Superblood Wolfmoon

[evenslow]

Okay, I'm really enjoying this one now. Stip, come quick -- let's bond!

I’m here! what is your favorite thing about this song?

this was an april fool's joke.

[stip]

yes, but I replied on April 2nd, which makes it real

[EJ]

The only negative I can find about this song now is that it was released as the second single. This song would've been a pleasant surprise otherwise.

I'm digging it big time now as just an album track.

[Kevin Davis]

Okay, I'm really enjoying this one now. Stip, come quick -- let's bond!

I’m here! what is your favorite thing about this song?

this was an april fool's joke.

It wasn't, I promise! I'm not sure there's any one thing I'm responding to -- I think the indistinct, messy structure just makes more sense to me not only the more I sit with it, but also in the context of other songs which Josh Evans indicates they were consciously aware were being put together in this fashion. There is a Paul Weller album I really like called Wake Up the Nation where almost every song is built like this, as if reassembled pieces of an explosion of song parts. In my experience, once I start to wrap my brain around songs like this, the more possible it becomes for every passage, vocal phrasing, etc. to feel singular and spontaneous -- I end up looking forward to more individual moments of the song because there are more of them that I know will only occur once. There was some talk somewhere about how a 'proper producer' could have given this song a more palatable shape, which is probably correct, but Josh Evans's commentary on this song is definitely in step with how I like to know this band is thinking creatively, i.e. willing to follow uncomfortable ideas to a potentially uncomfortable end, without eventually reaching this threshold of self-consciousness where every "Need to Know" needs to become "The Fixer" (a song I unreservedly like).

I've had the same experience with "Who Ever Said" and "Never Destination" as well, though to a lesser extent since those had the benefit of context to begin with.

[Ms Harmless]

Okay, I'm really enjoying this one now. Stip, come quick -- let's bond!

I’m here! what is your favorite thing about this song?

this was an april fool's joke.

It wasn't, I promise! I'm not sure there's any one thing I'm responding to -- I think the indistinct, messy structure just makes more sense to me not only the more I sit with it, but also in the context of other songs which Josh Evans indicates they were consciously aware were being put together in this fashion. There is a Paul Weller album I really like called Wake Up the Nation where almost every song is built like this, as if reassembled pieces of an explosion of song parts. In my experience, once I start to wrap my brain around songs like this, the more possible it becomes for every passage, vocal phrasing, etc. to feel singular and spontaneous -- I end up looking forward to more individual moments of the song because there are more of them that I know will only occur once. There was some talk somewhere about how a 'proper producer' could have given this song a more palatable shape, which is probably correct, but Josh Evans's commentary on this song is definitely in step with how I like to know this band is thinking creatively, i.e. willing to follow uncomfortable ideas to a potentially uncomfortable end, without eventually reaching this threshold of self-consciousness where every "Need to Know" needs to become "The Fixer" (a song I unreservedly like).

I've had the same experience with "Who Ever Said" and "Never Destination" as well, though to a lesser extent since those had the benefit of context to begin with.

great post

[stip]

Okay, I'm really enjoying this one now. Stip, come quick -- let's bond!

I’m here! what is your favorite thing about this song?

this was an april fool's joke.

It wasn't, I promise! I'm not sure there's any one thing I'm responding to -- I think the indistinct, messy structure just makes more sense to me not only the more I sit with it, but also in the context of other songs which Josh Evans indicates they were consciously aware were being put together in this fashion. There is a Paul Weller album I really like called Wake Up the Nation where almost every song is built like this, as if reassembled pieces of an explosion of song parts. In my experience, once I start to wrap my brain around songs like this, the more possible it becomes for every passage, vocal phrasing, etc. to feel singular and spontaneous -- I end up looking forward to more individual moments of the song because there are more of them that I know will only occur once. There was some talk somewhere about how a 'proper producer' could have given this song a more palatable shape, which is probably correct, but Josh Evans's commentary on this song is definitely in step with how I like to know this band is thinking creatively, i.e. willing to follow uncomfortable ideas to a potentially uncomfortable end, without eventually reaching this threshold of self-consciousness where every "Need to Know" needs to become "The Fixer" (a song I unreservedly like).

