Red Mosquito

tragabigzanda wrote:

96583UP wrote:on the positive front: it will be difficult for them to make the intro drums sound this stale live

maybe this one comes out and has more teeth to it from the get-go

much has been made about the boring drum intro of this song. And I agree that out of context, it's pretty weak. But consider that Who Ever Said may end in some sort of big cacophony. In that context, a straight-forward drum beat might serve as a brief palette cleanser before we're off to the races again.

96583UP wrote:i do like a good buildup though

stip wrote:

ridleybradout wrote:Coming back to this song after a day or two off I can confirm my opinion that it is a solid 3-stars from me.

While this garage-y style might not be many people's favourite version of modern PJ, this is definitely the best they've done with it. A lot of criticism from the last two albums was that they needed to loosen up and have actual fun rather than whatever fun sounds like after it's been rehearsed and BoB'd to within an inch of its life. That is what this song is - a loose, fun, crunchy rock song that doesn't take itself too seriously. A bit of an odd choice for second single and the coveted song-2 spot on the album, but then again DotC was an odd choice for a first single so it's good to see the band stepping away from the ingrained patterns of the last 3 album release campaigns. Overall I think I'm most excited by the mixing/production of the two songs we've heard so far

I still think SBWM is about a mentally/developmentally-challenged guy (or perhaps just an incel?) obsessing over and then approaching a woman in the street and being rebuked/punched. The lyrics are quite schizophrenic - he alternates between hissy-fit and self-pity, and the tenses are all screwed up. I must say it's nice to have a PJ song that warrants such close dissection/interpretation of lyrics for a change.

Final thought for now, I had a good laugh looking through some of the comments I saw on Facebook about this song the other day, things along the lines of:

"This is better than that electronic crap"
"This could fit on Vs"
"This is about Chris Cornell"

That last one made me LOL and then I saw that some of you bozos suggested the same thing in this thread - you cannot be serious?!!

i do think there is too much self awareness for the incel/mental issues interpretation. And this would not be a playful song if the violence was literal

warehouse wrote: no offense, but being the first album since the great chris cornell passed, wouldnt you assume people are going to look for references to him all over this album? as opposed to creating some weird plot line in your head and labeling it as "dissection/interpretation of lyrics"?

ridleybradout wrote:

stip wrote:

ridleybradout wrote:Coming back to this song after a day or two off I can confirm my opinion that it is a solid 3-stars from me.

While this garage-y style might not be many people's favourite version of modern PJ, this is definitely the best they've done with it. A lot of criticism from the last two albums was that they needed to loosen up and have actual fun rather than whatever fun sounds like after it's been rehearsed and BoB'd to within an inch of its life. That is what this song is - a loose, fun, crunchy rock song that doesn't take itself too seriously. A bit of an odd choice for second single and the coveted song-2 spot on the album, but then again DotC was an odd choice for a first single so it's good to see the band stepping away from the ingrained patterns of the last 3 album release campaigns. Overall I think I'm most excited by the mixing/production of the two songs we've heard so far

I still think SBWM is about a mentally/developmentally-challenged guy (or perhaps just an incel?) obsessing over and then approaching a woman in the street and being rebuked/punched. The lyrics are quite schizophrenic - he alternates between hissy-fit and self-pity, and the tenses are all screwed up. I must say it's nice to have a PJ song that warrants such close dissection/interpretation of lyrics for a change.

Final thought for now, I had a good laugh looking through some of the comments I saw on Facebook about this song the other day, things along the lines of:

"This is better than that electronic crap"
"This could fit on Vs"
"This is about Chris Cornell"

That last one made me LOL and then I saw that some of you bozos suggested the same thing in this thread - you cannot be serious?!!

i do think there is too much self awareness for the incel/mental issues interpretation. And this would not be a playful song if the violence was literal

Ok, maybe the incel suggestion is a stretch but if I'm right about this being about an infatuation and then an unwanted approach, then there is something not quite right about this guy (note all the mentions of a life of hopelessness and 'focusness').

