Red Mosquito

Strat wrote:

HardTI wrote:I hate that stupid effects pedal mike is using at the end of Let It Ride. He used that all during the 2003 tour. Cant. Fucking. Stand it.
What is that effect called?

I think its his rotovibe

Thejambi wrote:

Cleverman wrote:

BurtReynolds wrote:

E.H. Ruddock wrote:Did anyone think that with all the open talk and links in here about these new songs that 10C wouldn't shut it down? It's 9 a.m. in Seattle, they are just getting to work and putting the hammer down. Good think this leaked here overnight.

I think some one from 10c was snooping around here last night.

They were on YouTube earlier and have since disappeared. Maybe part of an official release?

Probably just 10c being the megalomaniacs that they are.

BurtReynolds wrote:the avocado dog collars aren't ready to go on sale yet.

--- wrote:

stip wrote:Okay, for the let it ride fans--what really moves you about that song?

It's got that muscularly expansive riff that creates a perfect space for Matt's fills and Jeff's low-end. The choruses feel like natural payoffs from the verses, and Mike isn't really doing anything more than providing sonic dimension. The melody is angular and disjointed, a stark contrast from the cutesy staccato melodies that characterize S/T, Backspacer, and the new LB songs. The bridge is muscular and propulsive without being overly contrived. Coming out of the bridge, the melody streamlines and becomes more vital and urgent, as does the music. The coda reminds me of the best of PJ's codas (Present Tense, Immortality, RVM, Insignificance) in that all five pieces come together to create a cohesive, viscerally emotive piece of music that is much more than the sum of its parts.

Above all, this one just feels so organic. Like five guys who care more about the songwriting and creative process than any commercial or stylistic outcomes.

Birds in Hell wrote:

Strat wrote:

dimejinky99 wrote:Glad you like em Strat, I just don't think they're very good, as they stand, either of them.
Some more development and maybe letting it jam out a bit more and there'd be something.
That's where they'd be slaughtered though. In production.
They're demos. Not fully realised finished songs at all.

Can anyone hear Jeff on these?

Yes, and he sounds great. Are you listening to the same songs?

SERIOUSLY

cutuphalfdead wrote:

--- wrote:

stip wrote:Okay, for the let it ride fans--what really moves you about that song?

It's got that muscularly expansive riff that creates a perfect space for Matt's fills and Jeff's low-end. The choruses feel like natural payoffs from the verses, and Mike isn't really doing anything more than providing sonic dimension. The melody is angular and disjointed, a stark contrast from the cutesy staccato melodies that characterize S/T, Backspacer, and the new LB songs. The bridge is muscular and propulsive without being overly contrived. Coming out of the bridge, the melody streamlines and becomes more vital and urgent, as does the music. The coda reminds me of the best of PJ's codas (Present Tense, Immortality, RVM, Insignificance) in that all five pieces come together to create a cohesive, viscerally emotive piece of music that is much more than the sum of its parts.

Above all, this one just feels so organic. Like five guys who care more about the songwriting and creative process than any commercial or stylistic outcomes.

You're turning me on.

harmless wrote:

cutuphalfdead wrote:

--- wrote:

stip wrote:Okay, for the let it ride fans--what really moves you about that song?

It's got that muscularly expansive riff that creates a perfect space for Matt's fills and Jeff's low-end. The choruses feel like natural payoffs from the verses, and Mike isn't really doing anything more than providing sonic dimension. The melody is angular and disjointed, a stark contrast from the cutesy staccato melodies that characterize S/T, Backspacer, and the new LB songs. The bridge is muscular and propulsive without being overly contrived. Coming out of the bridge, the melody streamlines and becomes more vital and urgent, as does the music. The coda reminds me of the best of PJ's codas (Present Tense, Immortality, RVM, Insignificance) in that all five pieces come together to create a cohesive, viscerally emotive piece of music that is much more than the sum of its parts.

Above all, this one just feels so organic. Like five guys who care more about the songwriting and creative process than any commercial or stylistic outcomes.

You're turning me on.

Jeff's low end

cutuphalfdead wrote:

Birds in Hell wrote:

Strat wrote:

dimejinky99 wrote:Glad you like em Strat, I just don't think they're very good, as they stand, either of them.
Some more development and maybe letting it jam out a bit more and there'd be something.
That's where they'd be slaughtered though. In production.
They're demos. Not fully realised finished songs at all.

Can anyone hear Jeff on these?

Yes, and he sounds great. Are you listening to the same songs?

SERIOUSLY

Yeah Jeff totally stands out on these.

--- wrote:And doesn't it presuppose that the songs they've consciously excluded wouldn't appeal to new fans? Tastes and relative enthusiasm isn't uniformly distributed; you're attracting an entirely different type of fan with the Let It Rides and Cold Confessions than you are with the Fixers and Mind Your Mannerses. I would argue that the band is more likely to attract a fan more interested in traveling farther and digging deeper to see/hear music of a higher quality than is a someone who overhears Fixer at TJMaxx or on 98.3 THE HEAT.

This kind of hyper-commercial approach sacrifices depth for breadth, and I don't think it's clear that their current approach is more successful than the counterfactual would be.

cutuphalfdead wrote:

--- wrote:And doesn't it presuppose that the songs they've consciously excluded wouldn't appeal to new fans? Tastes and relative enthusiasm isn't uniformly distributed; you're attracting an entirely different type of fan with the Let It Rides and Cold Confessions than you are with the Fixers and Mind Your Mannerses. I would argue that the band is more likely to attract a fan more interested in traveling farther and digging deeper to see/hear music of a higher quality than is a someone who overhears Fixer at TJMaxx or on 98.3 THE HEAT.

This kind of hyper-commercial approach sacrifices depth for breadth, and I don't think it's clear that their current approach is more successful than the counterfactual would be.

If Pearl Jam continued down the path I thought they were going after Riot Act, and the path that would include these two songs, I'd be throwing a lot more of my money at them right now.

HardTI wrote:Free KurtLeon!