Red Mosquito

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

bluestate wrote:

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.

I don't understand how I could possibly care about any of that. That feels so superficial. It's like when the preppy girl in high school tells you she's interested in listening to the Misfits and you cringe and dump her instead.

RockPusher wrote:When my ears are orgasming to Waiting for Stevie I can't give two fractions of a fuck who was with Eddie when inspiration hit. You think every PJ song was created in a vacuum by the band itself with no outside influences? That's never how art works. I applaud Watt for whatever contributions he made to this song existing.

bluestate wrote:Haha, I have no idea what this baby shit is about, that's not the version I shared... that must've been the Lmd recording

bluestate wrote:Haha, I have no idea what this baby shit is about, that's not the version I shared... that must've been the Lmd recording

RockPusher wrote:When my ears are orgasming to Waiting for Stevie I can't give two fractions of a fuck who was with Eddie when inspiration hit. You think every PJ song was created in a vacuum by the band itself with no outside influences? That's never how art works. I applaud Watt for whatever contributions he made to this song existing.

Thurman Murman wrote:

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).

This entire review just gave me the biggest boner.

oneway23 wrote:Pusher, as someone who is eagerly awaiting their first listen, that review just about made me fist pump...great job there, chief...appreciate it!

RockPusher wrote:For what it's worth, he expects the rest of the album other than the singles might sound less polished. It's his belief that singles are oftentimes over-polished kind of like movie trailers, "pushed out for broadest appeal."

VinylGuy wrote:React, Respond sounds too good to be true

headinspeakers wrote:

oneway23 wrote:Pusher, as someone who is eagerly awaiting their first listen, that review just about made me fist pump...great job there, chief...appreciate it!

seconded.