Okay, so Pearl Jam's 12th and latest album has officially been released.
Ideally, I would have loved to review this album either before it came out (if I had managed to obtain a copy of it before that date), or at least on the day it was released. However, I only picked up the album on the day it was released, making a trip to a record store in Princeton, New Jersey, in order to obtain my copy.
One somewhat bizarre aspect of being a long-time and committed fan of Pearl Jam is that I can remember many, if not most, of the times when I obtained each of their album for the first time. While I do not specifically remember the day or even the place when I first picked up "Ten," I do remember having heard about the song "Jeremy" before I knew it was Pearl Jam. So one night, when I was driving on Route 17 in Bergen County in New Jersey, I suddenly paid attention when I recognized that this was the song that I was told about. After listening to the song, I learned form the dj that it was Pearl Jam, and obtained my copy of the album shortly thereafter, within days, most likely.
I got my copy of "Versus" from the Price Club, now better known as Costco, because it was cheap and my friend had a membership. Not sure when I obtained "Vitalogy," although I think it may have been at the old Tower Records store on Route 17 in Paramus, because I walked in there and got excited when I saw a very large poster of the album cover. However, I mostly remember listening to the album in it's entirety for the first time when that same friend and I were taking a road trip early in the morning to Philadelphia.
In 1996, I got my copy of "No Code" while in Chicago, on the day it was released (August 27th). It almost felt (and still almost feels) like a de facto souvenir from that first ever trip to Chicago for me. But when I think of that particular album, I usually remember listening to it while driving very late at night - actually, more like the wee hours of the morning - when another friend and I went up to Québec province, and were driving between Montréal and Québec City. It was mid-October, a bit chilly, and I appreciated the seemingly more mature sound and feel of the album, in comparison to their earlier albums.
For "Yield," I went with that first friend, and my then girlfriend (soon to be wife, and now my ex) to New York City at midnight to get our copy of the album. With each purchase, they gave away a limited edition lithograph. I still regret not having bought a copy of the album for my girlfriend (who was not a particularly big Pearl Jam fan) in order to obtain a second lithograph, but what can you do?
Don't remember when or where I got "Binaural." Nor do I specifically remember when I got "Riot Act," although I was quite excited at that time to hear from Pearl Jam again, and enjoyed that album more than most, since it feels like a generally overlooked album. Think I preordered both "Backspacer" and "Lightning Bolt," and I went to the Sound Exchange in Wayne, New Jersey, back in 2020 to get my copy of Binaural.
Alright, enough of this cruising down Memory Lane to try and remember when and where I got each new Pearl Jam album. Let's talk about this album, specifically.
For quite some time, I had heard that this album marked a return to a harder, rawer sound by the band, marking a return to earlier form, if you will. Indeed, that feels true. This album reminded me a bit - quite a bit at times, even - of the self-title (or blue, or avocado) album.
Lyrically, it feels like there are a few Easter eggs here and there. One song seems to address self-destructive tendencies, depression and suicide, much like tracks from early in the band's history, such as Jeremy and State of Love and Trust. Yet it feels and sounds very different, which is fitting. After all, many years have passed since then, and the band is older and wiser.
Also, while they clearly do allude to the present world (and especially national) situation, they do so with a bit more nuance and even poetry this time. There is no lyrical smashing in the face of outright political figures like they have done in the past, such as in BU$HLEAGER (a song I had mixed feelings about, appreciating the lyrics but admittedly not caring much for the musical aspects) and a clear reference to Trump as our "fucked up president" in the last album. The politics are still there, but you have to work a bit harder to find the references and the meaning, which I kind of appreciate.
Anyway, that is how I feel after having heard this album a few times now. So let's get on with the individual tracks. First, I will post the track list, and then review and even somewhat break down each song individually below that.
Just one note before I proceed. To the best of my ability, I tried not to read any of the reviews (although I published some links) and made a point of not reading and reviews of individual songs, and tried to avoid comments when I watched the videos of these songs with the lyrics on Youtube. Therefore, the following reactions to each song I arrived at independently, for better or for worse.
