Red Mosquito

Thejambi wrote:They are both unquestionably songs.

I feel like we've come full circle.

Thejambi wrote:They are both unquestionably songs.

Are you sure

theplatypus wrote:

Thejambi wrote:They are both unquestionably songs.

Are you sure

I'm Phil.

Basically, in the first lines of the chorus:

"Of everything that's possible /
In the hearts and minds of men."

I hear a squashed version of these:

"And so it was that later /
as the miller told his tale."

But the similarity ends there.

This song is still pretty good. Chorus should still be darker but I like it enough as it is.

I don't mind the more "uplifting" chorus but I think a more dissonant bridge like NAIS would have taken the whole thing to another level.

It goes weirdly quiet in the bridge, where it should be the biggest part of the song. Probably is, live.

clearly what this song needs is to have more greater biggerness

Well, yep. The chorus is a dead horse now.

A room has to have a closet to be considered a bedroom.

honestly, I don't remember the bridge in the slightest, so you may be right. I was just McParadigaming.

McParadigming?

McPara...Mc....

I was being a dick.

McParadigm wrote:honestly, I don't remember the bridge in the slightest, so you may be right. I was just McParadigaming.

McParadigming?

McPara...Mc....

I was being a dick.

Na, that post was nicely mild, there have been worse ones. It's not really a bridge, it's not that interesting, it's just the musical part where there's a climbing chord structure and Mike sounds like he's going to go into a solo but then doesn't. Goes into the last chorus instead. Not that I'm asking for a solo, but that bit sounds like the highest point in the song live, but falls flat on the record. Another producer would've made this song into an actual rock song.

does pearl jam need to turn this song into 1/2 full, though?

I like that it's totally different and doesnt quite do what is expected of it

I'm not really thinking of 1/2 full, I'm thinking of what Infallible could've been (and to some extent is, when they play it live). It's closer to a more poppy "Help, Help" or "You Are". And I do like the added pop-funk.

I have no problem, in theory, with clashing two styles, or aggressive / happy together. The Police are a band that did it all the time. And it works to good effect in "My Father's Son". But in practise, this chorus just doesn't sit with me very well. It doesn't utterly destroy the song, but every time I hear it I think "Why did you take the melody THERE?" So yes, it doesn't do what is expected of it, and for that it's commendable. But that doesn't mean that what it does is awesome to listen to. For some, it will be, and I kind of wish I was one of them. I think I'm destined to think this song is pretty cool but could've been much more. And it's not because of anything it's doing, in theory, it's just because of what that sounds like in this particular case.

McParadigm wrote:clearly what this song needs is to have more greater biggerness

It needs to embiggen!

So, I listened to Rival earlier, and it confirmed that what this song needs is a double-tracked vocal on the chorus, with one of them singing the tune low / baritone. Either that, or a spoken-word deep vocal a la Breakerfall. Then this song would be cool as hell.

This one's getting better. I really wasn't sure but it's rescued itself back from the brink, I think.

The interesting thing about this song is

I do love the bit where the music cuts out for "at the ending". Nice

theplatypus wrote:The interesting thing about this song is

"Interesting" is relative. There's lots to like about it.