Red Mosquito

LetMeSleep wrote:

harmless wrote:After my little crisis of confidence last night I realised something; this album *feels* to me like another Ten. There won't be another Ten in terms of quality, but it's the tenth album, and like Ten, it's going to be an overt, big-gesture, outward-focussed album (could PJ have written a bigger outward-gesture song in 2013 than "Sirens"?). When I first heard the leaked tunes, my first thought was "I wish my dad didn't live hundreds of miles away so I could drive around in his car blaring this out." That was the ritual between me and my dad with every new Pearl Jam album when I was a child. And back then, Pearl Jam's music wasn't the deeply intelligent, thought-provoking, insular and *shy* music it began to be at No Code. It was big, loud, somewhat cliched, grand rock songs (this is an arguable point of course, but this is an admittedly broad statement for time's sake). Now, this is 2013 and that was a long time ago. There's every chance that I could play this album to my dad and he'd go "Meh." I'm sort of glad he's not around daily for that to happen, because I think the truth is, my strongest reaction to these new songs is emotional. I'm forgiving the obvious flaws of these songs. I know they're replete with flaws, and I know that I wish Brendan O'Brien hadn't put his classic-schmaltz-rock-juice all over them. But it's that same slick production that's made me respond emotionally to these songs, because they remind me of my father, and my changing music taste coming out of the 80s (when I loved Bryan Adams and Bon Jovi) into the 90s (when PJ turned up), and even -- given the themes of the songs we have -- my changing spirituality growing up, which is as much to do with my love for, and frustrations with, my dad's religious beliefs. I feel as if this album is becoming important to me for those reasons, almost regardless of the songs' flaws. The songs have proven themselves good enough for me to develop a strong emotional attachment to this album and from this point on, everything else will be a bonus. If I get to hear anything with the defensible quality of that middle-period, I'll be happy about it, but if not, never mind.

This is album Ten and I'm feeling like just turning it up loud and enjoying it. Now I'm secretly hoping that the track "My Father's Son" goes beyond Ed and can say something to me / us... but fingers crossed.

I wonder how many of us here were born b/n 73-77, had/have some Bon Jovi/GnR/80s soft metal in our lives before 91/92 changed us all.

I was born in '84, so I didn't really get into music until Pearl Jam was already around, and they were one of the first that really grabbed me. My pre-Pearl Jam musical experience was based around what my parents listened to at the time... so... Elton John, Garth Brooks and Lionel Ritchie. So... yeah, Pearl Jam changed me.

Never mind

And again

I've been listening to the 6 songs we have so far in the car and at home quite a lot for the last week. At this point, I can honestly say I don't dislike ANY of them while obviously favouring some songs more than others.

Personally, if I can find a moment in each song that stands out and sorta hits me then I'm a happy camper. Fortunately, in all 6 songs I'm finding moments that are very much Pearl Jam and sound great to my ears and there are some surprising moments that keep hitting me that I adore. So here's some random thoughts and moments I'm digging...

Getaway:

Easily my favourite of the new songs so far. It's going to be a great opener to the album, and I like that Ed isn't trying too hard to cram too many words over the music like he does in other songs. Love the line, "Find a lighthouse in the dark, stormy weather...we all could use a sedative right now". And then my favourite moment of all the songs thus far:

"Its OK
sometimes you find yourself
having to put all your faith
In no faith
Mine is mine
and yours
wont take its place.
Now make your Getaway "

The way Ed sings, the escalating guitar riff getting higher and higher is phenomenal IMO. It's so Pearl Jam and delivered with gusto. This is a Pearl Jam orgasm for me.

Mind Your Manners:

A song like this should get your heart racing and your blood pumping faster. It didn't grab me at first but I've been converted after repeat listens. Matt's drumming before the first verse kicks in = YES! The bridge, "Self realised and metaphysically redeeming..." leading up to the guitar solo is THE moment in the song for me that makes it great. Score 2 for 2 for the mighty PJ!

