob Ezrin = A Momentary Lapse of Reason

Marianne Faithful + Hal Willner = Easy Come Easy Go

So much past glory rekindled on these albums!

Bruce Springsteen + Brendan O’Brien = The Rising

Past glory and cultural relevancy feel like two different things, at least to me. Relevancy seems like a play to be current, trendy, a part of the conversation. Past Glory (the less charitable way to talk about how Watt was being described) seemed more like helping bands understand what their enduring appeal is, a rediscovery of a core sound. Doing that (if done well) might be really appealing to the fanbase of that artist, but if Ten came out today there's no particular reason to think it would blow up the way it did since it's not chasing sounds or themes that resonant with what is important to younger audiences at this moment.

[Coach]

Historically, the people who are "worried" at this point about the new album just aren't gonna like it.

My record indicates I'll be the first to admit when proven wrong. Show me an album without the aforementioned technical touchstones of a band grasping for relevancy and I will yield.

There's no right or wrong. I just don't think people who are concerned are going to be pleasantly surprised.

I know I'll like 4-6 tunes and I'm fine w that.

[stip]

This will be great and I am aiming for at least 83% of the songs on the album to be ones I like, if not love.

[Strat]

"digitally simulated analog saturation"

is this dirty talk?

I'm starting to think trag is AI

I'm talking about plugins like this all over everything:

ouch

[RockPusher]

There was no part of me that could anticipate Dance of the Clairvoyants or Quick Escape. Ditto Who Ever Said and Seven O'Clock for that matter. Gigaton was an unexpected delight from a band that showed me that they still have musical statements to make. Maybe the next album won't hit with me, a la that one Chris Cornell solo album that nobody talks about, though it's pretty likely it will. Watt is not Timbaland, lol.

[tragabigzanda]

This is gonna be a train wreck

I don't like this version of you

If only they could’ve gotten Albini to produce.

Albini is an awful choice for them. But I’m not sure what article you guys read, but the one I read yielded two key takeaways:

1. Bands that are over the hill and no longer functioning like a culturally relevant creative ensemble require fresh, outside perspective to get them back to a place of fruitful creativity and cultural import

2. Despite his bread being regularly buttered by Billboard, Andrew Wottman is a rock fan at heart, and we shouldn’t let his discography color our preconception of what he can bring to the table

These two ideas are diametrically opposed to one another.

And not for nothing, but when has a band working under the confines of #1, when paired with a hot producer, turned out a great record?

Beatles + Spector gave us the uneven Let It Be and then broke up

U2 + Danger Mouse = Songs of Innocence

RHCP + Danger Mouse = The Getaway

Aerosmith + Jack Douglas = Music From Another Dimension

Rolling Stones + Don Was = Voodoo Lounge

Metallica & Lou Reed + Hal Willner = Lulu

Pink Floyd + Bob Ezrin = A Momentary Lapse of Reason

Marianne Faithful + Hal Willner = Easy Come Easy Go

So much past glory rekindled on these albums!

Bruce Springsteen + Brendan O’Brien = The Rising

Past glory and cultural relevancy feel like two different things, at least to me. Relevancy seems like a play to be current, trendy, a part of the conversation. Past Glory (the less charitable way to talk about how Watt was being described) seemed more like helping bands understand what their enduring appeal is, a rediscovery of a core sound. Doing that (if done well) might be really appealing to the fanbase of that artist, but if Ten came out today there's no particular reason to think it would blow up the way it did since it's not chasing sounds or themes that resonant with what is important to younger audiences at this moment.

There’s a lot right with this post.

I think part of my problem is that I just want them to replicate the Riot Act formula over and over: Good, collaborative songs from a band that sounds like they were in the same room together; no bells and whistles.

On the one hand it’s a perfectly reasonable expectation; on the other, it somehow feels like too much to hope for.

[stip]

other than the heaviness and early record comparisons, as a process that feels like what we’ve heard, no?

