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There’s something homely about Eddie Vedder. At first glance, he comes off like a next door neighbor, always there to lend some sugar or joke about Mr. Riddle’s worn-out lawn across the street. Even when he talks, in that throaty, bourbon-flavored tone of his, he’s like the guy everyone’s waiting to hear from at the dinner table. You know… homely. The point is, he’s a likable guy, and people are drawn to that. After all, it can’t be just the music that sells everyone on Pearl Jam.
Can it?
Maybe, maybe not. If Backspacer is any indication, the answer is a definitive yes. Approaching their 20th anniversary, Seattle’s rugged quintet continues to write and export some humble yet powerful tunes. With their ninth studio album, and shortest to date (a whopping 37 minutes), the band has assembled one of the most eager and energetic records in their career. Finally, they’re having fun. They’ve trashed the Dubbya masks, they’ve saluted the veterans, and they’ve come to terms with the current political climate. Essentially, they’re done with being, well, bitter. And to think, Vedder’s actually the likable guy he appears to be.
But, you know that already — at least if you’ve heard “The Fixer”. Say what you will about its remedial verses, but the group’s current single is hands down their poppiest and most addicting since 1998’s “Do The Evolution”. There’s this overwhelming jovial feeling to it, and one that carries over into the record, too. Working off of Matt Cameron’s tight, teeth chattering percussion and the light evening piano work (provided by Brendan O’Brien), everyone goes wild. Vedder bounces back and forth, Stone Gossard puts his weight into every chord, Jeff Ament draws from his punk-rock influences, and Mike McCready gnaws away in a very subtle manner. Everyone’s at the top of their game, and while they’ve known this for years, it’s always only come off in their live performances. So when Vedder screams “Yeah, yeah, yeah, yeah” at the end, it’s nice to hear he’s having just as much fun on record, too.
It’s a different sound, though. Call it punk-rock, New Wave, or just good ol’ rock ‘n’ roll, but Pearl Jam sound different, and it’s not just that they’re happy-go-lucky, either. The songs are tighter. “Supersonic” rattles by with soul ‘n’ bite, “Got Some” clicks or pops (take your pick), and “Gonna See My Friend” pushes and shoves — all in under three minutes, respectively. In other words, these beg for repeated listens and not because you missed anything, but simply put, they’re fucking catchy. Hooks include: “Supersonic”’s grasping highway guitar lines (and Vedder’s sing-a-long chorus), Cameron channeling Stewart Copeland in “Got Some”, and Vedder’s “Ah, screw it” mentality in “…Friend”.
That’s not to say everything’s peachy here. Not at all. One of the album’s drawbacks is the band’s insistence, whether consciously or not, to wander or climb. In the past, this has worked both for and against them, delivering either beautifully woven power ballads (“Given to Fly”) or endless drives (“Come Back”). With Backspacer, it’s a little bit of both. Vedder’s ode to love and surfing (“Amongst the Waves”) offers no real surprises, but still nonetheless rocks, sporting some Southern rock-esque soloing via McCready. “Just Breathe” borrows from Vedder’s Into the Wild track “Tuolumne”, only adding violins and a breathy, melodramatic chorus, which comes off as either hokey or heartfelt, depending on the mood or listen. And while the very philosophical “Unthought Known” could have found itself stuffing up 1998’s Yield, it’s the soulful piano work and Vedder’s newfound enthusiasm that saves it from being filler. Basically, an agreeable win some, lose some scenario.
What stings here are the slower songs. Both “Speed Of Sound” and “The End” are beautiful pieces of music, layered with fully realized instrumentation, yet they drift more often than not. The spirally guitar work and the preachy melodies that Vedder works with offer little opportunities to jump in on. Instead, his scruffy crooning is only soothing, and while that’s not a sleight against him at all, it doesn’t make for the most interesting listen. It’s just rather expected at this point, and in pale comparison to the majority of the album, the tracks come off as weak.
But what’s really important about Backspacer is the overall theme of positivity. When Vedder asks, “Is it so wrong to think that/Love can keep us safe,” on the sprawling rocker that’s “Force of Nature”, he’s not really looking for an answer. He knows it can. It’s that wisdom, and his authority behind it, that sells this album. Why else would a single like “The Fixer” raise eyebrows and claim new ears? It’s not just the music, it’s the energy and passion behind it. For that reason above all, Backspacer stands as an important footnote for a band whose initial genre has long since decomposed. They’re a rock ‘n’ roll band who loves what they’re doing, and as long as they’re smiling, so are we… and possibly chanting a few “Yeah, yeah, yeah”s, too.
