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Product Description
Protection
Each record is protected within its record sleeve by a white vellum anti-dust sleeve.
Packaging
All items are shipped brand-new and unopened in original
packaging. Every record is shipped in original factory-applied shrink
wrap and has never been touched by human hands.
Makes me think if Superblood thingy moon isn’t actually the second single. Those radio people that teased it said it‘s got a really big Mike solo. Wolfmoon might be a bit short then
Pearl Jam
unveiled its upcoming 11th studio album “Gigaton” today at NeueHouse in
Los Angeles during an intimate playback in Dolby Atmos sound — complete
with frontman Eddie Vedder
pouring tequila shots for attendees while the music blared. As
previously reported, “Gigaton” will be released March 27 on the band’s
Monkeywrench imprint through Republic, and is preceded by the Talking
Heads-tinged first single “Dance of the Clairvoyants,” which dropped
earlier this week.
Produced by the group in tandem with longtime collaborator Josh
Evans, the 12-track “Gigaton” is arguably the band’s strongest and most
diverse work since 1998’s “Yield.” It begins with the driving rocker
“Who Ever Said,” with Vedder intoning, “All the answers will be found in
the mistakes we have made,” and shifts directly into the similarly
propulsive “Super Blood Wolf Moon,” featuring a sizzling Mike McCready
guitar solo.
“Quick Escape” is led by a huge Jeff Ament bass groove, as Vedder
narrates an international road trip armed with a “sleep sack, a bivouac
and Kerouac sense of time.” “Alright” builds more slowly atop an
uplifting melody, with Vedder offering, “if your heart still beats free,
keep it to yourself.” Vedder said he is particularly proud of the
lyrics on track “Seven O’Clock,” which evokes trippy, Pink Floyd vibes
and finds him in full falsetto as the song winds down. “That one started
as a jam early in the recording sessions, and then they moved on and
did other things,” Evans tells Variety. “We went through and pulled out a
bunch of different cool moments and cut them together, and then the
band layered a bunch of new things on top of it.”
“Never Destination” evokes strident, uptempo Pearl Jam
songs such as “MFC” with a tinge of U.K. post-punk, and features
another strong solo from McCready. The Matt Cameron-penned “Take the
Long Way” is a riffy monster in one of the drummer’s famous tricky time
signatures, as Vedder shouts, “I always take the long way/ It leads me
back to you.”
“Buckle Up,” written by guitarist Stone Gossard, surfs a dexterous
major-key guitar line and is one of the more abstract songs on the
album, but serves as the perfect lead-in to Vedder’s “Comes Then Goes,”
sporting Pete Townshend-worthy acoustic guitar aggression and the
memorable lyric, “We could all use a savior from human behavior.”
Evans says, “I think that vocal is maybe what we got on the first
take. It was just about capturing the moment and being ready to hit
‘record’ to memorialize that feeling.”
“Gigaton” concludes with two exquisitely layered, slow-burning
tracks. “Retrograde,” which dates back to recording sessions from 2017,
is reminiscent of 2010-era Pearl Jam singles such as “Just Breathe” and
“Sirens.” The song builds to a massive crescendo as Vedder repeatedly
bellows the phrase “feel the sound.”
“River Cross” is the only song on the album previously performed
live, albeit in Vedder’s solo concerts, and recalls Peter Gabriel-era
Genesis songs such as “Carpet Crawlers” in its simmering intensity
(lyrics include “I want this dream to last forever / I wish this moment
was never-ending”). With Vedder on an 1850s-era pump organ and Ament on
kalimba, it caps a gripping listening experience that found even Vedder
choked up as he took it all in. “I’ve never had that much tequila in the
afternoon,” he joked afterward.
“The pump organ on the finished track is from the original demo. The
rest of the band felt it was so powerful,” Evans says. “They all put on
these little delicate layers to help turn it into a true Pearl Jam song,
like Mike with a little E-bow thing or Stone with just a hint of
acoustic guitar. I even blended some synthesizers in.”
Pearl Jam’s notoriously diehard fanbase got their first taste of
“Gigaton” on Jan. 11, when mysterious augmented reality billboards
featuring Paul Nicklen’s album cover photo of a Norwegian ice waterfall
appeared in 12 cities worldwide. Using a dedicated filter on Instagram
or Facebook Lens, fans could watch the ice rapidly melt while an
instrumental audio snippet from the album played in the background.
