Red Mosquito

Oversize wrote:Well, I was a longtime member of the board - and then I went a while without posting (I've been reading posts here since 2003 or maybe even earlier)... and, boom suddenly my account was gone and I wasn't really motivated to start a new account til now...

First, let me say that I share one thing in common with Stip... every time there is a new Pearl Jam record, it corresponds with some major event in my life. I'll write a bit more later about what's going on at this point, but I mostly just wanted to say thank you to everyone who has been posting their reviews and insights so those of us who haven't heard these songs can live vicariously through you

Off topic (sorry) but I never did hear the Speed of Sound demo that I always see people talking about... I'm one of those that loves the version on the record. Is the demo version really better?

Anyhow, glad to be back. Look forward to listening to this new music and sharing my thoughts as well!

Welcome (back)! If you're interested in hearing the demo - it's over on Gremmie.net

out go the lights

--- wrote:

evenslow wrote:800 miles is a drive

there's a picture of you standing there in my black wig

Oh, start getting that hair cut sharp

Rangi Guy wrote:Welcome (back)! If you're interested in hearing the demo - it's over on Gremmie.net

I think you mean "the dot net."

I know i've said this before but I just can't believe how awesome Getaway is
SUCH A GOOD SONGGGG

evenslow wrote:

Rangi Guy wrote:Welcome (back)! If you're interested in hearing the demo - it's over on Gremmie.net

I think you mean "the dot net."

Oooops - my bad!

I've been out of touch the past few days and just now saw the Sirens/McCready clip. How much dissecting of that went on?

(It's funny that I can only keep up with this thread if I'm at work...)

Jaeti wrote:I've been out of touch the past few days and just now saw the Sirens/McCready clip. How much dissecting of that went on?

(It's funny that I can only keep up with this thread if I'm at work...)

I think someone noticed it was a 12-string and someone else noticed the ghost of a small child in one of the trains if you slow it way down.

evenslow wrote:

Jaeti wrote:I've been out of touch the past few days and just now saw the Sirens/McCready clip. How much dissecting of that went on?

(It's funny that I can only keep up with this thread if I'm at work...)

I think someone noticed it was a 12-string and someone else noticed the ghost of a small child in one of the trains if you slow it way down.

In other words, no surprises.

Jaeti wrote:

evenslow wrote:

Jaeti wrote:I've been out of touch the past few days and just now saw the Sirens/McCready clip. How much dissecting of that went on?

(It's funny that I can only keep up with this thread if I'm at work...)

I think someone noticed it was a 12-string and someone else noticed the ghost of a small child in one of the trains if you slow it way down.

In other words, no surprises.

No alarms either.

evenslow wrote:

Jaeti wrote:

evenslow wrote:

Jaeti wrote:I've been out of touch the past few days and just now saw the Sirens/McCready clip. How much dissecting of that went on?

(It's funny that I can only keep up with this thread if I'm at work...)

I think someone noticed it was a 12-string and someone else noticed the ghost of a small child in one of the trains if you slow it way down.

In other words, no surprises.

No alarms either.

Please.

evenslow wrote:

Jaeti wrote:

evenslow wrote:

Jaeti wrote:I've been out of touch the past few days and just now saw the Sirens/McCready clip. How much dissecting of that went on?

(It's funny that I can only keep up with this thread if I'm at work...)

I think someone noticed it was a 12-string and someone else noticed the ghost of a small child in one of the trains if you slow it way down.

In other words, no surprises.

No alarms either.

Not until Thursday, that is.

Jaeti wrote:

evenslow wrote:

Jaeti wrote:

evenslow wrote:

Jaeti wrote:I've been out of touch the past few days and just now saw the Sirens/McCready clip. How much dissecting of that went on?

(It's funny that I can only keep up with this thread if I'm at work...)

I think someone noticed it was a 12-string and someone else noticed the ghost of a small child in one of the trains if you slow it way down.

In other words, no surprises.

No alarms either.

Not until Thursday, that is.

Zing.

So No Leak Clubbers aside, I presume we're all just listening to these five songs nonstop at this point are we? Kidding...sort of...

The shitty part is that I know I'm ruining what could be an amazing chance to hear the album as it was intended, if not physically, at least complete and with a lossless rip...but no, I can't help it.

