Red Mosquito

ABNorman wrote:

harmless wrote:

Thejambi wrote:Power chords aren't chords.

Yeah I've heard that.

IIRC, the kinda dictionary definition of "chord" requires 3 distinct notes, whereas a power "chord" is made up of 2. But hell, it sounds like a chord to me.

Yup a I-V. I don't not consider them chords.

Lostdog wrote:11 - 'Yellow Moon' - For us the most great song on the disc. An instant classic Pearl Jam that starts with a chord progression similar to 'Low Light'. Vedder's voice enters in a unsettling stretching. The warmth of the subject reaches the zenith both in the moments that Vedder exclaims 'Born To Rise' as in the various sequences featuring the solazos of McCready. These somewhat reminiscent of Pink Floyd, like the whole somewhat stylistic refers to 'Parting Ways' (or even 'Long Road'). It seems the perfect song to start the next concert tour of Pearl Jam. Total Joya. Mike is insane,completely after 3 minutes.

Could i trouble you to translate the whole thing?

Thejambi wrote:

ABNorman wrote:

harmless wrote:

Thejambi wrote:Power chords aren't chords.

Yeah I've heard that.

IIRC, the kinda dictionary definition of "chord" requires 3 distinct notes, whereas a power "chord" is made up of 2. But hell, it sounds like a chord to me.

Yup a I-V. I don't not consider them chords.

Based on your previous statement, can't decide whether that's a typo or a turnaround of opinion

McParadigm wrote:This is sort of reminding me of when Backspacer came out, and Allesiana (sp??) kept talking about the use of arpeggios in songs like Fixer, as if calling them arpeggios made the piece more remarkable or sophisticated, or just indefinably "better."

I don't even understand what the last few pages were about

ABNorman wrote:

harmless wrote:

Thejambi wrote:Power chords aren't chords.

Yeah I've heard that.

IIRC, the kinda dictionary definition of "chord" requires 3 distinct notes, whereas a power "chord" is made up of 2. But hell, it sounds like a chord to me.

When I think of power chords I think of a fat chord played over 3 strings going from the root to the fifth and up to the root again (up one octave). That makes it 3 notes, albeit one is duplicated up one octave.

Having said that, it's true that power chords are only a less complex version of barre chords so it could be argued that they don't give as much, which is how you lose the distinction between minor and major barre chords when they are simplified to power chords.

stip wrote:

Lostdog wrote:11 - 'Yellow Moon' - For us the most great song on the disc. An instant classic Pearl Jam that starts with a chord progression similar to 'Low Light'. Vedder's voice enters in a unsettling stretching. The warmth of the subject reaches the zenith both in the moments that Vedder exclaims 'Born To Rise' as in the various sequences featuring the solazos of McCready. These somewhat reminiscent of Pink Floyd, like the whole somewhat stylistic refers to 'Parting Ways' (or even 'Long Road'). It seems the perfect song to start the next concert tour of Pearl Jam. Total Joya. Mike is insane,completely after 3 minutes.

Could i trouble you to translate the whole thing?

Wasn't this just the Google Translate of the page?

look I took french, and I sucked at it. Someone just translate the f'ing thing.

CupidStunt wrote:
When I think of power chords I think of a fat chord played over 3 strings going from the root to the fifth and up to the root again (up one octave). That makes it 3 notes, albeit one is duplicated up one octave.

That's what I always think of as a power chord as well. From my early days playing Smells Like Teen Spirit.

That Spanish description mentions big wave and habit. Wtf is this song?



I bet its completely fucking normal.

ABNorman wrote:

Thejambi wrote:

ABNorman wrote:

harmless wrote:

Thejambi wrote:Power chords aren't chords.

Yeah I've heard that.

IIRC, the kinda dictionary definition of "chord" requires 3 distinct notes, whereas a power "chord" is made up of 2. But hell, it sounds like a chord to me.

Yup a I-V. I don't not consider them chords.

Based on your previous statement, can't decide whether that's a typo or a turnaround of opinion

I don't proof read and i'm ok with that
Considering power chords, chords is no different than labeling rough mixes as demos in my book.
Honestly I really don't care.

I think i took about 8-10 semesters of french...