“The band wanted to scale something globally and create a unique fan
experience so that wherever they were in the world, they were all
discovering it in the same way at the same time,” says Pearl Jam
management’s Scott Greer, who is overseeing the “Gigaton” marketing
roll-out. “Everyone interacted with it differently. Some people were
walking in front of the animation, and then we saw one little girl
tapping on the moving waterfall. That engagement and interaction made it
more than just a Pearl Jam album cover — it made it universal.”
Greer encouraged the band to mix “Gigaton” in Dolby Atmos and present
it in that format at today’s playback to highlight Evans’ production
work. Indeed, “Gigaton” is believed to be the first album released by
the Universal Music Group in Dolby Atmos sound. “It’s such a unique way
to experience the album and appreciate the level of effort the band put
into it,” says Greer.
Pearl Jam
unveiled its upcoming 11th studio album “Gigaton” today at NeueHouse in
Los Angeles during an intimate playback in Dolby Atmos sound — complete
with frontman Eddie Vedder
pouring tequila shots for attendees while the music blared. As
previously reported, “Gigaton” will be released March 27 on the band’s
Monkeywrench imprint through Republic, and is preceded by the Talking
Heads-tinged first single “Dance of the Clairvoyants,” which dropped
earlier this week.
Produced by the group in tandem with longtime collaborator Josh
Evans, the 12-track “Gigaton” is arguably the band’s strongest and most
diverse work since 1998’s “Yield.” It begins with the driving rocker
“Who Ever Said,” with Vedder intoning, “All the answers will be found in
the mistakes we have made,” and shifts directly into the similarly
propulsive “Super Blood Wolf Moon,” featuring a sizzling Mike McCready
guitar solo.
“Quick Escape” is led by a huge Jeff Ament bass groove, as Vedder
narrates an international road trip armed with a “sleep sack, a bivouac
and Kerouac sense of time.” “Alright” builds more slowly atop an
uplifting melody, with Vedder offering, “if your heart still beats free,
keep it to yourself.” Vedder said he is particularly proud of the
lyrics on track “Seven O’Clock,” which evokes trippy, Pink Floyd vibes
and finds him in full falsetto as the song winds down. “That one started
as a jam early in the recording sessions, and then they moved on and
did other things,” Evans tells Variety. “We went through and pulled out a
bunch of different cool moments and cut them together, and then the
band layered a bunch of new things on top of it.”
“Never Destination” evokes strident, uptempo Pearl Jam
songs such as “MFC” with a tinge of U.K. post-punk, and features
another strong solo from McCready. The Matt Cameron-penned “Take the
Long Way” is a riffy monster in one of the drummer’s famous tricky time
signatures, as Vedder shouts, “I always take the long way/ It leads me
back to you.”
“Buckle Up,” written by guitarist Stone Gossard, surfs a dexterous
major-key guitar line and is one of the more abstract songs on the
album, but serves as the perfect lead-in to Vedder’s “Comes Then Goes,”
sporting Pete Townshend-worthy acoustic guitar aggression and the
memorable lyric, “We could all use a savior from human behavior.”
Evans says, “I think that vocal is maybe what we got on the first
take. It was just about capturing the moment and being ready to hit
‘record’ to memorialize that feeling.”
“Gigaton” concludes with two exquisitely layered, slow-burning
tracks. “Retrograde,” which dates back to recording sessions from 2017,
is reminiscent of 2010-era Pearl Jam singles such as “Just Breathe” and
“Sirens.” The song builds to a massive crescendo as Vedder repeatedly
bellows the phrase “feel the sound.”
“River Cross” is the only song on the album previously performed
live, albeit in Vedder’s solo concerts, and recalls Peter Gabriel-era
Genesis songs such as “Carpet Crawlers” in its simmering intensity
(lyrics include “I want this dream to last forever / I wish this moment
was never-ending”). With Vedder on an 1850s-era pump organ and Ament on
kalimba, it caps a gripping listening experience that found even Vedder
choked up as he took it all in. “I’ve never had that much tequila in the
afternoon,” he joked afterward.