Sirens:
So, this one has been a little bit controversial hasn't it. I can't remember the last time fan reaction was so divisive for a song. On first lesson, I didn't get it. Sounded cheesy and a bit flat. Wasn't sure how I felt about Eddie's vocals. Everything presented sounded nice I suppose, but I wasn't sure what it was trying to be. Cheesy ballad? Simple declaration of appreciating love before it's gone? I don't know, something was off.
Anyways, maybe Eddie came to me in a dream and reached into my soul or hypnotized me or something because I frickin' adore the song now. After Eddie sings, "Let this remain" at the end of the first chorus and we get that little instrumental bit before the second verse...THAT is the moment for me so far with this one. Dramatic chorus brimming with emotion but then that little instrumental to bring us back down from the ceiling again and give us a moment to breathe. Pearl Jam take me up and down and that's partly why I love them. Also, the line "Hear the sirens, more and more in this here town" makes me heart twinge a bit and makes me sad. Maybe its the choice of phrase but I can't get enough of that one.

I disagree with those who say it's not PJ at all, because I think it's quintessentially Pearl Jam. They've always worn their influences as badges of honour, never shying away from showing us they respect and admire what came before. This is Pearl Jam doing just that, and it stops itself from appearing cheesy because Ed sings so sincerely and the lyrics are sincere. It's how to do a powerful ballad without being insincere and I think Pearl Jam have always been able to achieve it. It's just a bit hard to appreciate at first because it appears to sound different from anything they've done. But after a few listens I can totally see that it's not that different to what has come before.

Lightning Bolt:

HATED the live version from Wrigley. It sounded messy, fractured, as if the guys hadn't thought it out properly. I'll let that slide because it was the live debut and I've no doubt it'll get better the more they play it. Eddie's guitar playing live is often messy and it really made the song sound like a bit of a hash job.
Luckily, the studio version is head and shoulders above what they played that night. I know it's the same song they played, but this one really benefits from polished studio production so you can hear every note clearly. Ed's delivery is better too, and he seems to be feeling it. I love Unthought Known, but now I feel like LB is what UK wanted to be but didn't have the balls.

This one has two "It" moments for me, so I'm a happy camper. First one, is "until the lightning strike sets you free...yeeeaaaaah" and it's 90% because of how Ed attacks it. Confidence, power, just flat out ball. I love balls.

Second moment is the end when Ed is wailing away and it just makes me want to give a round of applause. How can you listen to Ed screaming,

"Yeah yeah…. yeah yeah…. yeah yeah
Never let it go
She’s a lightning bolt
Never let her go
She's true.
She's your rock and roll
She's your lightning bolt
Uncontrollable
Like you!"

and NOT want to shout it along with him? It's a glorious, cathartic moment. (I might be wrong on some of the lyrics above there!)

Let The Records Play:

This is my second favourite song and I don't even care what anyone else says. Catchy, a bit dirty at times with Ed's little scowls and growls. Favourite moment starts at 1:38:

I’ve been down and I fell so hard and far from grace
I’ve been hurt and I still recall the flaws on her face
I’ve been off but I'm on up upon my feet
my feet again

Once again, it's the combination of the way Ed sings against the wonderful music. Makes me giddy with excitement.

Swallowed Whole:

This was forgettable at first. It sounded a bit bland and uninspired. But, I love how time proves me wrong. Songs don't reveal themselves on first listen. They show their true colours over time. Some take days, some take weeks, some take years. I bought Binaural in 2002, listened to it once and turned it off in disgust. It sat on my shelf unloved and ignored for 4 years. I randomly popped it in sometime in 2006 before I went to Europe to see the boys and it blew my mind. It took 4 years to speak to me but it eventually opened up and became my favourite album.

