Red Mosquito

Vindicator wrote:THe ending lyrics say "Boys wanna grow their dicks and fix and FILE things" not fire, according to Apple Music lyrics

Binders full of women

Strat wrote:

tragabigzanda wrote:I don't give a shit about the overly negative takes, but I am disappointed that KT isn't digging on this

I’m not sure KT actually listened.

I listened

I liked the vocals and I guess the feel

I am having trouble processing the sounds of the instruments.

The drums sound like a 1980s keyboard that you press the drums button.

The guitar sounds like 4-year old Neil Young.

And the bass sounds like one of those sticks that sound like a cow and you make the moo go up and down.

Yeah it's a different direction alright

I

This is great. Up there with Army Reserve, Force of Nature, Parachutes and Marker In The Sand, as one of the best Pearl Jam songs post Riot Act.

knee tunes wrote:There's no band . Its all electronics . Wtf

Oh stop. Use your ears.

“Dance” in the title is apt because this had me moving and shaking across the kitchen floor

Ensign9 wrote:

Superblood Wolfmoon wrote:Damn folks even Ensign showed up! How are ya Jeff?

And who are you? Username and avatar changes should be banned.

meatwad/towelie and probably a few others I can’t remember.

So since this is the single, and the 7” is the single edit, does this mean that the album cut will be longer?

I like this after one listen. I wouldn't think Ed could pull off David Byrne, but it sounds pretty good to me.

Bammer wrote:“Dance” in the title is apt because this had me moving and shaking across the kitchen floor

Fuck yes BamBam

I’ve had it on repeat for the last two hours. So good.

Anders wrote:This is great. Up there with Army Reserve, Force of Nature, Parachutes and Marker In The Sand, as one of the best Pearl Jam songs post Riot Act.

I agree with all those song comparisons except for “Force of Nature” which is one of the most generic songs the band has ever produced and it’s widespread accolades around here continue to astound me.

evenslow wrote:let's think big picture here.

GUYS, again, the comparison at this point in their career is VOODOO LOUNGE.

this is miles beyond that shit. they're 30 years in, coming off an average, by-the-numbers album and a TRUE low point single (CDM) and.. and... somehow came up with this! something they've literally never done before!

color me way more encouraged than i was just a few weeks ago.

don't look a gift horse in the mouth, this is good shit Jamily.

PREACH!!

Anyone else hearing some Daltrey in Ed’s voice around 0:40? A little bit Eminence Front style Who in this song...

The drum groove is sick. Everyone is getting credit but I think Matt was the principal driver on this one. It’s actually a deceptively difficult groove which he’s mixing up here and there. Matt is a machine and will nail it live every time I am sure.

Ok I like it now

I re-upped on my Gigaton pre order, this time on Amazon of course.

Vindicator wrote:

scrub12 wrote:I saw someone say it was a betrayal to grunge fans. Yikes.

hahahaha

Oh my God. lololol. They should sue!

theplatypus wrote:Ed sounds great. The guitar is tasty. The drums have a nice crunch to them. But I think the song is really lacking in terms of interesting musical ideas: the chorus is a huge let-down, the bridge is is very static, it feels like it needs more parts to elevate it out of molasses territory.

I think my take is almost the complete opposite of this; I think it's an extremely well-assembled song, both as a written composition and as a studio construction, but I'm having a hard time hearing what about Eddie's voice people think sounds better than it has for the past ten years. Apart from the David Byrne impressions (which seem deliberate and unabashed), he sounds about like I expected him to.

In any case, I am not one to look a gift horse in the mouth: I spent 10 years clamoring for Pearl Jam to do something different, and this is definitely that (thanks for listening!). They sound committed to, and in control of, something beyond their comfort zone in a way that they haven't for a long time, and are also using the studio as an instrument in a way that way overshoots what I ever expected them to attempt again -- that outro with the vocal rounds is not going to be easy to replicate out on a stage in center field at Fenway Park, and I love that that doesn't seem to be a creative limitation here.

So, does the finished product land? More or less, and against all odds, I think it does. I like the internal logic of the song, the way it flows through itself; I'm not sure I really find myself thinking about the individual parts in terms of what's supposed to be a chorus, a pre-chorus, a bridge, etc. -- however one chooses to term the individual pieces, I never find myself at a point where I feel like I'm stalled in a quicksand-like musical passage that feels inappropriately disjointed from the rest of the song (which is a problem with a lot of PRAMG-era PJ songs, i.e. the chorus to "Amongst the Waves," the chorus to "Infallible," etc.). Furthermore, I think this is the first song I've heard where I've really walked away feeling like the modern iteration of the band -- the middle-aged, outwardly-focused, celebrity-schmoozing version of the band -- could have something to offer that is unique and separate from, and not just a pallid recreation of, what they accomplished as a younger, more intuition-based band. The 1996-2003 run will probably always be untouchable for me. However, I don't think that band could have made this song. I don't think I would have said that about a single song on Lightning Bolt.

DOTC > CDM

Happy they've done something like this. Another "return to form" rock album would have been terrible. Talking Heads / Bowie have always been name checked by band so not necessarily surprising that they can pull in this direction.

The Man - the killers

In a strange coincidence in that song he rhymes money in the bank and gas in the tank...