“The pump organ on the finished track is from the original demo. The
rest of the band felt it was so powerful,” Evans says. “They all put on
these little delicate layers to help turn it into a true Pearl Jam song,
like Mike with a little E-bow thing or Stone with just a hint of
acoustic guitar. I even blended some synthesizers in.”
Pearl Jam’s notoriously diehard fanbase got their first taste of
“Gigaton” on Jan. 11, when mysterious augmented reality billboards
featuring Paul Nicklen’s album cover photo of a Norwegian ice waterfall
appeared in 12 cities worldwide. Using a dedicated filter on Instagram
or Facebook Lens, fans could watch the ice rapidly melt while an
instrumental audio snippet from the album played in the background.
“The band wanted to scale something globally and create a unique fan
experience so that wherever they were in the world, they were all
discovering it in the same way at the same time,” says Pearl Jam
management’s Scott Greer, who is overseeing the “Gigaton” marketing
roll-out. “Everyone interacted with it differently. Some people were
walking in front of the animation, and then we saw one little girl
tapping on the moving waterfall. That engagement and interaction made it
more than just a Pearl Jam album cover — it made it universal.”
Greer encouraged the band to mix “Gigaton” in Dolby Atmos and present
it in that format at today’s playback to highlight Evans’ production
work. Indeed, “Gigaton” is believed to be the first album released by
the Universal Music Group in Dolby Atmos sound. “It’s such a unique way
to experience the album and appreciate the level of effort the band put
into it,” says Greer.
I
got to hear the new Pearl Jam record on my BIrthday !!! What a gift ,
and what an incredible record ! I think the band really pushed the
envelope And created something very special . Cant wait to hear it live
!!! So cool that Ed showed up and refreshed our tequlia’s ! Amazing . 📷
@ninaclinch
Friday, Jan. 24 — Sneak peak at Pearl Jam’s new album
Pearl Jam lead singer Eddie Vedder, here
performing at Safeco Field in 2018, hosted a sneak preview of Pearl
Jam’s new album, “Gigaton,” in L.A. on Friday. (Dean Rutz / The Seattle
Times)
Even before the first tequila shot, Eddie Vedder seems to be in good spirits.
The Pearl Jam frontman is holding court in front of an invite-only
crowd gathered in a dimly lit Hollywood event space. It’s a typical
industrial-chic room where industry players and journalists, full on
mushroom crostini and tiny cheeseburgers, are sprawled out on lounge-y
bench sofas and stools before the main event. The NeueHouse Hollywood is
a stone’s throw from the concert hall Carlile rocked the night before
and less than a mile from the Hollywood Forever Cemetery where Chris
Cornell’s ashes are buried, making this small pocket of valet country
feel like Seattle’s Grammy week ground zero.
We’re here for a sneak preview of Pearl Jam’s new album, “Gigaton,” arriving March 27 alongside a spring and summer tour
(no Seattle dates at this time). Intrigue around the Seattle titans’
first studio album since 2013’s “Lightning Bolt” spiked days earlier
when the band unveiled curveball single “Dance of the Clairvoyants,” which finds Pearl Jam armed with synthesizers and channeling its inner Talking Heads.
“I’m really hoping it’s loud,” Vedder says of the Dolby Atmos system —
think surround sound on Jose Canseco-grade steroids — it will be played
on. “My ears are not what they used to be. It’s an occupational
hazard.”
Before the playback begins with Vedder leading the room in a
ceremonial tequila toast, he offers a few words about the record he
describes as having a layered, multidimensional sound — hence the Dolby
Atmos system. Of the creative process, Vedder says: “You’re always
searching for a little sort of magic. … To say that there was some
magic” in this record would display “more self-confidence than I’ve had
in my entire life.” Though he seems to believe there is.
Without drawing too many conclusions from a single listen, much of
“Gigaton” feels like new terrain for the Rock & Roll Hall of Famers.
At times there are hints of post-punk, warbly psych licks, spaced-out
synth sounds, as well as Who-vian stadium thunder that wouldn’t sound
out of place on other Pearl Jam records. For those wondering, “Dance of
the Clairvoyants” may reside on the outer edges of the band’s latest
experimentations.
