XWayne a écrit :It's out.
Et comment ça a fuité cette affaire, on sait ?
par Tremoskito » Ven Mars 20, 2020 11:23 am
XWayne a écrit :It's out.
par froggy bunnyman » Ven Mars 20, 2020 12:24 pm
par XWayne » Ven Mars 20, 2020 12:29 pm
Tremoskito a écrit :XWayne a écrit :It's out.
Et comment ça a fuité cette affaire, on sait ?
par Tremoskito » Ven Mars 20, 2020 1:38 pm
froggy bunnyman a écrit :Je vais attendre le 27 pour l'écouter sur Spotify au casque, à fond....
Old school, baby !!
En plus, le confinement va sûrement se prolonger donc autant se donner envie d'attendre un peu, je ne suis plus à une semaine près...
J'ai lu 1 ou 2 reviews et vos 1ères impressions sur le topic "Gigaton spoiler". Putain, ça fait envie et plaisir surtout !
RDV dans une semaine pour mes 1ères impressions si je ne suis pas devenu fou d'ici là
), je vais craquer avec plaisir, et me jetterai sur le support physique dès que possible !par Tremoskito » Ven Mars 20, 2020 1:40 pm
XWayne a écrit :Tremoskito a écrit :XWayne a écrit :It's out.
Et comment ça a fuité cette affaire, on sait ?
Je suis tombé sur cet article en italien: https://www.thewalkoffame.it/blog/pearl ... ufficiale/
Un podcast (Bienvenido a los 90) a diffusé l'album, mais je ne sais pas s'il avait récupéré l'album via un lien issu du leak ou s'il avait reçu l'album directement du management de PJ pour faire une review comme le reste de la presse. L'épisode concerné (617) n'est plus disponible.
J'imagine que le leak a un watermark quelque part qui permettra au 10C de savoir d'où il vient.
par froggy bunnyman » Dim Mars 22, 2020 3:52 pm
par XWayne » Lun Mars 23, 2020 6:19 pm
There is a photograph of Lance Mercer that Pearl Jam fans know well. It is contained in the opening package of No Code . In the center of the room there is a table with six burning candles on it. All around are the musicians with their instruments and the spies on the ground to hear each other: Stone Gossard is standing, Eddie Vedder, Mike McCready and Jeff Ament are on the stools, Jack Irons is sitting behind the drums. That photograph and other similar ones taken in the rehearsal rooms of the group are the symbol of how the music of Pearl Jam is imagined: an intense and vibrant sound produced by five musicians who play together, live, in a circle. Pearl Jam's songs are what's going on inside that circle.
Gigaton was not registered as such. The album that will be released on Friday 27 March ( here our review) is the result of sessions of almost home-made recordings spread over a long period of time during which musicians have often worked on songs individually or in pairs. The collector and guarantor of these sessions is called Josh Evans, has been collaborating with Pearl Jam for fifteen years, is their trusted sound engineer and for the first time co-produces their album. "I've always been a fan of Pearl Jam, but I never told her this to keep them from frightening them," he tells me laughing on the phone from Seattle. Born in Tokyo to a Japanese mother, Evans has spent his entire life, except the first year of life, in the city of grunge. "I'm in Lincoln Park on Puget Sound," he explains. "There are people walking, there are dogs, there is a beautiful sun and it is a little relief these days". Add immediately,
Josh Evans will turn 42 this year . When Pearl Jam released the best seller Tenhe was 13. He asked his mother to buy him the CD. She went to Fred Meyer department store. Since he knew very little about that album, he also bought another one that was certainly good, the first of Led Zeppelin. "Try to imagine. I was a kid. It was 1991. It was Seattle. I was in it ». Evans could not have imagined that one day he would be part of the band's limited producers' club, a rather short list of names that includes Brendan O'Brien (six albums), Adam Kasper (two), Rick Parashar and Tchad Blake (one each) . “I wasn't supposed to get on that list. It just happened, "he says. The fact that the group did not call a screaming producer, and not even a trusted person like O'Brien, is an indication that Gigatonmore than any other Pearl Jam album it was made in an almost homely context. And it is not even the photograph of a specific moment of the band, as they were Ten or Vitalogy , but a puzzle that has been composing over two years.
