Red Mosquito

McParadigm wrote:

Val wrote:What is he singing here? (second half of first verse)

====================
Take the breath from my chest
Rip the thoughts from my mind
When (???) dark matter
=================-===

"This is hen?" lol

I think I hear “And they called and I said that I want what I said and then I called out again”

Val wrote:

oneway23 wrote: Yeah....we're glad that seems to be a thing of the past...Don''t care if he sings with a mouthful of cheez-its, so long as we're done with the 57 vowels per syllable.

It is said the antique philosopher Demosthenes would go to an isolated beach where he'd put pebbles in his mouth and practice his speeches while trying to drown out the waves with his voice.

Ed is like that.
Except with Cheez-its, but also waves.

This is the song with an extended intro:

https://vocaroo.com/13vr85fj2Fuj

Hypnosomnia wrote:This is the song with an extended intro:

https://vocaroo.com/13vr85fj2Fuj

Better.

It needs an extended outro as well.

spike wrote:

Bi_3 wrote:

tree_ wrote:

This is disturbing

Now I’m concerned Ed’s had a stroke.

Hypnosomnia wrote:This is the song with an extended intro:

https://vocaroo.com/13vr85fj2Fuj

it just needed two go-arounds, not 3

tragabigzanda wrote:Despise the mix. Matt’s drums sound like a bad Napster rip of a radio rock song filtered through Winamp. Just garbage.

Andrew Wotman is simultaneously the best and worst thing to happen to modern day PJ.

There's a lot of truth to this for me. The production value of this is extremely unpleasant to my ears -- everything just pushed to the maximum, processed to the point of overload, which is exactly how both Earthling and Hackney Diamonds (and presumably Watt's other projects) sound as well. Honestly I think knowing what I was getting into allowed me to mentally correct for it going in and just enjoy the song, and I really did enjoy it (I listened again this morning and felt the same way, though I'm not finding myself craving the 20-30 listens in a row that some people are reporting). I don't expect PJ to learn many new tricks 34 years into their career, but I appreciate clever pastiches of stuff from the grab bag, and I hear a lot of familiar elements put together here in a pleasing way -- the simple riffing between verses feels very Stone-y and Ten outtake-y to me; the pulsing effect in the passage after the chorus is reminiscent of the one used in "You Are," still one of their most unique-sounding songs (though less so now!); Mike's solo is textbook, straight out of Watt's I'm-a-superfan-and-there's-no-way-I'm-letting-you-make-a-record-without-including-at-least-a-few-of-these playbook; and there are many hallmarks of modern PRAMG-era PJ throughout, which feels inevitable and earned at this point. But despite the heavy-handed mastering, the elements don't crowd each other out; the performance feels pretty uncluttered, and much as it did on Riot Act, Eddie's singing has a first-or-second-take feel to it that undercuts some of its physical imperfections.

Watt does seem to have an enthusiasm that artists find contagious, and I can appreciate the idea of someone who really knows and loves the band being the idea-bouncer, even if I don't like what he (or his team) does with those ideas in the mixing booth. Looking forward to the rest of the album.

This was pretty good, I liked the breakdown after the first chorus. To be honest, I enjoyed listening to it, but I don't know if it grabbed me the way some of their other songs have, and it's not something I feel the need to hit the repeat button on immediately. It sounds like what my impression of Watt's work with rock elders has tended to be trying to be reminiscent of the sound they're most well known for with a modern sheen. For me, it lands somewhere between something like The Fixer, which at the outset landed with a real thud for me, and something like DOTC, which was truly exciting when I first heard it. I like it overall, but I'm hoping the album as a whole goes higher.

here's my mom doing a Reaction video on youtube

Its ....pretty good I think? Im not sure fully how I feel yet. I dont find it as interesting as I did DOTC when it came out because sometimes songs like Quick Escape and this one seem like they are going back to older sounds but in a way that feels a bit derivative and not fresh? But its also pretty good at the same time. I think I need to hear the whole album.