As the album blasts through the arsenal of speakers, Vedder sits in a
reserved section with one of his daughters, Republic Records honcho
Monte Lipman and others, hunched over listening intently. Midway
through, Vedder briefly works the room with the aura of a rock sage
beach poet. But for a while there, he was just a convivial dude with a
tequila bottle needing to be killed, coaxing people to drink at 3
o’clock in the afternoon.
Current Status: If you were confirmed for a show, Ticketstoday will email you instructions on how to view your tickets on the afternoon of Friday, January 31st.
Current Status: If you were confirmed for a show, Ticketstoday will email you instructions on how to view your tickets on the afternoon of Friday, January 31st.
Current Status: If you were confirmed for a show, Ticketstoday will email you instructions on how to view your tickets on the afternoon of Friday, January 31st.
Comments
www.headstonesband.com
GIGATON Vinyl Record
Product Description
ProtectionEach record is protected within its record sleeve by a white vellum anti-dust sleeve.
Packaging
All items are shipped brand-new and unopened in original packaging. Every record is shipped in original factory-applied shrink wrap and has never been touched by human hands.
$15.87 https://amzn.to/36W6do5
$34.75 https://amzn.to/35YHGNE
Eddie Vedder Unveils Pearl Jam’s New Album, ‘Gigaton,’ at Intimate Listening Session
Pearl Jam unveiled its upcoming 11th studio album “Gigaton” today at NeueHouse in Los Angeles during an intimate playback in Dolby Atmos sound — complete with frontman Eddie Vedder pouring tequila shots for attendees while the music blared. As previously reported, “Gigaton” will be released March 27 on the band’s Monkeywrench imprint through Republic, and is preceded by the Talking Heads-tinged first single “Dance of the Clairvoyants,” which dropped earlier this week.
Produced by the group in tandem with longtime collaborator Josh Evans, the 12-track “Gigaton” is arguably the band’s strongest and most diverse work since 1998’s “Yield.” It begins with the driving rocker “Who Ever Said,” with Vedder intoning, “All the answers will be found in the mistakes we have made,” and shifts directly into the similarly propulsive “Super Blood Wolf Moon,” featuring a sizzling Mike McCready guitar solo.
“Quick Escape” is led by a huge Jeff Ament bass groove, as Vedder narrates an international road trip armed with a “sleep sack, a bivouac and Kerouac sense of time.” “Alright” builds more slowly atop an uplifting melody, with Vedder offering, “if your heart still beats free, keep it to yourself.” Vedder said he is particularly proud of the lyrics on track “Seven O’Clock,” which evokes trippy, Pink Floyd vibes and finds him in full falsetto as the song winds down. “That one started as a jam early in the recording sessions, and then they moved on and did other things,” Evans tells Variety. “We went through and pulled out a bunch of different cool moments and cut them together, and then the band layered a bunch of new things on top of it.”
“Never Destination” evokes strident, uptempo Pearl Jam songs such as “MFC” with a tinge of U.K. post-punk, and features another strong solo from McCready. The Matt Cameron-penned “Take the Long Way” is a riffy monster in one of the drummer’s famous tricky time signatures, as Vedder shouts, “I always take the long way/ It leads me back to you.”
“Buckle Up,” written by guitarist Stone Gossard, surfs a dexterous major-key guitar line and is one of the more abstract songs on the album, but serves as the perfect lead-in to Vedder’s “Comes Then Goes,” sporting Pete Townshend-worthy acoustic guitar aggression and the memorable lyric, “We could all use a savior from human behavior.”
Evans says, “I think that vocal is maybe what we got on the first take. It was just about capturing the moment and being ready to hit ‘record’ to memorialize that feeling.”
“Gigaton” concludes with two exquisitely layered, slow-burning tracks. “Retrograde,” which dates back to recording sessions from 2017, is reminiscent of 2010-era Pearl Jam singles such as “Just Breathe” and “Sirens.” The song builds to a massive crescendo as Vedder repeatedly bellows the phrase “feel the sound.”
“River Cross” is the only song on the album previously performed live, albeit in Vedder’s solo concerts, and recalls Peter Gabriel-era Genesis songs such as “Carpet Crawlers” in its simmering intensity (lyrics include “I want this dream to last forever / I wish this moment was never-ending”). With Vedder on an 1850s-era pump organ and Ament on kalimba, it caps a gripping listening experience that found even Vedder choked up as he took it all in. “I’ve never had that much tequila in the afternoon,” he joked afterward.