I must have paid strong attention....

We had several years waiting for this moment. This morning thanks to Universal we have heard for the first time the "Lightning Bolt" by Pearl Jam in full. And the sensations generated after a couple of tracks have been really good. From the outset we can say that we have a robust album, in which we find most modular moments. The beginning contains the usual rockers points, but then the disc eccentric surprises us with scenes ('Infallible') and unexpected (a "Sleeping By Myself" completely distinct from the version known by all).

For that you may be getting an idea of what is coming here I leave you with a few lines we have dedicated to each of the topics. Toca thank our partner Iñaki Eizaguirre for helping decipher this intrinsic outline of textures and sounds. Soon, and the more leisurely drive, we will write an extensive review of the album.

1 - 'Getaway' - Without being so angry you could guess, 'Getaway' is a great start to the album. Cerebellum under skin pop rock. Fists and pure energy in a song where the lyrics shines its rawness. "I've got my own way to believe, mine is mine and yours will not take it's place". The more alienated and pissed Vedder shows his anger over the letter that the melody of their peers.

2 - 'Mind Your Manners' - The Album energetic hoot known to us all. And a perfect first single, 'Mind Your Manners' is the scourge rocker par excellence. Punk insistent to the Dead Kennedys with a surprise sharp guitars that conspire erected and the only issue close to 'Got Some' (etc ...) the album.



3 - 'My Father's Son' - Ament under a spotlight. This is how we could describe it. The lower the absolute protagonist of this entertaining theme reminiscent of a point halfway between 'Big Wave' and 'Habit'. Ups and downs of tension that are only resting point in the minute 1:50 with a melody slow boil. It operates from 2:15 with Vedder in grace.

4 - 'Sirens' - second single from the album and one of those songs that have earned tracks. In its way the piece appears to be a 'Come Back' but more accelerated and extended. Basic first seems too rigid. But with a second generation hoot see I have a dear, that makes it special. And it gets touching a chord with Mr. Vedder with the highlights framed in the choruses.



5 - 'Lightning Bolt' - Topic winning study much about their live version. Very reminiscent of 'Unthought Known' from the previous album, but in a less fixed and adjustable. The apparent initial sound go desfragmentándose body with unusual elements in which the gear is removed electrical (minute 1:50). Vedder's vocal outbursts hard to sing the chorus - 'Lightning Bolt' - are more typical of a punk theme than anything else. 'Always something and never nothing' = momentazo exalted with some notorious keyboards described towards the end of the topic.

6 - 'Infallible' - Home rhythmic guitar quickly engaging Vedder's vocals. It is a modular halftime located halfway between 'Tremor Christ' and 'You Are' with a burst of chorus that recalls the way they operate some hair cuts Incubus (a hair, nothing else). Eddie grows in intensity reaching to a little loose to 3 minutes, which gives all the attention to a small and delicate mini guitar solo. Of comings and goings, 'Infallible' is undulating to return to the initial pace towards the end.

7 - 'Pendulum' - The eccentricity of the disk. Restful pose and lowered, 'Pendulum' is characterized by showing nightly atmosphere starring percussion near the tribal. 'Easy come and easy go' Vedder sings just before touching the sky in a very cinematically backdrop "noir". In its own way seems to move to the alleys of the 60 Seattle, concealed at all times by a blanket described in black and white. It looks to have been engendered by drummer Matt Cameron.

8 - 'Swallowed Whole' - Pearl Jam recover upbeat rhythm with this topic. Quite what REM, 'Swallowed Whole' is one of those songs moved by bright guitar lines and battery of a color painting Cameron melody of the topic. McCready Solazo towards the end of it, just before Vedder's voice resounds cyclically shouting 'Down, down, down' with his very heart.

9 - 'Let The Record Play' - The intro reminds hair garage band tone guitar / drums but always watching from a sharp and defined. Continues the optimistic path that starts ticking 'Swallowed Whole'. The riff Eddie's voice fits the singer gets to play with the different verses of the same.

10 - 'Sleeping By Myself' - One of the surprises of "Lightning Bolt". Completely different version to the original. The core of the song completely fits the band, giving the melody a degree of prominence even greater than that enjoyed Eddie's voice in the interpretation known to all. It's brilliant that the "Ukulele Songs", with a more extensive vibration cheerful and inexorable. The guitar arrangements are appearing consecutively.

