Pearl Jam, actualidad de la banda. Filtrado Gigaton

Breath escribió:

henchman escribió:
Rear te leeremos con atención. Hay que leer lo bueno y lo malo.

Eso por supuestísimo.

karlos gasteiz escribió:

Breath escribió:

henchman escribió:
Rear te leeremos con atención. Hay que leer lo bueno y lo malo.

Eso por supuestísimo.

Depende 

Yo no suelo coincidir en muchas cosas con el, asi que igual hasta mejor que no le guste

henchman escribió:
Hasta que llegue lo de rear os dejo la que acaban de publicar en Antiquiet. Creo que viene bien para compensar.

Le cascan un 9,5. "Mejor disco en 20 años"

9.5
OVERALL SCORE
Excellent

henchman escribió:
Por contextualizar este pavo a Backspacer y Lightning Bolt les puso un 8

henchman escribió:
Hasta que llegue lo de rear os dejo la que acaban de publicar en Antiquiet. Creo que viene bien para compensar.

Le cascan un 9,5. "Mejor disco en 20 años"

http://antiquiet.com/reviews/2020/03/pearl-jam-return-with-light-and-fire-on-gigaton/

PEARL JAM RETURN WITH LIGHT AND FIRE ON ‘GIGATON’
By Johnny Firecloud

When the world has ground to a halt, and we can barely leave our homes for fear of viral contamination around the globe, hope is in high demand and short supply. And when optimism has become a counterfeit commodity in a world gone mad, it’s rare that a signal can come through the noise with potency and promise. For Pearl Jam fans, the timing of Gigaton is an existential Goldilocks zone, seven long years after the coming-of-midlife anthems 2013’s Lightning Bolt provided. With shows & events postponed, stores raided, schools cancelled and people confined to their homes, the tide of madness seems to only be rising. And finally, we’ve got a rock record to reflect not just the crisis, but the resolve it’s going to take to get us through.

We’ve waited many years for this kind of record from Pearl Jam. Buoyed by a velocity of sociopolitical frustration and soulfire determination, Gigaton is a powerhouse of an album, a seasoned and nuanced meal prepared at length between studio sessions multiple Seattle locations, as well as Montana. Gone is the dad-punk hamminess of recent records, replaced by richness in depth and experimentation, layered intricacies with reward for the attentive headphone listeners. The result is the most consistently potent & fulfilling release from the band in nearly 20 years.

The opening of “Who Ever Said” is the kind of adrenalizing promise we shouldn’t dare ask from a band whose members are pushing six decades on the planet. With show-opener energy, the track is buoyantly punchy, even when it breaks open at the halfway point into Vedder’s magnetically contemplative counter-cadence to the beat (“Blinking stars, beneath you roam… room to tomb and cradle to grave…”). The song builds seductively, to a frantic climax as the final chorus rides out the moment for a delicious false finish.

Following the magnetic Talking Heads etherea of lead single “Dance of The Clairvoyants,” the experimental first impression of Gigaton was followed by “Superblood Wolfmoon,” an earnest track among PJ’s finest dance-rockers – providing that fever-pitch blast of intensity that fans had been wanting. Outlining an empathy for the struggle despite the love and passion of a fully-engaged life, Vedder leans in: “But the world kept a’spinning, always felt like it was ending – and love notwithstanding, we are each of us fucked!”

Lightning Bolt and 2009’s Backspacer were both produced by longtime collaborator Brendan O’Brien, and he appears on Gigaton – but in a minor supporting role (keys on “Quick Escape” and “Retrograde”). New producer Josh Evans brings a long-overdue freshness to the band’s studio mojo, with notable ingenuity in sound presentation (the album’s hypnotic, disarming opening or Cameron’s drums on “Never Destination,” for instance). He also plays keys on the majority of the tracks, folding seamlessly into the PJ sound.