This isn't as dramatic a shift as that was, but I really do like this one. It's a wonderful homage to a very REM-style music mixed with some typical Eddie lyrics that I can appreciate. It's all there, the crashing of waves, current pulling down, "breathing in forgiveness" "vibrations with no end" etc. It's all very Ed but you gotta love the guy for it. Favourite moment:

"And we'll come, come what may..."

Sounds beautiful and poetic with the music. Also, I'm hearing lots of Yield stuff in this one. Bits of MFC, Low Light, Given To Fly. This is NOT a bad thing. It doesn't sound recycled and copied, but just has that distinct Yield sound.

I know it sounds like I'm mindlessly gushing, but there's nothing better to me than when new PJ hits me and excites me. I think this album is going to be great.

Mirella wrote:I think age matters, as well as how deep and broad someone's taste is, and how you have experienced all kinds of music so far, including Pearl Jam. Open mindedness is not really age related, I think. I hated disco as a child in the seventies, but I can appreciate it for what it is now. Hit parade music is different for children compared to teenagers or people in their twenties, and it all depends on what people you hang out with as well.
Then there is the whole lyrical aspect, and other emotions music can connect with. For instance, was hair metal something you laughed about or was it an important part of your youth? Were you in a safe surrounding and happy or was everybody around you dying or fighting when you first heard a certain style? Do drinking songs make you happy or extremely sad, or annoyed? Do the lyrics match your own situation or is it more distant?
So, even though I am tempted to say age is important, and older people are wiser , I think it is different for every single person. I do appreciate opinions with some background information more than just statements that something sucks or is brilliant.

groetjes,
Mirella

Which one you fucks is hiding the rest of the album somewhere? c'mon gimmie.

BootsToAsses wrote:I've been listening to the 6 songs we have so far in the car and at home quite a lot for the last week. At this point, I can honestly say I don't dislike ANY of them while obviously favouring some songs more than others.

Personally, if I can find a moment in each song that stands out and sorta hits me then I'm a happy camper. Fortunately, in all 6 songs I'm finding moments that are very much Pearl Jam and sound great to my ears and there are some surprising moments that keep hitting me that I adore. So here's some random thoughts and moments I'm digging...

Getaway:

Easily my favourite of the new songs so far. It's going to be a great opener to the album, and I like that Ed isn't trying too hard to cram too many words over the music like he does in other songs. Love the line, "Find a lighthouse in the dark, stormy weather...we all could use a sedative right now". And then my favourite moment of all the songs thus far:

"Its OK
sometimes you find yourself
having to put all your faith
In no faith
Mine is mine
and yours
wont take its place.
Now make your Getaway "

The way Ed sings, the escalating guitar riff getting higher and higher is phenomenal IMO. It's so Pearl Jam and delivered with gusto. This is a Pearl Jam orgasm for me.

Mind Your Manners:

A song like this should get your heart racing and your blood pumping faster. It didn't grab me at first but I've been converted after repeat listens. Matt's drumming before the first verse kicks in = YES! The bridge, "Self realised and metaphysically redeeming..." leading up to the guitar solo is THE moment in the song for me that makes it great. Score 2 for 2 for the mighty PJ!

Sirens:
So, this one has been a little bit controversial hasn't it. I can't remember the last time fan reaction was so divisive for a song. On first lesson, I didn't get it. Sounded cheesy and a bit flat. Wasn't sure how I felt about Eddie's vocals. Everything presented sounded nice I suppose, but I wasn't sure what it was trying to be. Cheesy ballad? Simple declaration of appreciating love before it's gone? I don't know, something was off.
Anyways, maybe Eddie came to me in a dream and reached into my soul or hypnotized me or something because I frickin' adore the song now. After Eddie sings, "Let this remain" at the end of the first chorus and we get that little instrumental bit before the second verse...THAT is the moment for me so far with this one. Dramatic chorus brimming with emotion but then that little instrumental to bring us back down from the ceiling again and give us a moment to breathe. Pearl Jam take me up and down and that's partly why I love them. Also, the line "Hear the sirens, more and more in this here town" makes me heart twinge a bit and makes me sad. Maybe its the choice of phrase but I can't get enough of that one.