Josh Evans got to know Pearl Jam during the sessions of their 2006 self-titled album, the so-called Avocado . He was assistant sound engineer at Studio X in Seattle where the group recorded. "It means I sorted things out, cleaned, brought sandwiches and coffee." When Pearl Jam moved their headquarters and rehearsal room they call Warehouse from the South Lake Union area, not far from Tom Hanks' house boat to Love Insomnia, in the Georgetown neighborhood they remembered Evans. They called him first for small whitewashing and moving jobs, then as a sound engineer. "I've been working full-time for them since 2008," he says. «In recent years I have had a role in Mike and Jeff's solo projects. I became the sound engineer at home, so to speak. " In the meantime, he worked as a sound engineer and mixer for other artists, from King Animal's Soundgarden to his debut Thunderpussy.
It was therefore natural to entrust him with the recording of the Gigaton demos . «At some point those demos became the album and I found myself in the role of co-producer. Nobody said it openly. Nobody asked me: hey Josh, do you want to produce this album? I was there, I was working on it, it happened. Maybe Matt would ask me for my opinion on the drum sound. Or Stone said to me: I have this idea, how can we put it down so that Ed likes it too? And so, slowly, I began to collaborate with the band also from a creative point of view ».
Despite having worked with prominent artists such as Brandi Carlile and Dave Matthews Band, and despite having got his hands on important projects such as the 2018 Chris Cornell anthology, Evans had never co-produced an album in his life. "Honestly? I tried not to think about it. I bowed my head and worked. If the band was happy, I was happy too. At the end of 2019, when I mixed the songs, I realized that I had co-produced the album of a group with thirty years of history and a large catalog. So I went to resent their old records, to be sure that my work did not disfigure. "
Gigaton sessions had started almost two years earlier, in January 2017. «Inside the Warehouse a small recording room has been created, the GT Studios. Nothing in particular, just the cabin for the battery, the control room. It is as if it were a home study. Some recordings were made before January 2017, the River Cross pump organ is from 2015 for example, but that was when they started getting serious. For a couple of months he worked every day. Not all together, but someone was always there. There have been breaks for the tour. And the death of Chris Cornell in May stopped everything. He was a friend and a source of inspiration for everyone. It blew us away. It took a year to recover and process the mourning ». It is said thatComes Then Goes is dedicated to Cornell. «I don't know specifically. But I'm sure there's a bit of Chris in all Gigaton songs . And so it is: in his texts he tries to make sense of what he lives, raising his daughters, climate change, Cornell ».
The band didn't provide Evans with guidelines , but from the outset it was clear that Gigaton would be unlike any other Pearl Jam album on the writing front. “They wanted to compose differently than usual. They no longer wanted to get together in the hall, turn on the amps, play and record, even if some piece born like this is there, for example Who Ever Saidthat basically they are the ones playing together in the same room even if then Mike has put strange atmospheres experimenting with the E-Bow. Maybe two members of the group came to the studio and recorded a draft song. The next day, two more came and radically rearranged what had been done the day before. And on the third day someone else came and took his own. The important thing was to have an open mind and not be afraid of messing up writing and recording. The rule was: no rule. "
Songs born this way include Seven O'Clock and Dance of the Clairvoyants . «Since there are no rules, the instruments were exchanged in Dance . In Alright there is a 12 string guitar played by Matt and it is not that Stone said: mmm, I would have done this part better. Do you have an idea? Just do it. That's how they made this record. Maybe Mike and I would stay looking for a particular sound for five hours. The point was not to achieve a certain result. The trial counted. " Evans also made drum loops to build some songs on. "If you hear Alright well , there's a sort of electronic percussion in the background at Björk."