The velocity-building narrative of “Quick Escape” is exotically enticing in its funk squall, a bass-chugging getaway tale with chopping guitar lines and flourishes of grandeur, backup vocals on the chorus calling all the way back to Ten. But it’s in Vedder’s second verse where the relatable catalyst lies: “Crossed the border to Morocco, Kashmir then Marrakech… the lengths we had to go to then to find a place Trump hadn’t fucked up yet,” with tales of rat-race tradeoffs for sunsets and starry nights unwasted, passion rediscovered. Then an incendiary minute-long McCready solo sends us off, a magnificent vehicle to launch us into orbit. One can just picture him leaning into the outro’s squealing psychedelic slurry onstage, eyes closed, eyebrows up, shoulders hunched…

As Jeff Ament compositions go, a stark, beautiful clarity rises in each that make their way through the band’s collective enhancing mechanics. His contributions are endlessly treasured: “Nothing As It Seems,” “Sleight of Hand” and “Low Light” are among the most wild-rooted downtempo songs in the band’s catalogue, bearing some of the most sacred sonic fruit. Adding now to the list is the eggshell-delicate “Alright,” a spacious breath of hope and reassurance despite the bad acid trip we may find ourselves trapped within, in the madness of headlines and headaches life seems to send our way each day. Evans’ programmed drum opening is reminiscent of a long-lost music box reanimated in the attic. While Jeff frames the scene on kalimba and keys, Vedder gently offers reminders not to lose ourselves in the noise – the unprecedented oddity and anxiety of now. It’s necessary to say no when we need to, to “be a disappointment in your own home” if that’s what it takes to be alright.

Ed’s driven intent leads “Seven O’Clock,” an empathetic Springsteen-laced send-up of the now, a mornings-in-the-mirror reminder that we cannot afford not to be vigilant despite our exhaustion, despite our heartbreak. If the band’s age-old “Don’t Give Up” t-shirt were a song, it would be this. Invoking Sitting Bull and Crazy Horse, Vedder takes aim at the spray-tanned Sitting Bullshit and the consequence of bully domination (“Caught the butterfly, broke its wings then put it on display…His best days gone, hard to admit… throwing punches with nothing to hit…”) as well as our need to keep our eyes fixed on the horizon (“Theres still a fire in the engine room, know relief will be coming soon…”). He ends the track with the repeated mantra, imploring “Much to be done… Much to be done…”.

Following the fun-punk run of “Never Destination,” love-endurance anthem “Take The Long Way” is a nearly four-minute blizzard of kit-stomping from and by Matt Cameron. Without his hyperattentive fills and metronomic beating, this could be a completely different track, perhaps an earnest & solemn heartsong like those Vedder has mined thoroughly on his solo efforts. And that’s part of Matt’s magic in Pearl Jam – he provides a pulverizing backbeat to Eddie’s declarations of thick-and-thin dedication (“Now’s the time to resurface.. take back me and you…”), that keeps the ride from getting stuck in the molasses of sentimentality. He also provides backup vocals in the magnificent chorus, alongside Seattle singer/songwriter Meagan Grandall aka Lemolo.

Guitarist Stone Gossard wrote the words and music to the odd-bird delight of “Buckle Up,” a warmly brisk fingerpicking guitar-driven curveball under Cameron’s 4/4 march. Vedder’s long melodic exhalations shape the morose young existence of… a… murderer? It’s an enchantingly unique track, among Pearl Jam’s more perplexing offerings since “Strangest Tribe” mesmerized fans at Christmastime in 1999.

In keeping with PJ character, the back end of Gigaton is a contemplative downshift. The Vedder-penned “Comes Then Goes” beautifully asks the hard questions over a lone acoustic guitar, (“Sadness comes, and with it a sea of tears… Would some love be best had it not appeared?”), of which we already understand the answer. The experience is why we live at all, “incisions made my scalpel blades of time” nonwithstanding.

Is the song a salute to Chris Cornell? The idea isn’t improbable, and Vedder remains just vague enough to keep certainty out of our grasp. But there’s a sobering interpretive lens to be found: “Evidence in the echoes of your mind.. leads me to believe we missed the signs…”.

The closing hymn of “River Cross” may be the only track of the dozen that doesn’t beg for immediate replay – and that’s only due to the aching of its frequency under Vedder’s eulogistic pump-organ. And we’ve been here before with “The End” – a song that would stop an album in its tracks at the midway point. It’s beautiful, but the somber solitude is a cold wind on the heart.

We haven’t had a new Pearl Jam album in seven years, and apprehension matched anticipation for a great many fans as the lead-up to Gigaton played out. Age can temper a band’s passion and relatability as the course of life takes context and content down new paths of priority. But the songwriting on Gigaton is profoundly strong, the sound without gimmick – but rather nuanced and richly textured. The contributions from various members provide enchanting variation of feather on this wild, gorgeous bird. For a great many fans, Pearl Jam creations are heartsongs, sonic barometers we often measure and balance the storms of our own lives against. Thankfully, we now have a beautiful new chapter to see us through.