11 - 'Yellow Moon' - For us the most great song on the disc. An instant classic Pearl Jam that starts with a chord progression similar to 'Low Light'. Vedder's voice enters in a unsettling stretching. The warmth of the subject reaches the zenith both in the moments that Vedder exclaims 'Born To Rise' as in the various sequences featuring the solazos of McCready. These somewhat reminiscent of Pink Floyd, like the whole somewhat stylistic refers to 'Parting Ways' (or even 'Long Road'). It seems the perfect song to start the next concert tour of Pearl Jam. Total Joya. Peta Mike completely after 3 minutes.

12 - 'Future Days'. The keyboard sensitive Brendan introduces us to the last song. Very suitable for closing "Lightning Bolt", 'Future Days' is one of those beautiful dark ballads that have a heart as bright. The lone voice gradually Vedder will aupa watching from the side, and the ubiquitous rhythmic line marked by an acoustic guitar

We had several years waiting for this moment. This morning thanks to Universal we have heard for the first time the "Lightning Bolt" by Pearl Jam in full. And the sensations generated after a couple of tracks have been really good. From the outset we can say that we have a robust album, in which we find most modular moments. The beginning contains the usual rockers points, but then the disc eccentric surprises us with scenes ('Infallible') and unexpected (a "Sleeping By Myself" completely distinct from the version known by all).

For that you may be getting an idea of what is coming here I leave you with a few lines we have dedicated to each of the topics. Toca thank our partner Iñaki Eizaguirre for helping decipher this intrinsic outline of textures and sounds. Soon, and the more leisurely drive, we will write an extensive review of the album.

1 - 'Getaway' - Without being so angry you could guess, 'Getaway' is a great start to the album. Cerebellum under skin pop rock. Fists and pure energy in a song where the lyrics shines its rawness. "I've got my own way to believe, mine is mine and yours will not take it's place". The more alienated and pissed Vedder shows his anger over the letter that the melody of their peers.

2 - 'Mind Your Manners' - The Album energetic hoot known to us all. And a perfect first single, 'Mind Your Manners' is the scourge rocker par excellence. Punk insistent to the Dead Kennedys with a surprise sharp guitars that conspire erected and the only issue close to 'Got Some' (etc ...) the album.



3 - 'My Father's Son' - Ament under a spotlight. This is how we could describe it. The lower the absolute protagonist of this entertaining theme reminiscent of a point halfway between 'Big Wave' and 'Habit'. Ups and downs of tension that are only resting point in the minute 1:50 with a melody slow boil. It operates from 2:15 with Vedder in grace.

4 - 'Sirens' - second single from the album and one of those songs that have earned tracks. In its way the piece appears to be a 'Come Back' but more accelerated and extended. Basic first seems too rigid. But with a second generation hoot see I have a dear, that makes it special. And it gets touching a chord with Mr. Vedder with the highlights framed in the choruses.



5 - 'Lightning Bolt' - Topic winning study much about their live version. Very reminiscent of 'Unthought Known' from the previous album, but in a less fixed and adjustable. The apparent initial sound go desfragmentándose body with unusual elements in which the gear is removed electrical (minute 1:50). Vedder's vocal outbursts hard to sing the chorus - 'Lightning Bolt' - are more typical of a punk theme than anything else. 'Always something and never nothing' = momentazo exalted with some notorious keyboards described towards the end of the topic.

6 - 'Infallible' - Home rhythmic guitar quickly engaging Vedder's vocals. It is a modular halftime located halfway between 'Tremor Christ' and 'You Are' with a burst of chorus that recalls the way they operate some hair cuts Incubus (a hair, nothing else). Eddie grows in intensity reaching to a little loose to 3 minutes, which gives all the attention to a small and delicate mini guitar solo. Of comings and goings, 'Infallible' is undulating to return to the initial pace towards the end.