“The pump organ on the finished track is from the original demo. The rest of the band felt it was so powerful,” Evans says. “They all put on these little delicate layers to help turn it into a true Pearl Jam song, like Mike with a little E-bow thing or Stone with just a hint of acoustic guitar. I even blended some synthesizers in.”
Pearl Jam’s notoriously diehard fanbase got their first taste of “Gigaton” on Jan. 11, when mysterious augmented reality billboards featuring Paul Nicklen’s album cover photo of a Norwegian ice waterfall appeared in 12 cities worldwide. Using a dedicated filter on Instagram or Facebook Lens, fans could watch the ice rapidly melt while an instrumental audio snippet from the album played in the background.
“The band wanted to scale something globally and create a unique fan experience so that wherever they were in the world, they were all discovering it in the same way at the same time,” says Pearl Jam management’s Scott Greer, who is overseeing the “Gigaton” marketing roll-out. “Everyone interacted with it differently. Some people were walking in front of the animation, and then we saw one little girl tapping on the moving waterfall. That engagement and interaction made it more than just a Pearl Jam album cover — it made it universal.”
Greer encouraged the band to mix “Gigaton” in Dolby Atmos and present it in that format at today’s playback to highlight Evans’ production work. Indeed, “Gigaton” is believed to be the first album released by the Universal Music Group in Dolby Atmos sound. “It’s such a unique way to experience the album and appreciate the level of effort the band put into it,” says Greer.
dannybones64
Friday, Jan. 24 — Sneak peak at Pearl Jam’s new album
Even before the first tequila shot, Eddie Vedder seems to be in good spirits.
The Pearl Jam frontman is holding court in front of an invite-only crowd gathered in a dimly lit Hollywood event space. It’s a typical industrial-chic room where industry players and journalists, full on mushroom crostini and tiny cheeseburgers, are sprawled out on lounge-y bench sofas and stools before the main event. The NeueHouse Hollywood is a stone’s throw from the concert hall Carlile rocked the night before and less than a mile from the Hollywood Forever Cemetery where Chris Cornell’s ashes are buried, making this small pocket of valet country feel like Seattle’s Grammy week ground zero.
We’re here for a sneak preview of Pearl Jam’s new album, “Gigaton,” arriving March 27 alongside a spring and summer tour (no Seattle dates at this time). Intrigue around the Seattle titans’ first studio album since 2013’s “Lightning Bolt” spiked days earlier when the band unveiled curveball single “Dance of the Clairvoyants,” which finds Pearl Jam armed with synthesizers and channeling its inner Talking Heads.
“I’m really hoping it’s loud,” Vedder says of the Dolby Atmos system — think surround sound on Jose Canseco-grade steroids — it will be played on. “My ears are not what they used to be. It’s an occupational hazard.”
Before the playback begins with Vedder leading the room in a ceremonial tequila toast, he offers a few words about the record he describes as having a layered, multidimensional sound — hence the Dolby Atmos system. Of the creative process, Vedder says: “You’re always searching for a little sort of magic. … To say that there was some magic” in this record would display “more self-confidence than I’ve had in my entire life.” Though he seems to believe there is.
Without drawing too many conclusions from a single listen, much of “Gigaton” feels like new terrain for the Rock & Roll Hall of Famers. At times there are hints of post-punk, warbly psych licks, spaced-out synth sounds, as well as Who-vian stadium thunder that wouldn’t sound out of place on other Pearl Jam records. For those wondering, “Dance of the Clairvoyants” may reside on the outer edges of the band’s latest experimentations.
As the album blasts through the arsenal of speakers, Vedder sits in a reserved section with one of his daughters, Republic Records honcho Monte Lipman and others, hunched over listening intently. Midway through, Vedder briefly works the room with the aura of a rock sage beach poet. But for a while there, he was just a convivial dude with a tequila bottle needing to be killed, coaxing people to drink at 3 o’clock in the afternoon.
https://www.nuclearblast.de/en/products/tontraeger/cd/cd/pearl-jam-gigaton.html
Pearl Jam bootlegs:
http://wegotshit.blogspot.com
perfection.
Disappointing.
Yep. No need for F5'ing every hour all this week.