Red Mosquito

Jaeti wrote:

sward wrote:I've determined after repeated listens that this song is way better than a lot of you think. Some of you have smartly figured this out. I have yet to enjoy the la la la part however.

Imagine how good you'll think this is once that part clicks.

For sure. I hadn't noticed the 'deeestance' part that annoyed a few people until I read about it. Once I knew about it I had a hard time ignoring it, but now I can maturely move past it

So onward I go. At the very least, I'm a fan of the song now where I wasn't totally on board initially.

Thurman Murman wrote:Ok i'm starting to really dig this song!

The only real part i could do without is about the 10 seconds prior to the solo and the solo as is. The rest has really grown on me.

I love the build into the solo. Reminds me a little bit of the transition out of the bridge in WWS, which is a catalog highlight moment for me

Jaeti wrote:

Ms Harmless wrote:

Moshimistic wrote:The backing vox emphasizing “forgiveness” and “myself” remind me of the Fallon performance of “All Night” with The Roots.

I get why they're there but I kinda don't like them, mainly because they're Ed straining his voice, the highest notes in the song, and I don't want those highlighted too much

Ya.

Since he can't really hit those notes easily anymore I've found the layering goes a long way to offsetting it - it helps to replace the raw stand alone power they would have once had

stip wrote:

Thurman Murman wrote:Ok i'm starting to really dig this song!

The only real part i could do without is about the 10 seconds prior to the solo and the solo as is. The rest has really grown on me.

I love the build into the solo. Reminds me a little bit of the transition out of the bridge in WWS, which is a catalog highlight moment for me

Duckwalk city, baby!

stip wrote:

Jaeti wrote:

Ms Harmless wrote:

Moshimistic wrote:The backing vox emphasizing “forgiveness” and “myself” remind me of the Fallon performance of “All Night” with The Roots.

I get why they're there but I kinda don't like them, mainly because they're Ed straining his voice, the highest notes in the song, and I don't want those highlighted too much

Ya.

Since he can't really hit those notes easily anymore I've found the layering goes a long way to offsetting it - it helps to replace the raw stand alone power they would have once had

yeah that's true

stip wrote:

Jaeti wrote:

Ms Harmless wrote:

Moshimistic wrote:The backing vox emphasizing “forgiveness” and “myself” remind me of the Fallon performance of “All Night” with The Roots.

I get why they're there but I kinda don't like them, mainly because they're Ed straining his voice, the highest notes in the song, and I don't want those highlighted too much

Ya.

Since he can't really hit those notes easily anymore I've found the layering goes a long way to offsetting it - it helps to replace the raw stand alone power they would have once had

Good point. This is a common technique routinely used by producers to make the best of things, in certain cases. I'd hate calling it a "studio trick", since most everything to do with recording a band involves a "trick" of some sort or another (especially these days) ...it's not an illusion, necessarily, although it really kinda is, in a sense.

Anyway, it's effective here, IMO

Still really digging this one. Gets better with every listen.

I can't stop listening.

I'm still kind of in shock that I like two new PJ songs in a row

How spritzy is SBWM really? It's not feeling THAT spritzy to me.

there’s a part of this that reminds me of that part in Grievance with the chords right before ‘I wanna breathe’

it gets less spritzy the more time I spend with it; this little moments of genuine joy in there, and spritz is a cheap imitation of joy

Leatherhead wrote:How spritzy is SBWM really? It's not feeling THAT spritzy to me.

take it to the Spritzy Punker thread!

kidding

although I do have some thoughts there about the 5-part test


I was thinking the other day about spritziness and the prevalence of spritzers over the last few albums

if they had just slowed the tempo down but still played a straight beat how many of those would not sound so crappy?

that youtube post a few pages back reminded me of this

the evenflow demo is ultra-slow - evenslower (pun intended) than the album version and basically the live version is now twice as fast as both

PJ transitioned from a more patient-type groove in steady-state to a naturally faster tempo in their later years it seems

Ms Harmless wrote:it gets less spritzy the more time I spend with it; this little moments of genuine joy in there, and spritz is a cheap imitation of joy

does a spritzy song have to be inauthentic

stip wrote:

Ms Harmless wrote:it gets less spritzy the more time I spend with it; this little moments of genuine joy in there, and spritz is a cheap imitation of joy

does a spritzy song have to be inauthentic

my view is part of what makes a spritzer is genuine excitement (see: Spritzy Punkers thread, comment about being ‘an ass’)

but SBWM does not an ass make

had my 5th or so listen today and the song is trending up

Seems a little less chaotic and sloppy the more i hear it.

Will plan to listen as little as possible until the album release

Superblood Wolfmoon wrote:Still really digging this one. Gets better with every listen.

As usual, I'm landing right where Stip is on this. I definitely found it to be puzzling and had trouble finding my way into this song. The saving grace on the first listens is the guitar solo. Love that dive bomb stuff Mike is doing, it goes against the whole grain of the song and I like it. And, yes, while it is not experimental in an aesthetic way it is in it's structure. That's often how Pearl Jam experiments. I consider this song to be a cousin to Gods' Dice and Grievance in many ways. It's got some of that choppy stop start stuff going that Grievance has and also those rolling drums hits from Gods' Dice. Lyrically, I still don't know what the heck is going on. That's for a later time for me to figure out.

As hard as it is to find my way into this song, it has the weird quality of making me very intrigued by this album. I definitely am sensing a companion to Binaural here. The 2, 3 and 4 slots usually define the identity of the album, so I think we're in for an album with some different song structures. I'm super excited about what the middle of this album has, since that's often where the true character of their song cycle is revealed. I'm such a Backspacer guy, which is a lean, mean, melodic killer with no obstacles to find your way in and very inviting. So, I'm good with an oddball album since I've always got the masterwork that is Backspacer in my back pocket to spin when I'm not in a mood for something difficult.

I’d call this more “driving” than spritzy.

Tuolumne wrote:As usual, I'm landing right where Stip is on this. I definitely found it to be puzzling and had trouble finding my way into this song. The saving grace on the first listens is the guitar solo. Love that dive bomb stuff Mike is doing, it goes against the whole grain of the song and I like it. And, yes, while it is not experimental in an aesthetic way it is in it's structure. That's often how Pearl Jam experiments. I consider this song to be a cousin to Gods' Dice and Grievance in many ways. It's got some of that choppy stop start stuff going that Grievance has and also those rolling drums hits from Gods' Dice. Lyrically, I still don't know what the heck is going on. That's for a later time for me to figure out.

As hard as it is to find my way into this song, it has the weird quality of making me very intrigued by this album. I definitely am sensing a companion to Binaural here. The 2, 3 and 4 slots usually define the identity of the album, so I think we're in for an album with some different song structures. I'm super excited about what the middle of this album has, since that's often where the true character of their song cycle is revealed. I'm such a Backspacer guy, which is a lean, mean, melodic killer with no obstacles to find your way in and very inviting. So, I'm good with an oddball album since I've always got the masterwork that is Backspacer in my back pocket to spin when I'm not in a mood for something difficult.

Holy carp someone is out there I am no longer alone in my love of Backspacer there are others! This is a water shed moment. Maybe there are more maybe even 4 or 5 people. That could be a club. The Nineclub. That's it welcome to the 9club