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comments (24)
Chech out Damnation by Opeth and tell me that’s not heart-felt. P.S. I listened to the entire album and honestly it sounds like nothing more then meaningless pop-rock and if I want that, I’ll listen to the Jonas Brothers thank you very much.
Mick on Sep 21st, 2009 at 12:19 pm
Who else is going to jump on the “this album sucks and so does Pearl Jam now” bandwagon? Is it so hard to accept the fact that PJ is writing music based on different influences?– it’s not a bandwagon people are jumping on, Mick. A lot of people, myself included, agree that Pearl Jam has been in a downward spiral since they released Binaural. Some people might even say Yield, but I still believe that album is solid.
Their songs and lyrics just really kind of suck compared to their older shit. They’re legit a different band than they used to be, and with that, a shittier band — they remind me of the Dad trying to act cool and fit in with their kids, but they’re doing a terrible job at it. I’m not saying they’re wrong for putting out the album, I’m more just baffled sometimes at how they’re still getting good reviews. Maybe my example before of “Daughter” wasn’t the best to use, but let’s just face the facts here people — “Daughter” is a great fucking song and no matter how overplayed and sick of it you might be, it’s probably 1,000 times better than the best song on their past 3 albums.
But with that said, this article is only a review and it’s an opinion — which is totally fine, think what you want. This, however, is just my opinion so I’m gonna voice it because the fine folks here at Consequence of Sound allow this funtionality into their website.
And blahh blahh, I’m gonna say No Code would be the best if they released them all today.
Look at things this way…If Pearl Jam came out today for the first time ever, after 19 years living in a music studio and they released all nine studio albums at once, which one would be the peoples choice of today???? It doesnt mean people have to like it but which one is it?
If you can train your mind to exclude outside influences and take each Album/Song on its own merit…Some of you could be very surprised by your answer. Ive tried to do it but I keep changing my mind after a few days…
Just like fashion people…what was cool then might not be cool now? But sometimes later it might be again…?
Not a bad album at all. I bought it on Vinyl and it sounds great.
i got my own
right on Todd. I got some if you need it.
This album is pretty sweet. PJ rules and always wiil. I’m well over daughter and I tink any PJ fan is as well. I don’t want to hear that unless I’m at a show. Not every album has to change your life in order to be a good album. All in all it’s just another piece in a great body of work.
NOt bad, too short however, a little hokey in spots with only a couple of highlights, think it might be time for them to reinvent there sound a little, and eddie vedder is a fraud anyhow…
“But what’s really important about BACKSPACER is the overall theme of positivity. When Vedder asks, ‘Is it so wrong to think that/Love can keep us safe,’ on the sprawling rocker that’s “Force of Nature”, he’s not really looking for an answer. He knows it can. It’s that wisdom, and his authority behind it, that sells this album.”
This. And “Force of Nature” FTW!
Who else is going to jump on the “this album sucks and so does Pearl Jam now” bandwagon? Is it so hard to accept the fact that PJ is writing music based on different influences?
Am I the only one who gets the feeling there’s some Rolling Stones inspiration on this record? A little added swagger to a few tracks early on that meshes with said positivity?
stop giving bad albums good reviews
Maybe Daughter’s not the best example, but it certainly smokes the crap they’re doing now — in my opinion. All I’m trying to say is, make a song that doesn’t sound like over-the-top buttrock and write some shit that people will actually respect. Don’t just write a song that the average person will find catchy, write a relevant song and maintain some dignity in the legacy you’ve created, I mean, you’re Pearl Jam for god sakes, not fucking Smash Mouth.
for the record Come Back is one of the best songs on the last album… just saying.
Pearl Jam blows these days. They haven’t made a decent album since Yield and they’re legit making a different genre of music compared to what they put out in the 90’s.
They’re following the same footsteps as bands like The Rolling Stones, where they’re just getting washed up, yet still trying to put out new music.
Why can’t they just make another “Daughter” and cut this cheesy-ass bullshit?
that was all brendan o’brian, i think. no boom
FYI, Yield came out in 1998.
I didn’t play on the new album. Stupid producer took food off my table.
Check out an exclusive look including videos and tracks from “Backspacer” at http://www.precioustimeny.com/blog/?p=4730
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