I disagree with those who say it's not PJ at all, because I think it's quintessentially Pearl Jam. They've always worn their influences as badges of honour, never shying away from showing us they respect and admire what came before. This is Pearl Jam doing just that, and it stops itself from appearing cheesy because Ed sings so sincerely and the lyrics are sincere. It's how to do a powerful ballad without being insincere and I think Pearl Jam have always been able to achieve it. It's just a bit hard to appreciate at first because it appears to sound different from anything they've done. But after a few listens I can totally see that it's not that different to what has come before.

Lightning Bolt:

HATED the live version from Wrigley. It sounded messy, fractured, as if the guys hadn't thought it out properly. I'll let that slide because it was the live debut and I've no doubt it'll get better the more they play it. Eddie's guitar playing live is often messy and it really made the song sound like a bit of a hash job.
Luckily, the studio version is head and shoulders above what they played that night. I know it's the same song they played, but this one really benefits from polished studio production so you can hear every note clearly. Ed's delivery is better too, and he seems to be feeling it. I love Unthought Known, but now I feel like LB is what UK wanted to be but didn't have the balls.

This one has two "It" moments for me, so I'm a happy camper. First one, is "until the lightning strike sets you free...yeeeaaaaah" and it's 90% because of how Ed attacks it. Confidence, power, just flat out ball. I love balls.

Second moment is the end when Ed is wailing away and it just makes me want to give a round of applause. How can you listen to Ed screaming,

"Yeah yeah…. yeah yeah…. yeah yeah
Never let it go
She’s a lightning bolt
Never let her go
She's true.
She's your rock and roll
She's your lightning bolt
Uncontrollable
Like you!"

and NOT want to shout it along with him? It's a glorious, cathartic moment. (I might be wrong on some of the lyrics above there!)

Let The Records Play:

This is my second favourite song and I don't even care what anyone else says. Catchy, a bit dirty at times with Ed's little scowls and growls. Favourite moment starts at 1:38:

I’ve been down and I fell so hard and far from grace
I’ve been hurt and I still recall the flaws on her face
I’ve been off but I'm on up upon my feet
my feet again

Once again, it's the combination of the way Ed sings against the wonderful music. Makes me giddy with excitement.

Swallowed Whole:

This was forgettable at first. It sounded a bit bland and uninspired. But, I love how time proves me wrong. Songs don't reveal themselves on first listen. They show their true colours over time. Some take days, some take weeks, some take years. I bought Binaural in 2002, listened to it once and turned it off in disgust. It sat on my shelf unloved and ignored for 4 years. I randomly popped it in sometime in 2006 before I went to Europe to see the boys and it blew my mind. It took 4 years to speak to me but it eventually opened up and became my favourite album.

This isn't as dramatic a shift as that was, but I really do like this one. It's a wonderful homage to a very REM-style music mixed with some typical Eddie lyrics that I can appreciate. It's all there, the crashing of waves, current pulling down, "breathing in forgiveness" "vibrations with no end" etc. It's all very Ed but you gotta love the guy for it. Favourite moment:

"And we'll come, come what may..."

Sounds beautiful and poetic with the music. Also, I'm hearing lots of Yield stuff in this one. Bits of MFC, Low Light, Given To Fly. This is NOT a bad thing. It doesn't sound recycled and copied, but just has that distinct Yield sound.

I know it sounds like I'm mindlessly gushing, but there's nothing better to me than when new PJ hits me and excites me. I think this album is going to be great.

Nice post. Plenty to agree with for me. I too was disgusted with Binaural on first listen but then fell in love with it in 2006.

^I knew I wasn't the only one. It's funny now, but I remember distinctly saying "Oh my god it sounds like old men trying to be rockers" when I heard it.

