Red Mosquito

sweeper wrote:Sirens is an incredibly bizarre comp to Seven O'Clock

The outros are basically the same. I didn't connect it until chud compared the two songs. I think I hate Sirens more for what it's worth.

bluestate wrote:Well, this is what I learned so far

chud: "7 o'clock sounds like Sirens"

spenno: "Quick Escape is too noisy"

dime: "You'll be horrified to find out DotC is the only good song on Gigaton"

Long time posters whose opinions can't be trusted anymore

From everything I've read, dime seems to adore this record, for the most part. Shouldn't speak on their behalf...could be wrong

oneway23 wrote:

sweeper wrote:Sirens is an incredibly bizarre comp to Seven O'Clock

0700 is very AOR...it's got 80's production flourishes which were highly desirable by radio programmers at that time. Sirens was essentially the 21st century equivalent of that aesthetic and mindset, so, I get it from a production standpoint, but, beyond that, the actual substance and lyrical intent couldn't be more different.

They were going to Pink Floyd and, as usual when they do that, missed. Gigaton marks the start of their competency in keys.

oneway23 wrote:

bluestate wrote:Well, this is what I learned so far

chud: "7 o'clock sounds like Sirens"

spenno: "Quick Escape is too noisy"

dime: "You'll be horrified to find out DotC is the only good song on Gigaton"

Long time posters whose opinions can't be trusted anymore

From everything I've read, dime seems to adore this record, for the most part. Shouldn't speak on their behalf...could be wrong

that quote is from before it came out, when Dime claimed he'd heard it and everything sucked except for DOTC

FlatSideofaDog wrote:

oneway23 wrote:

sweeper wrote:Sirens is an incredibly bizarre comp to Seven O'Clock

0700 is very AOR...it's got 80's production flourishes which were highly desirable by radio programmers at that time. Sirens was essentially the 21st century equivalent of that aesthetic and mindset, so, I get it from a production standpoint, but, beyond that, the actual substance and lyrical intent couldn't be more different.

They were going to Pink Floyd and, as usual when they do that, missed. Gigaton marks the start of their competency in keys.

They went for post-Waters Floyd, which is not what I anticipated AT ALL

I'm just excited that this wasn't a total disaster like the last one, and the one from 2009 that shall remain nameless.

Songs i'm really into:

Who Ever Said
Dance
Comes then goes
Quick Escape
Take the Long Way (obsessed)

Meh:

SBWM

I have no use for:

The rest

7 o'clock and Sirens have very very very little in common. The former as some things in common with Wishlist, Light years and Unthought Known. Sirens has no comparison in the catalog.

oneway23 wrote:

bluestate wrote:Well, this is what I learned so far

chud: "7 o'clock sounds like Sirens"

spenno: "Quick Escape is too noisy"

dime: "You'll be horrified to find out DotC is the only good song on Gigaton"

Long time posters whose opinions can't be trusted anymore

From everything I've read, dime seems to adore this record, for the most part. Shouldn't speak on their behalf...could be wrong

He seems to have warmed to it now, however:

dimejinky99 on 13 March 2020 wrote:You’ll be happy and unsurprised to hear dance of the Clairvoyants is the best song on here.

You’ll be dismayed or unsurprised to hear the rest of it is bog standard stodgy bland Pearl Jam fare.

Just gave this it's first spin, and like other's have said - having a decent mix played through quality speakers makes the world of difference. Surprise standout from that listen - Seven O'clock....something just clicked and my 'Yeah - it's a good song' turned into love

Birds in Hell wrote:

oneway23 wrote:

bluestate wrote:Well, this is what I learned so far

chud: "7 o'clock sounds like Sirens"

spenno: "Quick Escape is too noisy"

dime: "You'll be horrified to find out DotC is the only good song on Gigaton"

Long time posters whose opinions can't be trusted anymore

From everything I've read, dime seems to adore this record, for the most part. Shouldn't speak on their behalf...could be wrong

He seems to have warmed to it now, however:

dimejinky99 on 13 March 2020 wrote:You’ll be happy and unsurprised to hear dance of the Clairvoyants is the best song on here.

You’ll be dismayed or unsurprised to hear the rest of it is bog standard stodgy bland Pearl Jam fare.

