Sounds nothing like sirens, other thant heres an acoustic guitar in the back.
music.for.rhinos wrote:Wow. This song sucks me into its black hole every time.
They're not even trying anymore are they? Were they all on heroine? Ayahuasca? What sorcery is this? Fuck.
You spell Ayahuasca right but put an 'e' on heroin! made me crack up. But yeah IA.
harmless wrote:I completely understand all the reasons why people love this song to death; the song doesn't really showcase my favourite strengths of Pearl Jam. Having said that, it does showcase their strengths, particularly in the form of mood / atmosphere, the ability to go from one part / section to another (in a similar way to "Fatal", although I prefer that song) and just, well, to be beautifully "sluggish / lethargic" in a way that only Binaural and Riot Act know how. I could do without all the lead noodling from Mike, particularly on the intro (which, when I first heard it, sounded farcically power-ballad-esque); but now I realise that all of Mike's presence in the song, too, is a strength, if you like that kind of thing. This song is the cooler, more bleak younger-self of "Sirens." 4 stars.
NO!
Just listened to Binaural and Riot Act the past couple of days and it reminded me of just how bland this band is now...its kinda sad...no more mystery no more emotion no more "music" just words and instruments that sometimes make me wonder what the hell Eddie is singing about and why...
RIP PJ
OK, you're right, I'm wrong.
But still yes.
I say that because, given the noodling on the intro, the sheer over-the-top nature of the lead guitar on this song, plus its tempo, it definitely passes as a more alternative-rock power ballad. Mike is the star. Whether you like Sirens or not has nothing to do with whether my point has any merit to it.
RisingTides wrote:There is more kindness on the internet than we would care to admit to ourselves. Sometimes we are so afraid of falling victim to a ruse, we miss out on actual opportunities.
harmless wrote:I completely understand all the reasons why people love this song to death; the song doesn't really showcase my favourite strengths of Pearl Jam. Having said that, it does showcase their strengths, particularly in the form of mood / atmosphere, the ability to go from one part / section to another (in a similar way to "Fatal", although I prefer that song) and just, well, to be beautifully "sluggish / lethargic" in a way that only Binaural and Riot Act know how. I could do without all the lead noodling from Mike, particularly on the intro (which, when I first heard it, sounded farcically power-ballad-esque); but now I realise that all of Mike's presence in the song, too, is a strength, if you like that kind of thing. This song is the cooler, more bleak younger-self of "Sirens." 4 stars.
NO!
Just listened to Binaural and Riot Act the past couple of days and it reminded me of just how bland this band is now...its kinda sad...no more mystery no more emotion no more "music" just words and instruments that sometimes make me wonder what the hell Eddie is singing about and why...
RIP PJ
OK, you're right, I'm wrong.
But still yes.
I say that because, given the noodling on the intro, the sheer over-the-top nature of the lead guitar on this song, plus its tempo, it definitely passes as a more alternative-rock power ballad. Mike is the star. Whether you like Sirens or not has nothing to do with whether my point has any merit to it.
I wish I had saved that binaural review comment for posts like this. Maybe I can find it
stupidmop wrote:Sounds nothing like sirens, other thant heres an acoustic guitar in the back.
Yeah, that's not it. Actually it's all the superfluous electric-guitar soloing (I think there are at least two solos), the tempo, plus the minor-key power-ballad nature of it, that reminds of Sirens (which is, I think, major key). I didn't say it "sounded like Sirens", but structurally, it shares a similarity. That acoustic guitar helps, but it wasn't everything I was thinking.
RisingTides wrote:There is more kindness on the internet than we would care to admit to ourselves. Sometimes we are so afraid of falling victim to a ruse, we miss out on actual opportunities.
Binaural (2000) I once had a conversation with this guy about Pearl Jam in which he claimed that the band's best era was 1998 to 2002. This is the sort of argument a person makes after digesting so much of a particular artist's work that it has driven him to the brink of insanity. It's like saying, "You know, Raging Bull and Goodfellas are solid, but they pale in comparison to Scorsese's output from 1997 to 2002."3 The early '00s were clearly a bad time for Pearl Jam — Mike McCready struggled with drug addiction, there was the Roskilde tragedy, and the band was perceived by many casual observers as passé. Pearl Jam should've taken an extended break after Yield, but instead it plowed forward with the most dispiriting and deeply confused record of its career. Binaural represents the worst instance of Pearl Jam attempting to make music least suited to its specific skill set — it's a record of dense atmospherics and measured brooding by the most stridently anthemic and emotive band of its generation. What's supposed to be a pained, delicate sigh comes off as a dull, thudding roar. Binaural is a three-dimensional sonic representation of a band being flattened against a psychic brick wall.
This pretty much sums up my feelings, although there is still plenty of material I really like from these years.
stip wrote:Binaural represents the worst instance of Pearl Jam attempting to make music least suited to its specific skill set — it's a record of dense atmospherics and measured brooding by the most stridently anthemic and emotive band of its generation.