Pearl Jam represent one of the most consistent and successful rock bands active today – and a first listen to ‘Lightning Bolt’, the Seattle quintet’s new album, further confirms this status. Still standing, never once bowing to the dreaded ‘hiatus’, the Eddie Vedder-fronted outfit is in as rude health today as it was back in the ‘90s. The reasoning behind the band’s longevity is based in qualitative terms, surely. But it’s probable that Pearl Jam’s members have always sought to satisfy their own musical cravings, following instincts over any fleeting trends. Across the course of the band’s career, kick-started with 1991’s ‘Ten’ LP, they’ve regularly integrated new sounds into their grunge foundations, such as softer, folk-like styles akin to the work of Neil Young. Each shade of the band’s varied palette has had its time in the spotlight. ‘Thumbing My Way’, from 2002’s ‘Riot Act’, telegraphs Vedder’s subsequent ‘Into The Wild’ soundtrack work. Likewise, 2000’s ‘Soon Forget’ finds the frontman previewing his ‘Ukulele Songs’ LP of 2011 by presenting said instrument to the fore. Great songwriters rarely lose their touch, whatever the shifting of bandmates – and Pearl Jam has welcomed five different drummers over the years. ‘Lightning Bolt’, released on October 14th via Monkeywrench/Republic, vividly portrays the differing tangents this band can take its signature sound on. Opener ‘Getaway’ is immediately striking, its fierce riff self-assured with arena-shaking confidence. Guitarist Mike McCready’s solos reflect this band’s classic rock roots, while the vigorous beats from ex-Soundgarden drummer Matt Cameron are breathtaking. The following ‘Mind Your Manners’ continues this all-guns-blazing approach. The guitar here is more barbed than the previous cut, with a real heavy metal feel. The adrenaline begins to surge. ‘My Father’s Son’ ensures it doesn’t dissipate, its primal punk-cum-garage momentum indicative of a band truly locked into their flow. - - - Pearl Jam, 'Mind Your Manners' - - - Track four, ‘Sirens’, is the first step into Pearl Jam’s refined acoustic territory. At its beginning there’s just Vedder with a single guitar, before McCready ups the track’s intensity and the vocals rise in unison. It’s an all-out affair. The title-track finds those two words, “lightning bolt”, howled during its chorus. It’s remarkably similar, in a good way, to ‘Animal’, a number from 1993’s second LP, ‘Vs.’. So far, ‘Lightning Bolt’ feels like a live set taken into a studio, such is its pace. ‘Infallible’ – another rougher-edged song, the fifth of its kind so far – is a hard-grunge affair which finds Vedder hitting every note with real precision, like a spear fisherman not missing a single strike. It’s a wonder how this man’s voice has sustained across the years – he sounds every bit as strong here as he did on ‘Ten’ and ‘Vs.’, what feels like a lifetime ago (and, for some fans, probably is). And then, something completely different, as ‘Pendulum’ sounds unlike anything these men have recorded previously. It’s a bleak piece, reverbed guitar bringing a real sense of desolation to proceedings. A tambourine comes in, and an adagio bassline furthers the song’s atmospheric, experimental sound. ‘Swallowed Whole’ is similar to ‘Sirens’ – it begins quietly but builds to a rocking climax. A swaggering bass dominates the mix on ‘Let The Records Play’, the track’s jam-like qualities crystallising a very ‘90s sound, albeit one mixed with the raw garage of Iggy And The Stooges. ‘Sleeping By Myself’ is taken from ‘Ukulele Songs’, but further developed here, as you’d expect from a full-band version. The emotion of the original remains, though, with a great connection between the lyrics and melodic backing. The penultimate ‘Yellow Man’, too, manages to convey this fluency between each member’s role, the despair-soaked vocals reflecting the lead guitar’s tone. Closer ‘Future Days’ is the first time on ‘Lightning Bolt’ where the lyrics are completely positive, perhaps expressing the contentment these men have found in middle age, with families beside them. They’re happy, and this folk-like number comprises a fine bookend to this tenth studio album.

http://www.clashmusic.com/features/albu ... tning-bolt

My Father's Son and Infallible are gonna be the bees knees.

I can't believe I just sat here catching up everything I missed in this thread since Friday afternoon.

Jaeti wrote:I can't believe I just sat here catching up everything I missed in this thread since Friday afternoon.

Neither can I.

Birds in Hell wrote:

Jaeti wrote:I can't believe I just sat here catching up everything I missed in this thread since Friday afternoon.

Neither can I.

Someone sound the alarm, I mean Siren.

nomorecrackpipes wrote:

harmless wrote:Have we had no PJ radio edits before?

* Jeremy has been edited, not on the original run, but it's mixed with the single version (a buried "fuck") and the album version (which as the real ending).
* Off He Goes was chopped up to a tidy 4:09 (6:03 originally)
* Light Years was chopped to 3:52 (5:07 originally)
* Save You had all the "fucks" taken out

I want to say there was an In Hiding edit, but I have no way of confirming.

I must hear the edited Light Years.