I've had the same experience with "Who Ever Said" and "Never Destination" as well, though to a lesser extent since those had the benefit of context to begin with.

while I've been one of the more vocal boosters of this one for a while now, that was pretty much my journey. It fell firmly in the 'this is okay but not really something that excites me' on the first few listens. But since DOTC had me so amped for the new album I just kept listening to the two together, and the song unfolded for me as a series of smaller moments that I started to fall in love with, until I realized that this was pretty much the whole song

[Kevin Davis]

Okay, I'm really enjoying this one now. Stip, come quick -- let's bond!

I’m here! what is your favorite thing about this song?

this was an april fool's joke.

It wasn't, I promise! I'm not sure there's any one thing I'm responding to -- I think the indistinct, messy structure just makes more sense to me not only the more I sit with it, but also in the context of other songs which Josh Evans indicates they were consciously aware were being put together in this fashion. There is a Paul Weller album I really like called Wake Up the Nation where almost every song is built like this, as if reassembled pieces of an explosion of song parts. In my experience, once I start to wrap my brain around songs like this, the more possible it becomes for every passage, vocal phrasing, etc. to feel singular and spontaneous -- I end up looking forward to more individual moments of the song because there are more of them that I know will only occur once. There was some talk somewhere about how a 'proper producer' could have given this song a more palatable shape, which is probably correct, but Josh Evans's commentary on this song is definitely in step with how I like to know this band is thinking creatively, i.e. willing to follow uncomfortable ideas to a potentially uncomfortable end, without eventually reaching this threshold of self-consciousness where every "Need to Know" needs to become "The Fixer" (a song I unreservedly like).

I've had the same experience with "Who Ever Said" and "Never Destination" as well, though to a lesser extent since those had the benefit of context to begin with.

while I've been one of the more vocal boosters of this one for a while now, that was pretty much my journey. It fell firmly in the 'this is okay but not really something that excites me' on the first few listens. But since DOTC had me so amped for the new album I just kept listening to the two together, and the song unfolded for me as a series of smaller moments that I started to fall in love with, until I realized that this was pretty much the whole song

Honestly I didn't really binge-listen to either song until I had the CD, just because that's my main listening mode and I don't really have an on-the-go listening method that finds me seeking out individual tracks very often; even when I don't listen to full albums start to finish, I'm much more of a "let's put this album on and live in its world for a while" guy than I am a shuffle/Spotify playlist person. In that context, I'm so much more likely to rush-judge something that doesn't immediately satisfy me, and I think that happened with this song to an extent. Where "Dance of the Clairvoyants" really grabbed me by the throat, the first couple times through I felt like this one was actively poor, then the next day I listened again (when the video came out) and found myself not disliking it but not really finding anything special about it either, but then I pretty much stopped listening. Really the first time I listened through to the album it made much more sense, and now I'm actively enjoying it on its own.

I think I'm built for the no-leak club. Next time around, hopefully before 2027, I'll be joining its ranks.

[stip]

I don't really like Matt's playing at the start, and the first 15 or so seconds are whatever.

I like the whispered echo that gets added on the second repetition of SBWM in the opening

I do like the flow and feel of the first verse - the lyrics, the melody, the juxtaposition between what feels like serious subject matter and the head bopping feel of the music - and the growly edge Eddie puts on his voice as he transitons himself out of the first verse

The la da da's are a lot of fun - they took a little bit of getting used to because they're so incongruous, but I love them now.

The second verse is fine - not a highlight, but I like Jeff's playing underneath it. But this is also like 10 seconds long - the song just flies through its sequences so even some of the less inspired moments are gone in the blink of an eye.