9.5
OVERALL SCORE
Excellent

señor rosa escribió:al paso que vamos no se si les veremos

entre vuelos y entradas me va a salir mas de 600 pavos la broma

henchman escribió:
Por contextualizar este pavo a Backspacer y Lightning Bolt les puso un 8

henchman escribió:
Hasta que llegue lo de rear os dejo la que acaban de publicar en Antiquiet. Creo que viene bien para compensar.

Le cascan un 9,5. "Mejor disco en 20 años"

http://antiquiet.com/reviews/2020/03/pearl-jam-return-with-light-and-fire-on-gigaton/

PEARL JAM RETURN WITH LIGHT AND FIRE ON ‘GIGATON’
By Johnny Firecloud

When the world has ground to a halt, and we can barely leave our homes for fear of viral contamination around the globe, hope is in high demand and short supply. And when optimism has become a counterfeit commodity in a world gone mad, it’s rare that a signal can come through the noise with potency and promise. For Pearl Jam fans, the timing of Gigaton is an existential Goldilocks zone, seven long years after the coming-of-midlife anthems 2013’s Lightning Bolt provided. With shows & events postponed, stores raided, schools cancelled and people confined to their homes, the tide of madness seems to only be rising. And finally, we’ve got a rock record to reflect not just the crisis, but the resolve it’s going to take to get us through.

We’ve waited many years for this kind of record from Pearl Jam. Buoyed by a velocity of sociopolitical frustration and soulfire determination, Gigaton is a powerhouse of an album, a seasoned and nuanced meal prepared at length between studio sessions multiple Seattle locations, as well as Montana. Gone is the dad-punk hamminess of recent records, replaced by richness in depth and experimentation, layered intricacies with reward for the attentive headphone listeners. The result is the most consistently potent & fulfilling release from the band in nearly 20 years.

The opening of “Who Ever Said” is the kind of adrenalizing promise we shouldn’t dare ask from a band whose members are pushing six decades on the planet. With show-opener energy, the track is buoyantly punchy, even when it breaks open at the halfway point into Vedder’s magnetically contemplative counter-cadence to the beat (“Blinking stars, beneath you roam… room to tomb and cradle to grave…”). The song builds seductively, to a frantic climax as the final chorus rides out the moment for a delicious false finish.

Following the magnetic Talking Heads etherea of lead single “Dance of The Clairvoyants,” the experimental first impression of Gigaton was followed by “Superblood Wolfmoon,” an earnest track among PJ’s finest dance-rockers – providing that fever-pitch blast of intensity that fans had been wanting. Outlining an empathy for the struggle despite the love and passion of a fully-engaged life, Vedder leans in: “But the world kept a’spinning, always felt like it was ending – and love notwithstanding, we are each of us fucked!”

Lightning Bolt and 2009’s Backspacer were both produced by longtime collaborator Brendan O’Brien, and he appears on Gigaton – but in a minor supporting role (keys on “Quick Escape” and “Retrograde”). New producer Josh Evans brings a long-overdue freshness to the band’s studio mojo, with notable ingenuity in sound presentation (the album’s hypnotic, disarming opening or Cameron’s drums on “Never Destination,” for instance). He also plays keys on the majority of the tracks, folding seamlessly into the PJ sound.

The velocity-building narrative of “Quick Escape” is exotically enticing in its funk squall, a bass-chugging getaway tale with chopping guitar lines and flourishes of grandeur, backup vocals on the chorus calling all the way back to Ten. But it’s in Vedder’s second verse where the relatable catalyst lies: “Crossed the border to Morocco, Kashmir then Marrakech… the lengths we had to go to then to find a place Trump hadn’t fucked up yet,” with tales of rat-race tradeoffs for sunsets and starry nights unwasted, passion rediscovered. Then an incendiary minute-long McCready solo sends us off, a magnificent vehicle to launch us into orbit. One can just picture him leaning into the outro’s squealing psychedelic slurry onstage, eyes closed, eyebrows up, shoulders hunched…

As Jeff Ament compositions go, a stark, beautiful clarity rises in each that make their way through the band’s collective enhancing mechanics. His contributions are endlessly treasured: “Nothing As It Seems,” “Sleight of Hand” and “Low Light” are among the most wild-rooted downtempo songs in the band’s catalogue, bearing some of the most sacred sonic fruit. Adding now to the list is the eggshell-delicate “Alright,” a spacious breath of hope and reassurance despite the bad acid trip we may find ourselves trapped within, in the madness of headlines and headaches life seems to send our way each day. Evans’ programmed drum opening is reminiscent of a long-lost music box reanimated in the attic. While Jeff frames the scene on kalimba and keys, Vedder gently offers reminders not to lose ourselves in the noise – the unprecedented oddity and anxiety of now. It’s necessary to say no when we need to, to “be a disappointment in your own home” if that’s what it takes to be alright.