I don't think it's least suited to its specific skill set; I just think Pearl Jam has at least two specific skill sets, and I think you want to limit them to your favourite one (don't we all, middle-period-lovers included). Why can't Pearl Jam be great at both "dense atmospherics and measured brooding" *and* "the most stridently anthemic and emotive band of its generation"? I see no reason to choose one or the other, and if anything, Pearl Jam's desperate reach in its latter years to reproduce the latter (what they, and you, think the fans or public-at-large love them for) is yielding very mixed results. "Infallible" is giving people a headache because it has a mixed identity; it can't decide whether it wants to be the fuzzy, grunge-groover of Riot Act, or the big, unabashed Oasis-like "anthem" of... something else. I'm beginning to love it for its indecision, but I still think I'd have less trouble if it was perfectly confident in itself. (Although FoN was much more confident in its identity, and for me, a blander song for it.) Apologies for taking us so far away from the subject of Binaural.
RisingTides wrote:There is more kindness on the internet than we would care to admit to ourselves. Sometimes we are so afraid of falling victim to a ruse, we miss out on actual opportunities.
Binaural (2000) I once had a conversation with this guy about Pearl Jam in which he claimed that the band's best era was 1998 to 2002. This is the sort of argument a person makes after digesting so much of a particular artist's work that it has driven him to the brink of insanity. It's like saying, "You know, Raging Bull and Goodfellas are solid, but they pale in comparison to Scorsese's output from 1997 to 2002."3 The early '00s were clearly a bad time for Pearl Jam — Mike McCready struggled with drug addiction, there was the Roskilde tragedy, and the band was perceived by many casual observers as passé. Pearl Jam should've taken an extended break after Yield, but instead it plowed forward with the most dispiriting and deeply confused record of its career. Binaural represents the worst instance of Pearl Jam attempting to make music least suited to its specific skill set — it's a record of dense atmospherics and measured brooding by the most stridently anthemic and emotive band of its generation. What's supposed to be a pained, delicate sigh comes off as a dull, thudding roar. Binaural is a three-dimensional sonic representation of a band being flattened against a psychic brick wall.
This pretty much sums up my feelings, although there is still plenty of material I really like from these years.
I pretty much agree with is but how's Yield different than this? The answer seems to be because it has DTE and GTF.
stip wrote:Binaural represents the worst instance of Pearl Jam attempting to make music least suited to its specific skill set — it's a record of dense atmospherics and measured brooding by the most stridently anthemic and emotive band of its generation.
I don't think it's least suited to its specific skill set; I just think Pearl Jam has at least two specific skill sets, and I think you want to limit them to your favourite one (don't we all, middle-period-lovers included). Why can't Pearl Jam be great at both "dense atmospherics and measured brooding" *and* "the most stridently anthemic and emotive band of its generation"? I see no reason to choose one or the other, and if anything, Pearl Jam's desperate reach in its latter years to reproduce the latter (what they, and you, think the fans or public-at-large love them for) is yielding very mixed results. "Infallible" is giving people a headache because it has a mixed identity; it can't decide whether it wants to be the fuzzy, grunge-groover of Riot Act, or the big, unabashed Oasis-like "anthem" of... something else. I'm beginning to love it for its indecision, but I still think I'd have less trouble if it was perfectly confident in itself. (Although FoN was much more confident in its identity, and for me, a blander song for it.) Apologies for taking us so far away from the subject of Binaural.
there are exceptions, of course, but I just don't think pearl jam is nearly as good at the dense atmospherics and measured brooding. And when it comes to writing faster, more aggressive songs in that style I think they are far more likely to fail. In the end Riot Act and Binaural are two records which, while undoubtedly having high spot moments, just feel a bit too much like work listening to. The payoff hardly rewards the investment. To me. But not just me
stip wrote:Binaural represents the worst instance of Pearl Jam attempting to make music least suited to its specific skill set — it's a record of dense atmospherics and measured brooding by the most stridently anthemic and emotive band of its generation.
I don't think it's least suited to its specific skill set; I just think Pearl Jam has at least two specific skill sets, and I think you want to limit them to your favourite one (don't we all, middle-period-lovers included). Why can't Pearl Jam be great at both "dense atmospherics and measured brooding" *and* "the most stridently anthemic and emotive band of its generation"? I see no reason to choose one or the other, and if anything, Pearl Jam's desperate reach in its latter years to reproduce the latter (what they, and you, think the fans or public-at-large love them for) is yielding very mixed results. "Infallible" is giving people a headache because it has a mixed identity; it can't decide whether it wants to be the fuzzy, grunge-groover of Riot Act, or the big, unabashed Oasis-like "anthem" of... something else. I'm beginning to love it for its indecision, but I still think I'd have less trouble if it was perfectly confident in itself. (Although FoN was much more confident in its identity, and for me, a blander song for it.) Apologies for taking us so far away from the subject of Binaural.
there are exceptions, of course, but I just don't think pearl jam is nearly as good at the dense atmospherics and measured brooding. And when it comes to writing faster, more aggressive songs in that style I think they are far more likely to fail. In the end Riot Act and Binaural are two records which, while undoubtedly having high spot moments, just feel a bit too much like work listening to. The payoff hardly rewards the investment. To me. But not just me
I remember a while ago what most people here meant with Binaural is their version of it with some tracks removed and some of the outtakes added. I think this more or less confirms what you're saying here.
music.for.rhinos wrote:Wow. This song sucks me into its black hole every time.
They're not even trying anymore are they? Were they all on heroine? Ayahuasca? What sorcery is this? Fuck.
stip wrote:evacuation and god's dice are clearly an emotional tour de force
They both make me feel more than The Fixer.
RisingTides wrote:There is more kindness on the internet than we would care to admit to ourselves. Sometimes we are so afraid of falling victim to a ruse, we miss out on actual opportunities.
made me crack up. But yeah IA.
