Red Mosquito

01. Quick Escape 5
02. Comes Then Goes 5
03. Take the Long Way 5
04. Dance of the Clairvoyants 5
05. River Cross 5
06. Who Ever Said 4.5
07. Seven O’Clock 4.5
08. Superblood Wolfmoon 4.5
09. Alright 4.5
10. Never Destination 4
11. Retrograde 4
12. Buckle Up 2.5

I, for one, knew they had this in them. I am glad most of you are can catching up

i think the sequence is like most pearl jam records. the front half is perfect, the back half is all over the place.

warehouse wrote:i think the sequence is like most pearl jam records. the front half is perfect, the back half is all over the place.

yeah I've felt that way for many of their albums...hell I loved the first side of ten when it came out then got used to the second side and that worked out well.

yep, business as usual - the sequencing is better than some imo

i dont recall who suggested this, but again today fits in nicely amidst the gigaton tracks

Rolling Stone Italy has a interview with Josh Evans online:

https://www.rollingstone.it/musica/inte ... le/508785/

Tried to read it with google translate, and some interesting observations.

He just became the producer slowly. The band wanted to record differently this time around, not live in a room together. But working on each others parts from home for instance. Josh Evans was central in all this because he organized everything. Put all the pieces together in working mixes etc....
Slowly those working mixes became the real mixes....All of a sudden he was producing the record...

joostone wrote:Rolling Stone Italy has a interview with Josh Evans online:

https://www.rollingstone.it/musica/inte ... le/508785/

Tried to read it with google translate, and some interesting observations.

He just became the producer slowly. The band wanted to record differently this time around, not live in a room together. But working on each others parts from home for instance. Josh Evans was central in all this because he organized everything. Put all the pieces together in working mixes etc....
Slowly those working mixes became the real mixes....All of a sudden he was producing the record...

So what you're saying is this quarantine is going to produce an EP bc they're all used to working remotely.

I'm already excited.

maybe I should change my name to Ms. Hwourmless

Chahprherahiothhahact

Does this need it’s own th-hearhard

First listen

Second listen

Subsequent listens

Thank you everyone for all the content, especially of late. You all are amazing and I needed it now more than ever.

coptheriotact wrote:Chahprherahiothhahact

Does this need it’s own th-hearhard

lol

joostone wrote:Rolling Stone Italy has a interview with Josh Evans online:

https://www.rollingstone.it/musica/inte ... le/508785/

Tried to read it with google translate, and some interesting observations.

He just became the producer slowly. The band wanted to record differently this time around, not live in a room together. But working on each others parts from home for instance. Josh Evans was central in all this because he organized everything. Put all the pieces together in working mixes etc....
Slowly those working mixes became the real mixes....All of a sudden he was producing the record...

Matt played the six string guitar on Alright.

The first recording of Seven O'Clock was in January 2017, and lasted 2-3 hours. What you hear on the album is something engineer John Burton has worked on for two years. What we hear now is a collection of four-five different rhythmic approaches.

That article was great. I find it fascinating that the band realized that they had to totally change the process this late in their career. With recording sounding like it started in Jan 2017, I wonder how they released Can't Deny Me by BoB at the beginning of 2018? I'd love to know the actual timeline of how this record unfolded.

We should have a SVT from each album.

That’s super interesting. In places it rather ironically sounds the most “band playing in a room together” that they have since Riot Act.

I can see why that approach might have helped produce so many fresh ideas, though. Lots of time to try different parts you might not otherwise have had, with the group’s first hearings of your idea for a bass line or an overdub being more or less how it will sound on record, rather than live in the room.

Everyone getting to experiment on their own time, and in their own comfort zone. Sounds like a good way to make a follow up during quarantine you bastards.

McParadigm wrote:That’s super interesting. In places it rather ironically sounds the most “band playing in a room together” that they have since Riot Act.

I can see why that approach might have helped produce so many fresh ideas, though. Lots of time to try different parts you might not otherwise have had, with the group’s first hearings of your idea for a bass line or an overdub being more or less how it will sound on record, rather than live in the room.

Everyone getting to experiment on their own time, and in their own comfort zone. Sounds like a good way to make a follow up during quarantine you bastards.

I wonder if they recorded this way because certain members tended to be more vocal in their opinions during the process if they were all just in a room and banging out a song.....

Anders wrote:

joostone wrote:Rolling Stone Italy has a interview with Josh Evans online:

https://www.rollingstone.it/musica/inte ... le/508785/

Tried to read it with google translate, and some interesting observations.

He just became the producer slowly. The band wanted to record differently this time around, not live in a room together. But working on each others parts from home for instance. Josh Evans was central in all this because he organized everything. Put all the pieces together in working mixes etc....
Slowly those working mixes became the real mixes....All of a sudden he was producing the record...

Matt played the six string guitar on Alrigtht.

The first recording of Seven O'Clock was in January 2017, and lasted 2-3 hours. What you hear on the album is something engineer John Burton has worked on for two years. What we hear now is a collection of four-five different rhythmic approaches.

can someone post?