Despite the appearance, the rhythmic part of Dance of the Clairvoyants is entirely played by Matt Cameron. “It's one of the things on this album that I'm most proud of as a sound engineer. If you had come to see the recording you would have heard Matt play everything live exactly as you listen to it on the record, except for the sound of the double cymbals that is programmed. It took a whole day of work to handle with cushions, tape and other things to make Matt's instrument sound like an electronic drum kit. " The most difficult piece to make was Seven O'Clock. "They brought it up the day we started recording in January 2017. They played it for two, three hours. Over the next two years, sound engineer John Burton and I worked on it. It was a jam from which we went fishing for the parts that seemed particularly strong. The refrain was played with four or five different rhythmic approaches. What you hear is an assembly. The fact that despite everything sounds like a song makes me proud. "
There is no band in rock history that has kept the excitement for music intact after twenty or thirty years of career. Pearl Jam is no exception. Led Zeppelin have made albums not up to their fame such as Presence and In Through the Out Door , Who Face Dances and It's Hard . They, with due proportions, published Backspacer and Lightning Bolt. The almost insane intensity of certain songs and performances of the 90s, when the group seemed perpetually on the edge of the precipice, gave way to a new form of awareness and calmness. To try to make great music, or at least something exciting, it is no longer enough to lock yourself together in a room. It takes new stimuli. And so at GT Studios, Josh Evans has served not only as a co-producer, but also as a motivator. «Sometimes I had to be a psychologist, between births, deaths, illnesses, family problems, not to mention the election of Trump. But most of the time my role was to find sounds that fascinated and inspired at least one of them, and then tried to involve the rest of the band, And yes, sometimes I went to get coffee, like in the old days ».
Seven years separate Lightning Bolt and Gigaton . Pearl Jam had never spent so much time between records. Aside from Cornell's death and concert commitments, the sessions are during a long time because the band "didn't have to release a record at all costs. They had to be satisfied with it, they had to be sure it was strong. And then they took advantage of the luxury of having the GT Studio and not having to book an recording room. Only in 2019 did we understand that we had a collection of solid songs on our hands ».
Gigaton's so-called homely character is also reflected in the place where it was mixed. Not in a large recording studio, but in a more modest place, Evans' personal studio. "Basically, in my home garden."
par masterofmullets » Lun Mars 23, 2020 7:03 pm
par ward littel » Lun Mars 23, 2020 10:26 pm
par Denis » Lun Mars 23, 2020 10:57 pm
par dvi2702 » Lun Mars 23, 2020 11:00 pm
par ward littel » Lun Mars 23, 2020 11:33 pm
par dvi2702 » Mar Mars 24, 2020 9:16 am
par Blue, Red,Yellow » Mar Mars 24, 2020 10:20 am
XWayne a écrit :https://www.rollingstone.it/musica/interviste-musica/dentro-le-session-di-gigaton-dei-pearl-jam-la-regola-era-niente-regole/508785/#Part3
Interview très intéressante (en italien) de Josh Evans, où l'on découvre comment l'album a été créé. Pas de mention de Brenadan O'Brien et Can't Deny Me.
Traduction en anglais: http://forums.theskyiscrape.com/viewtop ... tart=17700There is a photograph of Lance Mercer that Pearl Jam fans know well. It is contained in the opening package of No Code . In the center of the room there is a table with six burning candles on it. All around are the musicians with their instruments and the spies on the ground to hear each other: Stone Gossard is standing, Eddie Vedder, Mike McCready and Jeff Ament are on the stools, Jack Irons is sitting behind the drums. That photograph and other similar ones taken in the rehearsal rooms of the group are the symbol of how the music of Pearl Jam is imagined: an intense and vibrant sound produced by five musicians who play together, live, in a circle. Pearl Jam's songs are what's going on inside that circle.