Yeah - don't ever question him on his ever changing opinions

Tj wrote:Sirens and Seven o'clock have very very very little in common. The former as some things in common with Wishlist, Light years and Unthought Known. Sirens has no comparison in the catalog.

It’s a lazy comparison for sure. Standard chud.

spike wrote:

Tj wrote:Sirens and Seven o'clock have very very very little in common. The former as some things in common with Wishlist, Light years and Unthought Known. Sirens has no comparison in the catalog.

It’s a lazy comparison for sure. Standard chud.

Chud used to be worth a damn

oneway23 wrote:

FlatSideofaDog wrote:

oneway23 wrote:

sweeper wrote:Sirens is an incredibly bizarre comp to Seven O'Clock

0700 is very AOR...it's got 80's production flourishes which were highly desirable by radio programmers at that time. Sirens was essentially the 21st century equivalent of that aesthetic and mindset, so, I get it from a production standpoint, but, beyond that, the actual substance and lyrical intent couldn't be more different.

They were going to Pink Floyd and, as usual when they do that, missed. Gigaton marks the start of their competency in keys.

They went for post-Waters Floyd, which is not what I anticipated AT ALL

I can see a very general connection to Floyd's Lost For Words.

7 o'clock and Retograde both seam like Pearl Jam covering songs they think are on How To Dismantle a Atomic Bomb. I do like both songs alot

a lot has been said about how this thing is tracked, but I love it; there's a definitive "ending" of the more rhythmic and "danceable" (not necessarily all "upbeat") songs in "Buckle Up" - and a real irony in that title, because when it's over, the album gives way to an encore-like acoustic song that asks us to sit still and chill a while; then Retrograde is about beauty and awe; and River Cross is about where we've been, and where we're going, after having thought this was the end - it's the semi-colon in the sentence; a lot of people have also talked about how long this album takes to wind down (three songs, really, maybe even four); but that's hitting me too, in the sense that it supports the album's conclusion: there were points where I honestly thought it was all over, the end, I couldn't go on anymore; but, quite by accident, here I am, still fighting, still trying to build some sort of a future, which will surely contain even more endings, more false starts (like the album's first dud bass note), more endings again - this is an album about being still alive, and it doesn't drop the ball on that purpose

Tj wrote:Sirens and Seven o'clock have very very very little in common. The former as some things in common with Wishlist, Light years and Unthought Known. Sirens has no comparison in the catalog.

Bro, Sirens is the former in your post.

I'm still listening to this at least twice a day and I'm still loving it.

tragabigzanda wrote:

Ms Harmless wrote:a lot has been said about how this thing is tracked, but I love it; there's a definitive "ending" of the more rhythmic and "danceable" (not necessarily all "upbeat") songs in "Buckle Up" - and a real irony in that title, because when it's over, the album gives way to an encore-like acoustic song that asks us to sit still and chill a while; then Retrograde is about beauty and awe; and River Cross is about where we've been, and where we're going, after having thought this was the end - it's the semi-colon in the sentence; a lot of people have also talked about how long this album takes to wind down (three songs, really, maybe even four); but that's hitting me too, in the sense that it supports the album's conclusion: there were points where I honestly thought it was all over, the end, I couldn't go on anymore; but, quite by accident, here I am, still fighting, still trying to build some sort of a future, which will surely contain even more endings, more false starts (like the album's first dud bass note), more endings again - this is an album about being still alive, and it doesn't drop the ball on that purpose

As a conceptual album, I think it's one of their stronger efforts. Not as deliberately effective as, say, Vs or Riot Act, but much stronger than Yield or Lightning Bolt in how the overall package work to deliver a core concept...

But for me, there's also no denying that the sequencing is problematic. I want to listen to this thing pretty loud, and so I've got ear fatigue by the time I get to the final stretch. I've re-tracked it in a way that makes it much easier for me to get all the way through.

For how long the album is, I genuinely feel like it moves very quick.

I've been thinking a lot about this album the past two weeks like most of you. I'm not sure if I will get to writing something too long, since so much has been covered already.

I always held out hope the band still had at least one more special album left in them. Time will tell how well it holds up, but I think it is here. Optimism is a tricky thing. This has album has it. And we need it right now.

Pearl Jam is providing the emotional compass I need right now, 20 years after finding a direction in their music. Gives me something to smile about.