Ed’s driven intent leads “Seven O’Clock,” an empathetic Springsteen-laced send-up of the now, a mornings-in-the-mirror reminder that we cannot afford not to be vigilant despite our exhaustion, despite our heartbreak. If the band’s age-old “Don’t Give Up” t-shirt were a song, it would be this. Invoking Sitting Bull and Crazy Horse, Vedder takes aim at the spray-tanned Sitting Bullshit and the consequence of bully domination (“Caught the butterfly, broke its wings then put it on display…His best days gone, hard to admit… throwing punches with nothing to hit…”) as well as our need to keep our eyes fixed on the horizon (“Theres still a fire in the engine room, know relief will be coming soon…”). He ends the track with the repeated mantra, imploring “Much to be done… Much to be done…”.

Following the fun-punk run of “Never Destination,” love-endurance anthem “Take The Long Way” is a nearly four-minute blizzard of kit-stomping from and by Matt Cameron. Without his hyperattentive fills and metronomic beating, this could be a completely different track, perhaps an earnest & solemn heartsong like those Vedder has mined thoroughly on his solo efforts. And that’s part of Matt’s magic in Pearl Jam – he provides a pulverizing backbeat to Eddie’s declarations of thick-and-thin dedication (“Now’s the time to resurface.. take back me and you…”), that keeps the ride from getting stuck in the molasses of sentimentality. He also provides backup vocals in the magnificent chorus, alongside Seattle singer/songwriter Meagan Grandall aka Lemolo.

Guitarist Stone Gossard wrote the words and music to the odd-bird delight of “Buckle Up,” a warmly brisk fingerpicking guitar-driven curveball under Cameron’s 4/4 march. Vedder’s long melodic exhalations shape the morose young existence of… a… murderer? It’s an enchantingly unique track, among Pearl Jam’s more perplexing offerings since “Strangest Tribe” mesmerized fans at Christmastime in 1999.

In keeping with PJ character, the back end of Gigaton is a contemplative downshift. The Vedder-penned “Comes Then Goes” beautifully asks the hard questions over a lone acoustic guitar, (“Sadness comes, and with it a sea of tears… Would some love be best had it not appeared?”), of which we already understand the answer. The experience is why we live at all, “incisions made my scalpel blades of time” nonwithstanding.

Is the song a salute to Chris Cornell? The idea isn’t improbable, and Vedder remains just vague enough to keep certainty out of our grasp. But there’s a sobering interpretive lens to be found: “Evidence in the echoes of your mind.. leads me to believe we missed the signs…”.

The closing hymn of “River Cross” may be the only track of the dozen that doesn’t beg for immediate replay – and that’s only due to the aching of its frequency under Vedder’s eulogistic pump-organ. And we’ve been here before with “The End” – a song that would stop an album in its tracks at the midway point. It’s beautiful, but the somber solitude is a cold wind on the heart.

We haven’t had a new Pearl Jam album in seven years, and apprehension matched anticipation for a great many fans as the lead-up to Gigaton played out. Age can temper a band’s passion and relatability as the course of life takes context and content down new paths of priority. But the songwriting on Gigaton is profoundly strong, the sound without gimmick – but rather nuanced and richly textured. The contributions from various members provide enchanting variation of feather on this wild, gorgeous bird. For a great many fans, Pearl Jam creations are heartsongs, sonic barometers we often measure and balance the storms of our own lives against. Thankfully, we now have a beautiful new chapter to see us through.


9.5
OVERALL SCORE
Excellent

Gora Rock escribió:

señor rosa escribió:al paso que vamos no se si les veremos

entre vuelos y entradas me va a salir mas de 600 pavos la broma

Ya veremos con queda el verano, que lo del bicho va para largo.

Lo dicho, a lo nostradamus: el disco estará un pelín mejor que LB y nos la pelaremos a dos manos. En dos meses no lo pinchará nadie.

henchman escribió:
Rear que no te han avisado!!!

https://www.rockzonemag.com/pearl-jam-gigaton/

Spoiler:

rearviewmirror escribió:

henchman escribió:
Rear que no te han avisado!!!

https://www.rockzonemag.com/pearl-jam-gigaton/

Joer, que la acaban de subir AHORA MISMO Estabas quemando el F5, cabrón


Pues ale, aprovecho y os dejo el track by track como comenté. Lo pongo en spoiler por si molesta a alguien.