Remember that this tale of an apparent "relationship gone south" doesn't describe any actual relationship between them. The only relationship mentioned is between his face and her fist (literal or not).

warehouse wrote: no offense, but being the first album since the great chris cornell passed, wouldnt you assume people are going to look for references to him all over this album? as opposed to creating some weird plot line in your head and labeling it as "dissection/interpretation of lyrics"?

I totally get that, there will be references to Cornell throughout the album for sure - it's just that the suggestion that this song could be seems to be based around "took her away too soon" which doesn't even relate to death in this case. I admit I may have been too harsh to judge, as in isolation "I can hear you sing in the distance..." sounds like it could be about Cornell, but in the context of the song I sincerely doubt it.

I'll say it again - how great to have a new interesting PJ song that is so open to lyrical interpretation

96583UP wrote:Downgrading to “3”

honeymoon is over

word salad holds this back

hopefully live the guitars drown the micro-machines man out

evenslow wrote:

96583UP wrote:Downgrading to “3”

honeymoon is over

word salad holds this back

hopefully live the guitars drown the micro-machines man out

i don't mean to be that guy but this is going to be kind of a trainwreck live.

96583UP wrote:Downgrading to “3”

honeymoon is over

word salad holds this back

hopefully live the guitars drown the micro-machines man out

ridleybradout wrote:

warehouse wrote: no offense, but being the first album since the great chris cornell passed, wouldnt you assume people are going to look for references to him all over this album? as opposed to creating some weird plot line in your head and labeling it as "dissection/interpretation of lyrics"?

I totally get that, there will be references to Cornell throughout the album for sure - it's just that the suggestion that this song could be seems to be based around "took her away too soon" which doesn't even relate to death in this case. I admit I may have been too harsh to judge, as in isolation "I can hear you sing in the distance..." sounds like it could be about Cornell, but in the context of the song I sincerely doubt it.

I'll say it again - how great to have a new interesting PJ song that is so open to lyrical interpretation

oneway23 wrote:

96583UP wrote:

stip wrote:i would have given sbwm and dotc low scores on exactly one listen in a crowded room

but what if the crowded room had dolby atmos, tequila, and Ed vedder in it

I know you're waiting for Stip to respond here, but, if I were drinking whiskey (rather not have tequila) w/ Ed in the room, listening to Giga on an 11-speaker setup, and waiting for the spirit to cum, every song gets bumped by a minimum of 2 points.

KidC has to be the most objective reviewer on the planet if there are that many songs he rates this low on first-blush.

That's the worrisome bit. Brothaman heard this jam in the lap of luxury w/ Ed Ved & STILL come up w/ these scores

Please expand on song content immediately

KidC- wrote:
Look. Im stoned. So this is gonna be disjointed and a stream of consciousness.

The start of the album was everything I wanted. But Then alright happened and it was the first time I was disappointed by a song since CANT Deny Me (which I eventually grew to like) Then 7 o’clock came on and I was back in it. But then never destination came on and I was meh’d out by it. Then take the long way came on and I was like ehhhhh....but the chorus was better than the song before... Then buckle up came on and I was like whaaaaaaaaat. No... WE WERE DOING SO WELL GUYS!!!! The comes then goes comes on and I was kinda bored and sad at this point. Not gonna lie. But then retrograde hit HARD. Feeeellllsss. Legit. Like. Out of this world emotional song. And killer vocals. Then river cross kiiiinda had me crying but in the best way possible. So for me the album was a success. The songs I didn’t like can only get better. Look at my rankings of past albums. You’ll see if we have similar taste. If so expect the same first listen experience. If not, you’ll prob dig the songs I didn’t. (Also...If all y’all hate speed of sound I don’t think you’re gonna like buckle up...)

oneway23 wrote:

KidC- wrote:
Look. Im stoned. So this is gonna be disjointed and a stream of consciousness.