[Strat]

This is gonna be a train wreck

I don't like this version of you

If only they could’ve gotten Albini to produce.

Albini is an awful choice for them. But I’m not sure what article you guys read, but the one I read yielded two key takeaways:

1. Bands that are over the hill and no longer functioning like a culturally relevant creative ensemble require fresh, outside perspective to get them back to a place of fruitful creativity and cultural import

2. Despite his bread being regularly buttered by Billboard, Andrew Wottman is a rock fan at heart, and we shouldn’t let his discography color our preconception of what he can bring to the table

These two ideas are diametrically opposed to one another.

And not for nothing, but when has a band working under the confines of #1, when paired with a hot producer, turned out a great record?

Beatles + Spector gave us the uneven Let It Be and then broke up

U2 + Danger Mouse = Songs of Innocence

RHCP + Danger Mouse = The Getaway

Aerosmith + Jack Douglas = Music From Another Dimension

Rolling Stones + Don Was = Voodoo Lounge

Metallica & Lou Reed + Hal Willner = Lulu

Pink Floyd + Bob Ezrin = A Momentary Lapse of Reason

Marianne Faithful + Hal Willner = Easy Come Easy Go

So much past glory rekindled on these albums!

Bruce Springsteen + Brendan O’Brien = The Rising

Past glory and cultural relevancy feel like two different things, at least to me. Relevancy seems like a play to be current, trendy, a part of the conversation. Past Glory (the less charitable way to talk about how Watt was being described) seemed more like helping bands understand what their enduring appeal is, a rediscovery of a core sound. Doing that (if done well) might be really appealing to the fanbase of that artist, but if Ten came out today there's no particular reason to think it would blow up the way it did since it's not chasing sounds or themes that resonant with what is important to younger audiences at this moment.

There’s a lot right with this post.

I think part of my problem is that I just want them to replicate the Riot Act formula over and over: Good, collaborative songs from a band that sounds like they were in the same room together; no bells and whistles.

On the one hand it’s a perfectly reasonable expectation; on the other, it somehow feels like too much to hope for.

well, by all accounts this is whats happening with this new record, isn’t it (based on the few info drips we have). Band in the room.

Now, i know, Watt will produce it so it doesnt sound like it - but doesnt mean it wont be the band in there creating and jamming together!

[Coach]

Let's goooo! Should be fun.

[Birds in Hell]

I think part of my problem is that I just want them to replicate the Riot Act formula over and over: Good, collaborative songs from a band that sounds like they were in the same room together; no bells and whistles.

Yeah, I agree. I think Gigaton was arguably the closest they've come since (at least in approach) and I'm disappointed they haven't continued further down that path, making it more likely to be a weird curio than a sign of a new maturity.

I didn't like all of the songs on Gigaton but at least it felt like an authentic Pearl Jam album, arguably the first one of its kind in years. It would've been interesting to see where that might've led.

I'm willing to be surprised, and of course I'll listen to it, but everything that's been said about this new album sounds seriously foreboding.

[Coach]

As we've learned, a random RMer can always throw the new album through an AI machine and make it better, too.

[RockPusher]

It would've been interesting to see where that might've led.

I think all of us would have liked more Josh Evans. Still keeping fingers crossed that he shows up as a mixer on this new album.

[Ms Harmless]

why are people assuming that this won't be a logical extension of Gigaton? is it just because of a new producer or is there more?

[Strat]

why are people assuming that this won't be a logical extension of Gigaton? is it just because of a new producer or is there more?

Because we are not well adjusted adults so we need to trash it before hand so as to not be disappointed and deal with our own sense of nostalgic loss.

[RockPusher]

why are people assuming that this won't be a logical extension of Gigaton? is it just because of a new producer or is there more?

Because we are not well adjusted adults so we need to trash it before hand so as to not be disappointed and deal with our own sense of nostalgic loss.

Shhh. Preserve a little mystery.