Spoiler:

rearviewmirror escribió:

henchman escribió:
Rear que no te han avisado!!!

https://www.rockzonemag.com/pearl-jam-gigaton/

Joer, que la acaban de subir AHORA MISMO Estabas quemando el F5, cabrón


Pues ale, aprovecho y os dejo el track by track como comenté. Lo pongo en spoiler por si molesta a alguien.

Spoiler:

rearviewmirror escribió:

henchman escribió:
Rear que no te han avisado!!!

https://www.rockzonemag.com/pearl-jam-gigaton/

Joer, que la acaban de subir AHORA MISMO Estabas quemando el F5, cabrón


Pues ale, aprovecho y os dejo el track by track como comenté. Lo pongo en spoiler por si molesta a alguien.

Spoiler:

henchman escribió:Me ha avisado un amigo que tenemos en común jejej

rearviewmirror escribió:

henchman escribió:Me ha avisado un amigo que tenemos en común jejej

¿Pablo de Binaural?

clashcityrockers escribió:leida. ahora esprando el track by track y yo ya me haré mi propia opinión en una semana (algo mas)

Ivanov escribió:

clashcityrockers escribió:leida. ahora esprando el track by track y yo ya me haré mi propia opinión en una semana (algo mas)

Ya lo ha puesto rear

henchman escribió:
A mi me da bastantes esperanzas la review y la descripción de los temas.  

henchman escribió:
A mi me da bastantes esperanzas la review y la descripción de los temas.  

Mcbein escribió:Pues parece que los tiros van por donde los últimos 5 discos:  4 cosas salvables pero no memorables y el resto prescindible

rearviewmirror escribió:

henchman escribió:
A mi me da bastantes esperanzas la review y la descripción de los temas.  

Joder, ¿en serio?

Si que os conformáis con poco

Mcbein escribió:Pues parece que los tiros van por donde los últimos 5 discos:  4 cosas salvables pero no memorables y el resto prescindible

Ni de coña este disco es como Binural, Riot Act o Aguacate. OJALÁ, pero va a ser que no.

Rear, una pregunta..... ¿te ha gustado más, igual o menos que Backspacer?

p0pi escribió:He leído el track by track y no me ha destripado nada, tengo todavía más ganas de escucharlo. Si es algo mejor de Lightning Bolt y tal como escribes tema por tema creo que me va a gustar porque el LB ya me mola bastante. Quizás lo que digas, las 3 canciones finales lentas (ya se olía que eran lentas...) sobrarán y un recorte de minutaje lo harían mejor. Vistas otras críticas y estas me parecería súper raro que en mi colección bajase del 7-8. Veremos.

Creo recordar que a Rear le gusta más el Backspacer que el Light, a mí al contrario, así que me da más esperanzas todavía.

rearviewmirror escribió:

Rear, una pregunta..... ¿te ha gustado más, igual o menos que Backspacer?

Backspacer es mucho mejor que este y el anterior. Estaba mucho mejor conjuntado y no tenía tantos altibajos.

rearviewmirror escribió:

henchman escribió:
A mi me da bastantes esperanzas la review y la descripción de los temas.  

Joder, ¿en serio?

Si que os conformáis con poco

rearviewmirror escribió:

Rear, una pregunta..... ¿te ha gustado más, igual o menos que Backspacer?

Backspacer es mucho mejor que este y el anterior. Estaba mucho mejor conjuntado y no tenía tantos altibajos.

p0pi escribió:He leído el track by track y no me ha destripado nada, tengo todavía más ganas de escucharlo. Si es algo mejor de Lightning Bolt y tal como escribes tema por tema creo que me va a gustar porque el LB ya me mola bastante. Quizás lo que digas, las 3 canciones finales lentas (ya se olía que eran lentas...) sobrarán y un recorte de minutaje lo harían mejor. Vistas otras críticas y estas me parecería súper raro que en mi colección bajase del 7-8. Veremos.

Creo recordar que a Rear le gusta más el Backspacer que el Light, a mí al contrario, así que me da más esperanzas todavía.

Bueno, me alegro si no te he destripado gran cosa (tampoco es mi intención). Si te gustó Lightning Bolt probablemente también te guste este. Para mí son como discos hermanos... Eso sí, ambos muy lejos de merecer un 7, no digamos ya un 8.