This was before I knew better and wasn't tuned into the subtleties of music.

very nice breakdown, BootsToAsses. i might re-listen to all of them tonight with your high points in mind.

harmless wrote:I think the truth is, my strongest reaction to these new songs is emotional. I'm forgiving the obvious flaws of these songs. ... The songs have proven themselves good enough for me to develop a strong emotional attachment to this album and from this point on, everything else will be a bonus.

I liked everything about the post this is clipped from, but this part in particular is a really good description of where I'm at right now, too. After the previous two albums, I feel like I'm getting more than I ever really expected to with this album. Of course I can find things I love, or at least like, with all of their albums. But No Code is the one to which I have the most intense emotional connection and response, to the point where when I listen to it I am aware of little disappointments here and there, and yet it remains my favorite record. It doesn't seem impossible that Lightning Bolt could end up occupying similar emotional territory.

Jaeti wrote:

harmless wrote:I think the truth is, my strongest reaction to these new songs is emotional. I'm forgiving the obvious flaws of these songs. ... The songs have proven themselves good enough for me to develop a strong emotional attachment to this album and from this point on, everything else will be a bonus.

I liked everything about the post this is clipped from, but this part in particular is a really good description of where I'm at right now, too. After the previous two albums, I feel like I'm getting more than I ever really expected to with this album. Of course I can find things I love, or at least like, with all of their albums. But No Code is the one to which I have the most intense emotional connection and response, to the point where when I listen to it I am aware of little disappointments here and there, and yet it remains my favorite record. It doesn't seem impossible that Lightning Bolt could end up occupying similar emotional territory.

I also agree with this. I've already bonded with these new tracks more than I ever did with Backspacer and half of Self-Titled. This a very positive thing at this stage. 10 albums into their career, 20+ years and the band are still hitting me emotionally.

Jaeti wrote:

harmless wrote:I think the truth is, my strongest reaction to these new songs is emotional. I'm forgiving the obvious flaws of these songs. ... The songs have proven themselves good enough for me to develop a strong emotional attachment to this album and from this point on, everything else will be a bonus.

I liked everything about the post this is clipped from, but this part in particular is a really good description of where I'm at right now, too. After the previous two albums, I feel like I'm getting more than I ever really expected to with this album. Of course I can find things I love, or at least like, with all of their albums. But No Code is the one to which I have the most intense emotional connection and response, to the point where when I listen to it I am aware of little disappointments here and there, and yet it remains my favorite record. It doesn't seem impossible that Lightning Bolt could end up occupying similar emotional territory.

Me too, and that's pretty surprising in the year 2013. It's almost like I'd rank it differently on two different lists. It wouldn't be as high on the technical proficiency list, but maybe on the emotional investment list it would be higher. But isn't that what it's all about at the end of the day? I wonder whether the people who praise "their PJ period" over and above others, like the middle period for example, feel the strongest emotional connection to it, regardless of, or because of, the technical musical proficiency of it? I don't know.

stupidmop wrote:Which one you fucks is hiding the rest of the album somewhere? c'mon gimmie.

im not gonna give it to you because you will just hate it anyway

Dr. Van Nostrand wrote:

stupidmop wrote:Which one you fucks is hiding the rest of the album somewhere? c'mon gimmie.

im not gonna give it to you because you will just hate it anyway

harmless wrote:

Jaeti wrote:

harmless wrote:I think the truth is, my strongest reaction to these new songs is emotional. I'm forgiving the obvious flaws of these songs. ... The songs have proven themselves good enough for me to develop a strong emotional attachment to this album and from this point on, everything else will be a bonus.

I liked everything about the post this is clipped from, but this part in particular is a really good description of where I'm at right now, too. After the previous two albums, I feel like I'm getting more than I ever really expected to with this album. Of course I can find things I love, or at least like, with all of their albums. But No Code is the one to which I have the most intense emotional connection and response, to the point where when I listen to it I am aware of little disappointments here and there, and yet it remains my favorite record. It doesn't seem impossible that Lightning Bolt could end up occupying similar emotional territory.

