Red Mosquito

I dont know why i continue to buy shit from pj.com. The reissues come out tomorrow and my record store will have them while mine wont be shipped any time soon, im sure.

Get it together, strat.

Yeah - I noticed that a lot of local stores are listing this and Yield as 'In Stock' - I'm going to be waiting weeks for this once shipping and everything gets taken into account, and I think buying local may have been a tiny bit cheaper too

has there been any word on shipping for these ?

Nothing, and my Yield is still at the warehouse according to their site

lol you guys should have known better

bodysnatcher wrote:lol you guys should have known better

Fuck me in the brain right?

Strat wrote:has there been any word on shipping for these ?

i have received separate 'your order is in queue for shipping' email notices and tracking numbers for yield/no code. 7" are still listed as 'warehouse' in the last email. however, the pj.com site shows warehouse for all.

i am listening to the 192/24 no code and the who you are lyrics are the revised ones.

so do these things actually sound better?

LoathedVermin72 wrote:It's definitely their richest album sonically. Every moment seems to be exploding with layers of sound, but carefully orchestrated and mixed so as to never become messy, convoluted, or busy. I feel like I'm always discovering some new nuance every time I listen.

Love you're love for this record. The production is so phenomenal, that part alone blows me away from time to time. Red Mosquito and Hail, Hail, for example, have such a force. If those two songs were give the LB or BS treatment, they wouldn't have worked.

Check out Who You Are from 2:20-2:45. My favorite 25 seconds on the record.

I think what drew me into the PJ camp around the time of "Vitalogy" was the *sound* of those records.

For a brief moment in time, we had returned to the hi-quality yet organic sound of the late 70's, before digital arrived and fucked everybody out of a decade of good sounding music.

But then the loudness wars arrived and you know the rest...

At the time, the average music consumer wanted the tense, cluttered, reverby and angry sound of "Ten", and when they heard the organic mid-70's Neil Young sound of those records, they decided to flex their penises to Korn and Limp Bizkit instead.

Wendy Carlos's Twin wrote:I think what drew me into the PJ camp around the time of "Vitalogy" was the *sound* of those records.

For a brief moment in time, we had returned to the hi-quality yet organic sound of the late 70's, before digital arrived and fucked everybody out of a decade of good sounding music.

But then the loudness wars arrived and you know the rest...

At the time, the average music consumer wanted the tense, cluttered, reverby and angry sound of "Ten", and when they heard the organic mid-70's Neil Young sound of those records, they decided to flex their penises to Korn and Limp Bizkit instead.

If you look at BOB's wiki page and the albums he's been affiliated with as his career has evolved, it makes complete sense why the last 2 PJ records sound the way they do. He is fully entrenched in the loudness war.

Wendy Carlos's Twin wrote:I think what drew me into the PJ camp around the time of "Vitalogy" was the *sound* of those records.

For a brief moment in time, we had returned to the hi-quality yet organic sound of the late 70's, before digital arrived and fucked everybody out of a decade of good sounding music.

But then the loudness wars arrived and you know the rest...

At the time, the average music consumer wanted the tense, cluttered, reverby and angry sound of "Ten", and when they heard the organic mid-70's Neil Young sound of those records, they decided to flex their penises to Korn and Limp Bizkit instead.

All this. No code and Vitalogy always sounded perfect to me.

Complaints already coming in about the no code and yield reissues. They're weirdly warped apparently. And only apparent upon playing them.

Wendy Carlos's Twin wrote:I think what drew me into the PJ camp around the time of "Vitalogy" was the *sound* of those records.

For a brief moment in time, we had returned to the hi-quality yet organic sound of the late 70's, before digital arrived and fucked everybody out of a decade of good sounding music.

But then the loudness wars arrived and you know the rest...

At the time, the average music consumer wanted the tense, cluttered, reverby and angry sound of "Ten", and when they heard the organic mid-70's Neil Young sound of those records, they decided to flex their penises to Korn and Limp Bizkit instead.

dimejinky99 wrote:Complaints already coming in about the no code and yield reissues. They're weirdly warped apparently. And only apparent upon playing them.

This arrived today. Pearl jam invented Instagram long before it was a thing. Such a great package.

Is that an Idlewild-themed Instagram handle, Dime?