Intruder escribió:

rearviewmirror escribió:

Rear, una pregunta..... ¿te ha gustado más, igual o menos que Backspacer?

Backspacer es mucho mejor que este y el anterior. Estaba mucho mejor conjuntado y no tenía tantos altibajos.

Me lo imaginaba. Es que si sacasen algo del nivel de Backspacer (no entiendo por qué es tan denostado aquí), te aseguro que me pongo a bailar en las claraboyas.... (tengo una claraboya interior en casa )

6. Seven O’Clock

"Un poco Pendulum". Buena señal.

10. Come Then Goes

Alguna crítica le ha dado caña pero rear no tanta. Las letras van contra las griegas y eso me pone.

11. Retrograde

Todo lo que recuerde a Sirens es un SI NO.

Si Seven O' Clock se parece a Pendulum en lo sombría que es yo ya tengo canción favorita del disco. Laughing

Aun así, el mejor crítico es uno mismo... El año pasado con Slipknot hubo gente que le puso un 5 o le pareció horrible el LP y yo pensé que así iba a ser y me parece el mejor después del Iowa, y el de Tool en meses me parece un pepino más grande que antes incluso.

A día de hoy a una banda enorme como Pearl Jam no le pido un disco redondo porque la fama absorbe creatividad en un montón de ocasiones y es su caso, desde 2008 en adelante solamente se salvan en directo al 100% si eres fan acérrimo desde mi punto de vista. Si saco en limpio 4-5 temas de este nuevo disco me parecería la hostia.

karlos gasteiz escribió:

Intruder escribió:

rearviewmirror escribió:

Rear, una pregunta..... ¿te ha gustado más, igual o menos que Backspacer?

Backspacer es mucho mejor que este y el anterior. Estaba mucho mejor conjuntado y no tenía tantos altibajos.

Me lo imaginaba. Es que si sacasen algo del nivel de Backspacer (no entiendo por qué es tan denostado aquí), te aseguro que me pongo a bailar en las claraboyas.... (tengo una claraboya interior en casa )

Te gusta BACKSPACER, sinvergüenza? 

Eso no me decias a mi

rearviewmirror escribió:A ver...

6. Seven O’Clock

"Un poco Pendulum". Buena señal.

Que se perezca a Pendulum no tiene nada de bueno EN ABSOLUTO Y en todo caso, esta sería el equivalente a Infallible... O sea que mal también

10. Come Then Goes

Alguna crítica le ha dado caña pero rear no tanta. Las letras van contra las griegas y eso me pone.

Pues no entiendo por que A mí ya digo que me hubiera parecido facilmente de las mejores del disco si la hubieran trabajado más. La letra no me la he mirado porque no la tengo delante. Y controlo de inglés, pero cantado hay veces que me cuesta mucho pillar algunas cosas... pero sí, parece que va sobre Cornell, aunque no sé en que sentido.

11. Retrograde

Todo lo que recuerde a Sirens es un SI NO.

Si Seven O' Clock se parece a Pendulum en lo sombría que es yo ya tengo canción favorita del disco. Laughing

Para nada es así. Es una canción muy luminosa, pero es una luz para mi gusto completamente artificial. Todo como muy bonito de cartón piedra.

Aun así, el mejor crítico es uno mismo... El año pasado con Slipknot hubo gente que le puso un 5 o le pareció horrible el LP y yo pensé que así iba a ser y me parece el mejor después del Iowa, y el de Tool en meses me parece un pepino más grande que antes incluso.

Hombre, eso está claro... Recuerdo el caso también del año pasado de Baroness, que las críticas guiris lo ponían como el mejor disco de su carrera, una obra maestra... y vamos, es que me despollo vivo  

A día de hoy a una banda enorme como Pearl Jam no le pido un disco redondo porque la fama absorbe creatividad en un montón de ocasiones y es su caso, desde 2008 en adelante solamente se salvan en directo al 100% si eres fan acérrimo desde mi punto de vista. Si saco en limpio 4-5 temas de este nuevo disco me parecería la hostia.

Es que si pones el listón tan bajo... Que son Pearl Jam, cojones! Hay que exigirles. A mí que se tiren 7 años para sacar un disco de 12 canciones del que no voy a rescatar ni la mitad, pues que quieres que te diga... A mí eso no me parece la hostia. Me parece un drama. Sean Pearl Jam o el grupo de mi vecino.