Red Mosquito

liebzz wrote:You folks are all doing a great job describing the songs. I took a listen without being able to fully explain each song, I have to say this sounds like the band really reaching for something big, but without the awkwardness of prior efforts to do that. I love Gigaton, so I am not in any way trying to say one is better than the other at all, but this is a very different album because it is remarkably hooky. Every song has an energy of taking things up a notch, whether it be louder, faster, or in the case of Something Special, digging more into that saccharine space. They are 100% swinging for the fences here, holding nothing back. Whether that translates for folks is up to the listener and how these songs fare over the long haul. Despite my reservations at the start of the cycle, I absolutely loved the vibe of this album, front to back. I hope it just grows as we get the actual final product.

bluestate wrote:headinspeakers, welcome to the board... well said

headinspeakers wrote:

bluestate wrote:headinspeakers, welcome to the board... well said

hey thanks... loved your hand-written notes. wicked hard thing to do whilst trying to proactively listen in a once-through situation. I'm trying to avoid listening to your recording but have to say I'm really encouraged by the reviews ... the shared sentiment that the album has a lot of hooks and is melodic, and maybe even that it leans more into pop-territory, is welcomed news to me. I'm hoping to subtly bring my three kids into fandom and an album that is more accessible may be the way to do it... they'll get into the less accessible stuff in-time. exciting times to be a fan.

Birds in Hell wrote:I’m not sure I’m going to ever feel comfortable with Wotman sitting in the room with the band, playing guitar and co-writing the songs; add one song written by Josh K and it really doesn’t feel like the cohesive, band-driven effort they’re pushing in interviews.

Wotman writing the main riff of Waiting for Stevie just feels like the band engaging in a form of Pearl Jam pastiche, it’s very weird.

It’s as though they don’t have a clear idea of their own band identity and are happy to outsource that part to someone else.

Even if the songs turned out great, it feels a little hollow.

RockPusher wrote:Scared of Fear

I like the upbeat shiny feel from this song. It’s clearly rooted in grunge (thanks Stone) and has the nice propulsive quality you want from an opener. By the time Mike starts shredding you can tell that they are reaching back into their bag on this one, and that makes me smile. The back end is desperate and beautiful.

React, Respond

This rhythm section reminds me of Rage Against the Machine and Soundgarden. That little twinkly picking melody that comes in after a little bit is so cool. Once this really gets going it has so much Soundgarden DNA in it. Bass is meat on meat. Chorus is my favorite kind of fast PJ. More shredding. Mike is killing it on this record. You can really tell what they gain from being all in the same room together when creating this.

Wreckage

Very pretty and with its similarities to Daughter this album really starts reminding me of Vs at this point. The harmonies are perfect. This is Yellow Moon and Swallowed Whole style PJ done way better. They just sound so connected and instantly accessible in a way that they didn’t on Gigaton. So fun to sing along with the chorus. This is the first hint on this album that they are really gonna let songs stretch out and breathe.

Dark Matter

So electric and aggressive- I can see why this was a single. I’ve talked a lot about this one already but it still hits with me and is super fun to sing along with. That bass roll before the “arrested the press” part is so choice. And of course every time after the first time hearing this, I’m always just waiting for the Mike solo the way you wait for the roller coaster to head down at the top of the hill.

Won’t Tell

Very pop opening. Then gets kind of like Infallible but way better. Chorus is so epic I already love singing along. Mike is doing the soaring thing but without it being so on-the-nose as on Lightning Bolt. After the bridge the way it goes Cure/U2 is so wonderful and organic. This is fresh and powerful. I could listen to this outro all day.

Upper Hand

Absolutely an early favorite. What a beautiful mysterious cathedral opening. If they opened a concert with this it could be so magical! Give me these long, drawn out musical interludes, PJ! Mike’s lead is so classic in that Jimi-inspired vein. This feels like an entire Pearl Jam concert experience in one song, the way it builds and changes and gets more urgent as it goes. From Jimi to Gilmour and somehow it all makes sense. The raucous ending feels well-earned and I can almost hear the crowd singing along and see him holding the mic out. Speaking of Mike, get it, get it you fearless bastard! The speeding up at the end is so cathartic and I have to move my body to this every time!