Let's begin:
Dark Matter Track List
1. Scared of Fear
2. React, Respond
3. Wreckage
4. Dark Matter
5. Won’t Tell
6. Upper Hand
7. Waiting for Stevie
8. Running
9. Something Special
10. Got to Give
11. Setting Sun
1. Scared of Fear - The opening track starts off silently and slowly for a few seconds, reminding me a bit of Dire Straits in Telegraph Road (one of my all-time favorite songs) before erupting into a raw sounding song which seems to raise the distinctive banner that this album does indeed seem to mark a return of sorts to the rawer, faster, heavier sound of the earlier era in this band's history. In terms of lyrical content, this one feels like it could be interpreted as one individual trying to grasp being in a relationship that has soured and turned abusive, although I suspect it may have a wider meaning, addressing the current situation that we find ourselves in the present day United States:
Oh, you're hurting yourself, it's plain to see
I think you're hurting yourself just to hurt me
Good stuff.
2. React, Respond - The second song on the album feels reminiscent of some stuff from earlier eras in this band's history, almost a mesh. Another fast and raw track here. Lyrically, this one is somewhat nuanced, yet it feels like a pretty direct call for action against all of the utter nonsense that we seem to be drowning in today. A solid track.
3. Wreckage - The first slowed down track on this album, with thoughtful and thought-provoking lyrics complimenting the feel of the music. Vedder finds himself "combing through the wreckage" of whatever we have become today, trying to remember the warm sunshine of a yesterday that just won't return.
4. Dark Matter - The title track has one of the rawest sounds of any song on the album. It feels a bit reminiscent of older Pearl Jam material. Lyrically, it seems to address the absurd and seemingly hopeless situation that we seem to find ourselves in these days, with a country unable to shake itself from a de facto cult leader promoting hatred and division. Solid track.
5. Won’t Tell - A decent rock track, albeit a bit toned down from some of the other tracks. The narrator of the song, if you will, seems to be waiting for someone - a woman - to tell him something, or to play him a song. Ultimately, to feel. Then, he turns around and asks the listener how much you feel, which I believe is a reference to art, to music, to inspiration. Just my interpretation of it.
6. Upper Hand - This one felt like it had a distinctly Pink Floyd kind of a feel to it, at least at certain parts of the song (particularly the first half). Certainly, it feels a bit influenced by Floyd. The lyrics are different than Floyd, although even here, they definitely have a more nuanced feel to them. Ultimately, this is one of my favorite tracks on this entire album.
7. Waiting for Stevie This one reminds me a bit of The Cure, at least musically. It just has a certain sound that really calls to mind The Cure, in any case. However, it reminds me a bit of Jeremy, back in the early days of this band, in terms of lyrical content. After all, this is the first time since those early days for the band that Eddie Vedder seems to sing about someone not just going through depression, but possibly contemplating suicide (at least that was my interpretation of it). One of the more memorable and instantly impactful songs on the album.
8. Running - Another song with a harder edge to it. In fact, this one reminds me a little bit, vaguely really, of Lukin (off the No Code album). This one feels like the closest Vedder gets to a smashing you in the mouth, pointing the finger of blame political statement. Nothing poetic or even really nuanced in this one. But I like it.
9. Something Special - This song is slowed down, with a kind of unplugged feel to it. In terms of lyrics, I believe we are hearing Vedder the parent, the proud father of two daughters. A moving track, especially if you are a parent thinking of your own kid.
10. Got to Give - The opening lines for this one really hit me:
Stormy seas behind your eyes
The dark moon is setting on your cheap disguise
It continues:
Castle falling turning into sand
The high tide is crumbling all the rocks we sit
Indeed, this song seems to be talking about impermanence at first. Then, it seems to be addressing the divisions that seem to be both defining and drowning us. Yet already talking about being the last one standing, and forgiving others their trespasses to break our current impasse. Again, just my interpretation.
11. Setting Sun - A fitting title, given that this is the last track on the album. It also is another very reflective song, questioning the passage of time, and time itself, which seems to have passed by without anyone quite noticing. At points, it seems to have a lonely feel to it. Yet in the end, Vedder turns around and gives this song a hopeful feel towards the end, reaching out and hoping that "our days be long until kingdom come." A solid and fittingly thought-provoking track to end this album on.
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