The three lyrically couplets that follow are tremendous

"Don't allow for hopelessness, focus on your focusness
I've been hoping that our hope dies last"

-the focus on your focusness line is a lot of fun, and the "I've been hoping that our hope dies last" is just a great lyric

"I don't know anything, I question everything
This life I love is going way too fast"

Another excellent lyrically moment, and the musical intensity ramps up in small ways to really anchor it - there are some guitar accents underneath that are equal parts bright and harsh

"Both my hands are swollen, my face is broken
And I'm hoping that you hurt your fist"

feels like a classic pearl jam line - all spit and stubborn defiance, and the way Eddie holds the word fist into the next transitions great


I don't like the 'she was a stunner' section, but again, it's like 8 seconds. I really like Jeff's bass playing and the angry, somewhat metallic hollow of the guitars as this sequence starts to ramp up

and of course "And love not withstanding we are each of us fucked" is maybe the best lyric on a well written album (it's this, or all the answers will be found in the mistakes that we have made)

I like the repetition back into the first verse. It's familiar, but it all sounds just a bit more heavy and intense right now. I love the sequence here, but probably wouldn't as much if I didn't have it once already. The backing screams punctuating it are a nice addition - and again the way Eddie holds the final word going into the solo is great.

It's not my favorite Mike solo but it fits the song well, and I REALLY like what the band is playing underneath

I really like what I suppose is the bridge - the distant, echoey, somewhat haunted 'superblood wolfmoon' and the excellent guitar part.

And the final part of the song is all stuff we've already heard that I already love (my favorite verse) but even more intense than it was before, and the outro playing that comes up from underneath the verse is another wonderful moment.


It all comes together for me like a highlight reel. This has practically become a 5 star song for me.

[stip]

Okay, I'm really enjoying this one now. Stip, come quick -- let's bond!

I’m here! what is your favorite thing about this song?

this was an april fool's joke.

It wasn't, I promise! I'm not sure there's any one thing I'm responding to -- I think the indistinct, messy structure just makes more sense to me not only the more I sit with it, but also in the context of other songs which Josh Evans indicates they were consciously aware were being put together in this fashion. There is a Paul Weller album I really like called Wake Up the Nation where almost every song is built like this, as if reassembled pieces of an explosion of song parts. In my experience, once I start to wrap my brain around songs like this, the more possible it becomes for every passage, vocal phrasing, etc. to feel singular and spontaneous -- I end up looking forward to more individual moments of the song because there are more of them that I know will only occur once. There was some talk somewhere about how a 'proper producer' could have given this song a more palatable shape, which is probably correct, but Josh Evans's commentary on this song is definitely in step with how I like to know this band is thinking creatively, i.e. willing to follow uncomfortable ideas to a potentially uncomfortable end, without eventually reaching this threshold of self-consciousness where every "Need to Know" needs to become "The Fixer" (a song I unreservedly like).

I've had the same experience with "Who Ever Said" and "Never Destination" as well, though to a lesser extent since those had the benefit of context to begin with.

while I've been one of the more vocal boosters of this one for a while now, that was pretty much my journey. It fell firmly in the 'this is okay but not really something that excites me' on the first few listens. But since DOTC had me so amped for the new album I just kept listening to the two together, and the song unfolded for me as a series of smaller moments that I started to fall in love with, until I realized that this was pretty much the whole song

Honestly I didn't really binge-listen to either song until I had the CD, just because that's my main listening mode and I don't really have an on-the-go listening method that finds me seeking out individual tracks very often; even when I don't listen to full albums start to finish, I'm much more of a "let's put this album on and live in its world for a while" guy than I am a shuffle/Spotify playlist person. In that context, I'm so much more likely to rush-judge something that doesn't immediately satisfy me, and I think that happened with this song to an extent. Where "Dance of the Clairvoyants" really grabbed me by the throat, the first couple times through I felt like this one was actively poor, then the next day I listened again (when the video came out) and found myself not disliking it but not really finding anything special about it either, but then I pretty much stopped listening. Really the first time I listened through to the album it made much more sense, and now I'm actively enjoying it on its own.

I think I'm built for the no-leak club. Next time around, hopefully before 2027, I'll be joining its ranks.

you'd really add to their cache.

[Kevin Davis]

"Don't allow for hopelessness, focus on your focusness
I've been hoping that our hope dies last"

I haven't really paid super close attention to the lyrics in this one, but I love "focus on your focusness" -- this feels like Eddie having fun with language in a way that feels like he's conscious and in command of it, as opposed to some of that awkward syntax stuff that Jorge has described elsewhere.