Waiting for Stevie

How can you follow Upper Hand? With this monster of classic Pearl Jam grunge sound. This song makes me feel like a teenager again and the lyrics sound awesome I really need to know them so I can sing along. The band is in perfect sync on this one and making it all feel effortless. Sheer perfection, top tier Pearl Jam. This slots so nicely with I Got Id, In Hiding, Breath, etc. The bridge is just chef’s kiss into massive riff. I need this. This is the band I am in deep, deep love with. How they can summon this after over 30 years, where they’re all around 60, blows my mind. This song alone elevates this album, which was already doing just fine without it. There isn’t a second of this song I don’t adore. I have to whoop after a song like this. Or maybe smoke a cigarette.

Running

The musical interlude before it is so pretty. Somehow everything works about this, and its placement. We need a little less serious punker following all that intensive rock in the previous two numbers. Kind of a palate cleanser.

Something Special

With the palate cleansed, we got super shiny alt country pop. The intro really adds to the song and there’s just enough going on here that I’m enjoying the journey. Also, the bass is front and center and I like that. While it’s in the same universe, this feels miles ahead of a song like Sleeping By Myself. My friend likened the intro to Nirvana and the solo and other elements to Crowded House and I agree.

Got to Give

Another really nice intro. So nice that this album isn’t all drum intros. This is some super John Mellencamp stuff at first, but it quickly moves into The Who territory for me, which is one of my Pearl Jam sweet spots. A lot of that is due to Jeff’s wandering bass. A lot of building up in this one, with that outro’s jangly drive being one of those Pearl Jam moments that you never want to end- imagine it live!

Setting Sun

My friend Denise came with me to the listening party, and this was her favorite song, bringing her to tears. It really goes places, and it’s nice to hear a closer with more meat on the bone than River Cross or the several that preceded it. Full of atmosphere, this song is constantly promising you that it won’t let you down, and it never does. The ending reminds me a bit of Retrograde’s back half, but is so much more perfectly built up to. This song’s structure also reminds of the best Black Crowes songs. Lettin’ all the jangle out of the bag. Something to savor before the album is over (and I listen again, and again, lol).

jforte20 wrote:I now understand why they are so proud of this.

RockPusher wrote:

headinspeakers wrote:

bluestate wrote:headinspeakers, welcome to the board... well said

hey thanks... loved your hand-written notes. wicked hard thing to do whilst trying to proactively listen in a once-through situation. I'm trying to avoid listening to your recording but have to say I'm really encouraged by the reviews ... the shared sentiment that the album has a lot of hooks and is melodic, and maybe even that it leans more into pop-territory, is welcomed news to me. I'm hoping to subtly bring my three kids into fandom and an album that is more accessible may be the way to do it... they'll get into the less accessible stuff in-time. exciting times to be a fan.

If there's a definitive statement I can make about this album at this time, it's that it's more accessible than anything they've done in a long time.

Birds in Hell wrote:I’m not sure I’m going to ever feel comfortable with Wotman sitting in the room with the band, playing guitar and co-writing the songs; add one song written by Josh K and it really doesn’t feel like the cohesive, band-driven effort they’re pushing in interviews.

Wotman writing the main riff of Waiting for Stevie just feels like the band engaging in a form of Pearl Jam pastiche, it’s very weird.

It’s as though they don’t have a clear idea of their own band identity and are happy to outsource that part to someone else.

Even if the songs turned out great, it feels a little hollow.

Birds in Hell wrote:I’m not sure I’m going to ever feel comfortable with Wotman sitting in the room with the band, playing guitar and co-writing the songs; add one song written by Josh K and it really doesn’t feel like the cohesive, band-driven effort they’re pushing in interviews.

Wotman writing the main riff of Waiting for Stevie just feels like the band engaging in a form of Pearl Jam pastiche, it’s very weird.

It’s as though they don’t have a clear idea of their own band identity and are happy to outsource that part to someone else.

Even if the songs turned out great, it feels a little hollow.

liebzz wrote:I will always remember the crying baby. In a good way.

liebzz wrote:I will always remember the crying baby. In a good way.