Gigaton was not registered as such. The album that will be released on Friday 27 March ( here our review) is the result of sessions of almost home-made recordings spread over a long period of time during which musicians have often worked on songs individually or in pairs. The collector and guarantor of these sessions is called Josh Evans, has been collaborating with Pearl Jam for fifteen years, is their trusted sound engineer and for the first time co-produces their album. "I've always been a fan of Pearl Jam, but I never told her this to keep them from frightening them," he tells me laughing on the phone from Seattle. Born in Tokyo to a Japanese mother, Evans has spent his entire life, except the first year of life, in the city of grunge. "I'm in Lincoln Park on Puget Sound," he explains. "There are people walking, there are dogs, there is a beautiful sun and it is a little relief these days". Add immediately,
Josh Evans will turn 42 this year . When Pearl Jam released the best seller Tenhe was 13. He asked his mother to buy him the CD. She went to Fred Meyer department store. Since he knew very little about that album, he also bought another one that was certainly good, the first of Led Zeppelin. "Try to imagine. I was a kid. It was 1991. It was Seattle. I was in it ». Evans could not have imagined that one day he would be part of the band's limited producers' club, a rather short list of names that includes Brendan O'Brien (six albums), Adam Kasper (two), Rick Parashar and Tchad Blake (one each) . “I wasn't supposed to get on that list. It just happened, "he says. The fact that the group did not call a screaming producer, and not even a trusted person like O'Brien, is an indication that Gigatonmore than any other Pearl Jam album it was made in an almost homely context. And it is not even the photograph of a specific moment of the band, as they were Ten or Vitalogy , but a puzzle that has been composing over two years.
Josh Evans got to know Pearl Jam during the sessions of their 2006 self-titled album, the so-called Avocado . He was assistant sound engineer at Studio X in Seattle where the group recorded. "It means I sorted things out, cleaned, brought sandwiches and coffee." When Pearl Jam moved their headquarters and rehearsal room they call Warehouse from the South Lake Union area, not far from Tom Hanks' house boat to Love Insomnia, in the Georgetown neighborhood they remembered Evans. They called him first for small whitewashing and moving jobs, then as a sound engineer. "I've been working full-time for them since 2008," he says. «In recent years I have had a role in Mike and Jeff's solo projects. I became the sound engineer at home, so to speak. " In the meantime, he worked as a sound engineer and mixer for other artists, from King Animal's Soundgarden to his debut Thunderpussy.
It was therefore natural to entrust him with the recording of the Gigaton demos . «At some point those demos became the album and I found myself in the role of co-producer. Nobody said it openly. Nobody asked me: hey Josh, do you want to produce this album? I was there, I was working on it, it happened. Maybe Matt would ask me for my opinion on the drum sound. Or Stone said to me: I have this idea, how can we put it down so that Ed likes it too? And so, slowly, I began to collaborate with the band also from a creative point of view ».
Despite having worked with prominent artists such as Brandi Carlile and Dave Matthews Band, and despite having got his hands on important projects such as the 2018 Chris Cornell anthology, Evans had never co-produced an album in his life. "Honestly? I tried not to think about it. I bowed my head and worked. If the band was happy, I was happy too. At the end of 2019, when I mixed the songs, I realized that I had co-produced the album of a group with thirty years of history and a large catalog. So I went to resent their old records, to be sure that my work did not disfigure. "
Gigaton sessions had started almost two years earlier, in January 2017. «Inside the Warehouse a small recording room has been created, the GT Studios. Nothing in particular, just the cabin for the battery, the control room. It is as if it were a home study. Some recordings were made before January 2017, the River Cross pump organ is from 2015 for example, but that was when they started getting serious. For a couple of months he worked every day. Not all together, but someone was always there. There have been breaks for the tour. And the death of Chris Cornell in May stopped everything. He was a friend and a source of inspiration for everyone. It blew us away. It took a year to recover and process the mourning ». It is said thatComes Then Goes is dedicated to Cornell. «I don't know specifically. But I'm sure there's a bit of Chris in all Gigaton songs . And so it is: in his texts he tries to make sense of what he lives, raising his daughters, climate change, Cornell ».