Me too, and that's pretty surprising in the year 2013. It's almost like I'd rank it differently on two different lists. It wouldn't be as high on the technical proficiency list, but maybe on the emotional investment list it would be higher. But isn't that what it's all about at the end of the day? I wonder whether the people who praise "their PJ period" over and above others, like the middle period for example, feel the strongest emotional connection to it, regardless of, or because of, the technical musical proficiency of it? I don't know.

sleight of hand is a song that I think is an excellent piece of craft that I just don't really enjoy listening to. I'd much rather get a song that hits me hard than one that has a more impressive construction that fails to move me

stip wrote:

harmless wrote:

Jaeti wrote:

harmless wrote:I think the truth is, my strongest reaction to these new songs is emotional. I'm forgiving the obvious flaws of these songs. ... The songs have proven themselves good enough for me to develop a strong emotional attachment to this album and from this point on, everything else will be a bonus.

I liked everything about the post this is clipped from, but this part in particular is a really good description of where I'm at right now, too. After the previous two albums, I feel like I'm getting more than I ever really expected to with this album. Of course I can find things I love, or at least like, with all of their albums. But No Code is the one to which I have the most intense emotional connection and response, to the point where when I listen to it I am aware of little disappointments here and there, and yet it remains my favorite record. It doesn't seem impossible that Lightning Bolt could end up occupying similar emotional territory.

Me too, and that's pretty surprising in the year 2013. It's almost like I'd rank it differently on two different lists. It wouldn't be as high on the technical proficiency list, but maybe on the emotional investment list it would be higher. But isn't that what it's all about at the end of the day? I wonder whether the people who praise "their PJ period" over and above others, like the middle period for example, feel the strongest emotional connection to it, regardless of, or because of, the technical musical proficiency of it? I don't know.

sleight of hand is a song that I think is an excellent piece of craft that I just don't really enjoy listening to. I'd much rather get a song that hits me hard than one that has a more impressive construction that fails to move me

If you're in the right frame of mind for Sleight of Hand it will blow you away. The washes of guitar and the kind of drone dont make it an easy listen but it totally fits the feeling of singing and words... love it

stip wrote:sleight of hand is a song that I think is an excellent piece of craft that I just don't really enjoy listening to. I'd much rather get a song that hits me hard than one that has a more impressive construction that fails to move me

This song really hit me hard once. Almost miraculous how they had that song with those lyrics right at that time. 'Enjoy' is not the right word, maybe.

groetjes,
Mirella

BootsToAsses wrote:Also, I'm hearing lots of Yield stuff in this one. Bits of MFC, Low Light, Given To Fly. This is NOT a bad thing. It doesn't sound recycled and copied, but just has that distinct Yield sound.

I think when we get FLAC recordings of all these songs, the Yield influence will make itself known on tracks like SW and LB. It's obviously going to be more compressed but I do get that sense of simplicity combined with layers.

I agree that it works. I've just never felt that moved by it, personally. it's a subjective thing. Again, I think it is a very well written song, but I don't feel it, and I'd rather listen to a less impressive song that is able to strike a chord with me than a song with impressive architecture that leaves me cold (of course plenty of songs are well crafted AND hit me hard--it's not like these are mutually exclusive options)

evenslow wrote:

BootsToAsses wrote:Also, I'm hearing lots of Yield stuff in this one. Bits of MFC, Low Light, Given To Fly. This is NOT a bad thing. It doesn't sound recycled and copied, but just has that distinct Yield sound.

I think when we get FLAC recordings of all these songs, the Yield influence will make itself known on tracks like SW and LB. It's obviously going to be more compressed but I do get that sense of simplicity combined with layers.

yeah, I think both of those songs are going to get another boost with the flac recording.


I'd actually be curious what MYM and sirens sound at half their bitrate