I am happy with the direction in Gigaton and this single compared to Backspacer and Lightning Bolt though

tree_ wrote:

Chris_H_2 wrote:

spike wrote:

Bi_3 wrote:

tree_ wrote:

This is disturbing

Now I’m concerned Ed’s had a stroke.

the three seconds at the 1:57 mark is bizarre

i cannot listen to 10 seconds without giggling aloud.. but that is easily the funniest part

it reminds me of the three seconds at the 1:21 mark of this:

I just wish it was longer and took some time to breathe.

i think i've developed tennis elbow from over-pumping my fist to the chorus

people are strange these days.. dark matter

Ms Harmless wrote:

Hypnosomnia wrote:This is the song with an extended intro:

https://vocaroo.com/13vr85fj2Fuj

it just needed two go-arounds, not 3

Yeah, you´re right.
https://vocaroo.com/13hUxvFubizd

dprival78 wrote:i think i've developed tennis elbow from over-pumping my fist

porn can be a hellava vice

I think I’m all in on this tune.

Strat wrote:That breakdown after the first chorus is the fucking tits.

That's probably the best part

Kevin Davis wrote:

tragabigzanda wrote:Despise the mix. Matt’s drums sound like a bad Napster rip of a radio rock song filtered through Winamp. Just garbage.

Andrew Wotman is simultaneously the best and worst thing to happen to modern day PJ.

There's a lot of truth to this for me. The production value of this is extremely unpleasant to my ears -- everything just pushed to the maximum, processed to the point of overload, which is exactly how both Earthling and Hackney Diamonds (and presumably Watt's other projects) sound as well. Honestly I think knowing what I was getting into allowed me to mentally correct for it going in and just enjoy the song, and I really did enjoy it (I listened again this morning and felt the same way, though I'm not finding myself craving the 20-30 listens in a row that some people are reporting). I don't expect PJ to learn many new tricks 34 years into their career, but I appreciate clever pastiches of stuff from the grab bag, and I hear a lot of familiar elements put together here in a pleasing way -- the simple riffing between verses feels very Stone-y and Ten outtake-y to me; the pulsing effect in the passage after the chorus is reminiscent of the one used in "You Are," still one of their most unique-sounding songs (though less so now!); Mike's solo is textbook, straight out of Watt's I'm-a-superfan-and-there's-no-way-I'm-letting-you-make-a-record-without-including-at-least-a-few-of-these playbook; and there are many hallmarks of modern PRAMG-era PJ throughout, which feels inevitable and earned at this point. But despite the heavy-handed mastering, the elements don't crowd each other out; the performance feels pretty uncluttered, and much as it did on Riot Act, Eddie's singing has a first-or-second-take feel to it that undercuts some of its physical imperfections.

Watt does seem to have an enthusiasm that artists find contagious, and I can appreciate the idea of someone who really knows and loves the band being the idea-bouncer, even if I don't like what he (or his team) does with those ideas in the mixing booth. Looking forward to the rest of the album.

I relate to this post.

This album could still very much undo what I’m about to write, but I think as a baseline…old Pearl Jam is my favorite iteration of the band in a long, long time.

I like the yelping, damaged voice much more than I did the swagger and confidence of some of the S/T era, as an example. I find the fight against inevitability that is inherent to any old rock singer’s situation to be sonically provocative, and underexplored as a musical tool in this world where bands are rewarded for trying to sound like they’re still 30, so their audience can use them as a way to feel young again.

I think the same elements that make an injured voice sound broken or sometimes awkward also have the ability to let it be much more emotionally impactful than a lot of rock singing…it just needs to be paired to the right message and context. I’d say the same for any playing. Gigaton pairs it all up well, and this song does too.

I like that the band is prepared to try things now that they previously felt they should be too cool for, and to listen to impulses they would have once dismissed as embarrassing or inorganic to their reductive expectations of themselves.

I like that there is less of a sense of trying to assert themselves as one of the rock and roll greats (a trite and meaningless thing), and more of a feeling that something urgently needs to be said. I like that it doesn’t feel so thought out or calculated.

Now, Lightning Bolt is one of the worst albums that a band I like has ever made, so it’s certainly possible that this one drops that ball as well. But if it fails, it fails in spite of their age…not because of it.

Farmer John wrote:

Strat wrote:That breakdown after the first chorus is the fucking tits.

That's probably the best part

The best part is the solo and everything after. Ed and Mike wailing away together.