The band didn't provide Evans with guidelines , but from the outset it was clear that Gigaton would be unlike any other Pearl Jam album on the writing front. “They wanted to compose differently than usual. They no longer wanted to get together in the hall, turn on the amps, play and record, even if some piece born like this is there, for example Who Ever Saidthat basically they are the ones playing together in the same room even if then Mike has put strange atmospheres experimenting with the E-Bow. Maybe two members of the group came to the studio and recorded a draft song. The next day, two more came and radically rearranged what had been done the day before. And on the third day someone else came and took his own. The important thing was to have an open mind and not be afraid of messing up writing and recording. The rule was: no rule. "
Songs born this way include Seven O'Clock and Dance of the Clairvoyants . «Since there are no rules, the instruments were exchanged in Dance . In Alright there is a 12 string guitar played by Matt and it is not that Stone said: mmm, I would have done this part better. Do you have an idea? Just do it. That's how they made this record. Maybe Mike and I would stay looking for a particular sound for five hours. The point was not to achieve a certain result. The trial counted. " Evans also made drum loops to build some songs on. "If you hear Alright well , there's a sort of electronic percussion in the background at Björk."
Despite the appearance, the rhythmic part of Dance of the Clairvoyants is entirely played by Matt Cameron. “It's one of the things on this album that I'm most proud of as a sound engineer. If you had come to see the recording you would have heard Matt play everything live exactly as you listen to it on the record, except for the sound of the double cymbals that is programmed. It took a whole day of work to handle with cushions, tape and other things to make Matt's instrument sound like an electronic drum kit. " The most difficult piece to make was Seven O'Clock. "They brought it up the day we started recording in January 2017. They played it for two, three hours. Over the next two years, sound engineer John Burton and I worked on it. It was a jam from which we went fishing for the parts that seemed particularly strong. The refrain was played with four or five different rhythmic approaches. What you hear is an assembly. The fact that despite everything sounds like a song makes me proud. "
There is no band in rock history that has kept the excitement for music intact after twenty or thirty years of career. Pearl Jam is no exception. Led Zeppelin have made albums not up to their fame such as Presence and In Through the Out Door , Who Face Dances and It's Hard . They, with due proportions, published Backspacer and Lightning Bolt. The almost insane intensity of certain songs and performances of the 90s, when the group seemed perpetually on the edge of the precipice, gave way to a new form of awareness and calmness. To try to make great music, or at least something exciting, it is no longer enough to lock yourself together in a room. It takes new stimuli. And so at GT Studios, Josh Evans has served not only as a co-producer, but also as a motivator. «Sometimes I had to be a psychologist, between births, deaths, illnesses, family problems, not to mention the election of Trump. But most of the time my role was to find sounds that fascinated and inspired at least one of them, and then tried to involve the rest of the band, And yes, sometimes I went to get coffee, like in the old days ».
Seven years separate Lightning Bolt and Gigaton . Pearl Jam had never spent so much time between records. Aside from Cornell's death and concert commitments, the sessions are during a long time because the band "didn't have to release a record at all costs. They had to be satisfied with it, they had to be sure it was strong. And then they took advantage of the luxury of having the GT Studio and not having to book an recording room. Only in 2019 did we understand that we had a collection of solid songs on our hands ».
Gigaton's so-called homely character is also reflected in the place where it was mixed. Not in a large recording studio, but in a more modest place, Evans' personal studio. "Basically, in my home garden."
par Tremoskito » Mar Mars 24, 2020 11:08 pm
par XWayne » Mer Mars 25, 2020 11:01 am
par Mikeb » Mer Mars 25, 2020 12:03 pm
par froggy bunnyman » Mer Mars 25, 2020 3:51 pm
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