The start of the album was everything I wanted. But Then alright happened and it was the first time I was disappointed by a song since CANT Deny Me (which I eventually grew to like) Then 7 o’clock came on and I was back in it. But then never destination came on and I was meh’d out by it. Then take the long way came on and I was like ehhhhh....but the chorus was better than the song before... Then buckle up came on and I was like whaaaaaaaaat. No... WE WERE DOING SO WELL GUYS!!!! The comes then goes comes on and I was kinda bored and sad at this point. Not gonna lie. But then retrograde hit HARD. Feeeellllsss. Legit. Like. Out of this world emotional song. And killer vocals. Then river cross kiiiinda had me crying but in the best way possible. So for me the album was a success. The songs I didn’t like can only get better. Look at my rankings of past albums. You’ll see if we have similar taste. If so expect the same first listen experience. If not, you’ll prob dig the songs I didn’t. (Also...If all y’all hate speed of sound I don’t think you’re gonna like buckle up...)

Your insight and willingness to share your experience with us is much appreciated. Thanks for letting us live vicariously through you for a while.

Also, FWIW, I read some talk of you maybe feeling a little bit of hate flying your way earlier. Certainly none of that coming at you from this direction. We're all a bunch of heavily-invested and ultimately well-meaning nutters around here. It's not you...

Moshimistic wrote:

ridleybradout wrote:

stip wrote:

ridleybradout wrote:Coming back to this song after a day or two off I can confirm my opinion that it is a solid 3-stars from me.

While this garage-y style might not be many people's favourite version of modern PJ, this is definitely the best they've done with it. A lot of criticism from the last two albums was that they needed to loosen up and have actual fun rather than whatever fun sounds like after it's been rehearsed and BoB'd to within an inch of its life. That is what this song is - a loose, fun, crunchy rock song that doesn't take itself too seriously. A bit of an odd choice for second single and the coveted song-2 spot on the album, but then again DotC was an odd choice for a first single so it's good to see the band stepping away from the ingrained patterns of the last 3 album release campaigns. Overall I think I'm most excited by the mixing/production of the two songs we've heard so far

I still think SBWM is about a mentally/developmentally-challenged guy (or perhaps just an incel?) obsessing over and then approaching a woman in the street and being rebuked/punched. The lyrics are quite schizophrenic - he alternates between hissy-fit and self-pity, and the tenses are all screwed up. I must say it's nice to have a PJ song that warrants such close dissection/interpretation of lyrics for a change.

Final thought for now, I had a good laugh looking through some of the comments I saw on Facebook about this song the other day, things along the lines of:

"This is better than that electronic crap"
"This could fit on Vs"
"This is about Chris Cornell"

That last one made me LOL and then I saw that some of you bozos suggested the same thing in this thread - you cannot be serious?!!

i do think there is too much self awareness for the incel/mental issues interpretation. And this would not be a playful song if the violence was literal

Ok, maybe the incel suggestion is a stretch but if I'm right about this being about an infatuation and then an unwanted approach, then there is something not quite right about this guy (note all the mentions of a life of hopelessness and 'focusness').

Remember that this tale of an apparent "relationship gone south" doesn't describe any actual relationship between them. The only relationship mentioned is between his face and her fist (literal or not).

warehouse wrote: no offense, but being the first album since the great chris cornell passed, wouldnt you assume people are going to look for references to him all over this album? as opposed to creating some weird plot line in your head and labeling it as "dissection/interpretation of lyrics"?

I totally get that, there will be references to Cornell throughout the album for sure - it's just that the suggestion that this song could be seems to be based around "took her away too soon" which doesn't even relate to death in this case. I admit I may have been too harsh to judge, as in isolation "I can hear you sing in the distance..." sounds like it could be about Cornell, but in the context of the song I sincerely doubt it.

I'll say it again - how great to have a new interesting PJ song that is so open to lyrical interpretation

“Once you were somewhere / and now you’re everywhere” could also be a reference to a person’s physical being transformed into a more amorphous spirit. There is much to support your interpretation of this being about an unwanted romantic advance, but that makes lyrics like “and the cause is life or death” and “this life I love is goin’ way too fast” even more puzzling.