7 - 'Pendulum' - The eccentricity of the disk. Restful pose and lowered, 'Pendulum' is characterized by showing nightly atmosphere starring percussion near the tribal. 'Easy come and easy go' Vedder sings just before touching the sky in a very cinematically backdrop "noir". In its own way seems to move to the alleys of the 60 Seattle, concealed at all times by a blanket described in black and white. It looks to have been engendered by drummer Matt Cameron.

8 - 'Swallowed Whole' - Pearl Jam recover upbeat rhythm with this topic. Quite what REM, 'Swallowed Whole' is one of those songs moved by bright guitar lines and battery of a color painting Cameron melody of the topic. McCready Solazo towards the end of it, just before Vedder's voice resounds cyclically shouting 'Down, down, down' with his very heart.

9 - 'Let The Record Play' - The intro reminds hair garage band tone guitar / drums but always watching from a sharp and defined. Continues the optimistic path that starts ticking 'Swallowed Whole'. The riff Eddie's voice fits the singer gets to play with the different verses of the same.

10 - 'Sleeping By Myself' - One of the surprises of "Lightning Bolt". Completely different version to the original. The core of the song completely fits the band, giving the melody a degree of prominence even greater than that enjoyed Eddie's voice in the interpretation known to all. It's brilliant that the "Ukulele Songs", with a more extensive vibration cheerful and inexorable. The guitar arrangements are appearing consecutively.

11 - 'Yellow Moon' - For us the most great song on the disc. An instant classic Pearl Jam that starts with a chord progression similar to 'Low Light'. Vedder's voice enters in a unsettling stretching. The warmth of the subject reaches the zenith both in the moments that Vedder exclaims 'Born To Rise' as in the various sequences featuring the solazos of McCready. These somewhat reminiscent of Pink Floyd, like the whole somewhat stylistic refers to 'Parting Ways' (or even 'Long Road'). It seems the perfect song to start the next concert tour of Pearl Jam. Total Joya. Peta Mike completely after 3 minutes.

12 - 'Future Days'. The keyboard sensitive Brendan introduces us to the last song. Very suitable for closing "Lightning Bolt", 'Future Days' is one of those beautiful dark ballads that have a heart as bright. The lone voice gradually Vedder will aupa watching from the side, and the ubiquitous rhythmic line marked by an acoustic guitar

google translate is a wonderful thing

I'm so excited that Pendulum features nightly atmosphere starring percussion near the tribal.

harmless wrote:

Mike wrote:

Lostdog wrote:11 - 'Yellow Moon' - For us the most great song on the disc. An instant classic Pearl Jam that starts with a chord progression similar to 'Low Light'. Vedder's voice enters in a unsettling stretching. The warmth of the subject reaches the zenith both in the moments that Vedder exclaims 'Born To Rise' as in the various sequences featuring the solazos of McCready. These somewhat reminiscent of Pink Floyd, like the whole somewhat stylistic refers to 'Parting Ways' (or even 'Long Road'). It seems the perfect song to start the next concert tour of Pearl Jam. Total Joya. Mike is insane,completely after 3 minutes.

Total Joya!

The McCready solazos are what keeps me on the edge of my seat

this reminds me of when I had to take my french qualifying exam for my degree. I didn't know any french, and was originally planning to ignore the requirement, defend my dissertation, and then ask them if I could just graduate without it. But then I had to apply for a scholarship and all requirements but the diss had to be finished.

We had 90 minutes, a passage probably about that long, and a dictionary. I literally just looked up every single word, wrote them down, and gave myself ten minutes to turn it into readable prose.

I got a high pass, which was the best score possible. But I certainly didn't know any French.

stip wrote:this reminds me of when I had to take my french qualifying exam for my degree. I didn't know any french, and was originally planning to ignore the requirement, defend my dissertation, and then ask them if I could just graduate without it. But then I had to apply for a scholarship and all requirements but the diss had to be finished.

We had 90 minutes, a passage probably about that long, and a dictionary. I literally just looked up every single word, wrote them down, and gave myself ten minutes to turn it into readable prose.

I got a high pass, which was the best score possible. But I certainly didn't know any French.

Mais non, stip!! ouvres vos livre!

Parlay view frank's ass?

theplatypus wrote:http://hasitleaked.com/2013/pearl-jam-lightning-bolt/

Actually if you read the comments below someone says that FD leaked