[PHATJ]

Okay, I'm really enjoying this one now. Stip, come quick -- let's bond!

I’m here! what is your favorite thing about this song?

this was an april fool's joke.

It wasn't, I promise! I'm not sure there's any one thing I'm responding to -- I think the indistinct, messy structure just makes more sense to me not only the more I sit with it, but also in the context of other songs which Josh Evans indicates they were consciously aware were being put together in this fashion. There is a Paul Weller album I really like called Wake Up the Nation where almost every song is built like this, as if reassembled pieces of an explosion of song parts. In my experience, once I start to wrap my brain around songs like this, the more possible it becomes for every passage, vocal phrasing, etc. to feel singular and spontaneous -- I end up looking forward to more individual moments of the song because there are more of them that I know will only occur once. There was some talk somewhere about how a 'proper producer' could have given this song a more palatable shape, which is probably correct, but Josh Evans's commentary on this song is definitely in step with how I like to know this band is thinking creatively, i.e. willing to follow uncomfortable ideas to a potentially uncomfortable end, without eventually reaching this threshold of self-consciousness where every "Need to Know" needs to become "The Fixer" (a song I unreservedly like).

I've had the same experience with "Who Ever Said" and "Never Destination" as well, though to a lesser extent since those had the benefit of context to begin with.

while I've been one of the more vocal boosters of this one for a while now, that was pretty much my journey. It fell firmly in the 'this is okay but not really something that excites me' on the first few listens. But since DOTC had me so amped for the new album I just kept listening to the two together, and the song unfolded for me as a series of smaller moments that I started to fall in love with, until I realized that this was pretty much the whole song

I told ya so:

I’ve listened once. I’m a bit befuddled, but the last minute or two had me fucking grooving. This is a confusing song, and my gut says that’s actually a very good sign for Gigaton. I don’t want to hear PJ do something they’ve done before. We’ve had that forever. This sounds different. It’s kinda dirty. I love some of the guitar tones in the riff. I’m really uncertain how I will feel about this song in another month or two. Hell, I’m interested to know what it will sound like on second listen. Here goes...

After my second listen....

Guys, this song is fucking awesome. I’m totally into it.

Have fun hating

Third time’s the charm. This song is groovy. I’m stoked for Gigaton, it feels like it could go anywhere. That’s an incredibly fun and renewed spirit I haven’t felt about PJ in about 15 years. This is fun again.

Fourth time confirmed. This is one that a lot of you guys will come around on I think.

[Ms Harmless]

I love the pause and heightened intonation at "this life I love is going *way too*!.... faaaaast"

[Jaeti]

I end up looking forward to more individual moments of the song because there are more of them that I know will only occur once.

[stip]

I love the pause and heightened intonation at "this life I love is going *way too*!.... faaaaast"

this album may end up being one of eddie’s best lyrical efforts with Vitalogy and Binaural

[Ms Harmless]

I love the pause and heightened intonation at "this life I love is going *way too*!.... faaaaast"

this album may end up being one of eddie’s best lyrical efforts with Vitalogy and Binaural

I would add Riot Act, but yes agreed

[stip]

Riot Act was 3rd or 4th for me, prior. Some real highs but a few weaker songs/moments. I think this is better

[Ms Harmless]

you know me, I'm not sure about better, but it does make me happy that in general the album feels more Yield / Binaural / Riot Act than the three albums following them; it sort of acknowledges their exeeeeeestence, in the occasional brightness, but also sits right alongside RA

[Juvenal]

you know me, I'm not sure about better, but it does make me happy that in general the album feels more Yield / Binaural / Riot Act than the three albums following them; it sort of acknowledges their exeeeeeestence, in the occasional brightness, but also sits right alongside RA

[Bammer]

Holy crap the page count in this thread is catching up to DotC.

We can do it, team.

[WaitingForBluey]

Something is really happening with me and this song. Maybe it's because I know the rest of the album is so good so I can just sit back and enjoy this for what it is. But whenever I have the album on in the background and I'm working on something else, this is the one that keep jumping out at me, has me grooving and singing along... and that ending is just pretty damn great!