Pearl Jam's 'Gigaton': Album Review
Pearl Jam just released their first, and longest (57 minutes!), album in seven years. After Backspacer in 2009 and Lightning Bolt in 2013, both of which unsuccessfully tried to acquire Pearl Jam’s essence early in their career, Gigaton is a far more grown up version of who the band used to be. While keeping some of their original influences, they dabble and experiment unapologetically with various new sounds.
Kory Grow outlined it perfectly in his Rolling Stone review of the album: “But as [Eddie Vedder’s] matured, the youthful fury that fueled PJ’s golden-age grunge has grown with him, turning into a finely burnished middle-age indignation”.
The first song of the album is always the most important. It needs to be familiar, but with a sprinkling of the new influences. It needs to contain an element of surprise, while remaining mysterious enough. It needs to say, “keep listening”. The first track, “Who Ever Said”, serves a dual role: the reminder of Pearl Jam’s identity and Vedder’s hymn for hope. The track is set against a 1970s punk, New Wave style riff, with the evidence of hope directly in the chorus: “Whoever said it’s all been said/ Gave up on satisfaction”.
“Superblood Wolfmoon” was the second single released from Gigaton and was drastically different from the first single that was released, effectively reassuring the listeners that the album wasn’t going to be anything that was expected. It’s a punchy, garage-rock track, with a McCready guitar solo neatly tucked in the middle.
“Dance Of The Clairvoyants” is an unexpectedly danceable disco-rock track. Catchy as it is, it leaves the listener with an eyebrow raised, as it sounds as though it could’ve been produced by David Byrne with the beat and the use of synthesizers, both of which are distinctly not very Pearl Jam. By releasing this track first, the band effectively built suspicion as to what their new album was going to sound like. While neither the lyrics, nor Vedder’s voice have lost any venom, the track is far less typical Pearl Jam alternative rock, and far more angsty pop-punk.
“Quick Escape” contains a hammering bassline from Jeff Ament, with Vedder’s fuming cry laid overtop of it. Sandwiched in the middle, “Alright” is arguably the most forgettable of the tracks on the album. While the lyricism of the song is necessary and hard-hitting during days like these (“It’s alright to be alone/To listen for a heartbeat, it’s your own”), in my opinion, the song gets lost when set between back-to-back heavier rock ballads.
On “Seven O’Clock”, Vedder mentions famous indigenous leaders Sitting Bull and Crazy Horse, both of whom stood up against the United States government at one time or another in order to protect their traditions and their homeland. Following these name-drops, he refers to the sitting President as “sitting bullshit”, providing the satirical criticism of the government that Pearl Jam is known for. The song sends a strong message by ending with the words “much to be done”, repeated as the instruments fade out behind Vedder’s voice, reinforcing the idea that politics still remain a central theme, concern, and well of inspiration.
“Never Destination” provides instrumentals that are reminiscent of Vs. It’s punchy and aggressive, and Vedder sounds just as indignant as he did back in the 90s, but something is missing. It’s reminiscent of what Pearl Jam was built on, but perhaps not enough, and regardless, the song leaves the listener with a longer for something.
“Take the Long Way” seems to gather inspiration from the grunge explosion of the late 80s, and seems to take direct influence from Soundgarden. With heavy guitar riffs, a gritty bassline, and quick, aggressive percussion, it comes as no surprise that this track was penned by drummer (and former member of Soundgarden), Matt Cameron.
The album is structured with the heavier rock songs in the beginning, as if to remind us that Pearl Jam is here and they don’t plan on going anywhere any time soon. These tracks are followed by a handful of slower, contemplative, and reflective songs towards the end.
In a slower, melancholic track, Vedder sounds as though he’s singing a lullaby in “Buckle Up”. The song is eerie and unsettling, though with lyrics such as “The drapes pull back/Reveal her wound/Her boy on her lap/A murderer groomed”, it’s no wonder the tone of the song is so unnerving.
"Comes Then Goes” is a melancholic acoustic eulogy. While I would like to speculate and muse that perhaps this track is written with Chris Cornell in mind, the reality is that it is just vague enough that it could’ve been written for any lost friend, which is precisely what makes it so relatable to listen to.
“Retrograde” and “River Cross” arguably contain the most important lyricism, but also are the slowest of the album and casts the darkest forecast.
Ultimately, Gigaton sounds like a matured version of the band. There’s a variety of experimentation, with Pearl Jam refusing to commit to one sound for the album, but there is still something lacking. The album isn’t united as a whole and it lacks fluidity from track to track. While there is no returning to the band’s earlier days, which is arguably why Backspacer and Lightning Bolt were such let downs, this album doesn’t yet feel like the band is comfortable with where they have arrived either. It feels as though they’re walking in shoes that are still slightly too big for them.
Kory Grow outlined it perfectly in his Rolling Stone review of the album: “But as [Eddie Vedder’s] matured, the youthful fury that fueled PJ’s golden-age grunge has grown with him, turning into a finely burnished middle-age indignation”.
Photo courtesy of @pearljam on Instagram / Photo by Danny Clinch
The first song of the album is always the most important. It needs to be familiar, but with a sprinkling of the new influences. It needs to contain an element of surprise, while remaining mysterious enough. It needs to say, “keep listening”. The first track, “Who Ever Said”, serves a dual role: the reminder of Pearl Jam’s identity and Vedder’s hymn for hope. The track is set against a 1970s punk, New Wave style riff, with the evidence of hope directly in the chorus: “Whoever said it’s all been said/ Gave up on satisfaction”.
“Superblood Wolfmoon” was the second single released from Gigaton and was drastically different from the first single that was released, effectively reassuring the listeners that the album wasn’t going to be anything that was expected. It’s a punchy, garage-rock track, with a McCready guitar solo neatly tucked in the middle.
“Dance Of The Clairvoyants” is an unexpectedly danceable disco-rock track. Catchy as it is, it leaves the listener with an eyebrow raised, as it sounds as though it could’ve been produced by David Byrne with the beat and the use of synthesizers, both of which are distinctly not very Pearl Jam. By releasing this track first, the band effectively built suspicion as to what their new album was going to sound like. While neither the lyrics, nor Vedder’s voice have lost any venom, the track is far less typical Pearl Jam alternative rock, and far more angsty pop-punk.
“Quick Escape” contains a hammering bassline from Jeff Ament, with Vedder’s fuming cry laid overtop of it. Sandwiched in the middle, “Alright” is arguably the most forgettable of the tracks on the album. While the lyricism of the song is necessary and hard-hitting during days like these (“It’s alright to be alone/To listen for a heartbeat, it’s your own”), in my opinion, the song gets lost when set between back-to-back heavier rock ballads.
On “Seven O’Clock”, Vedder mentions famous indigenous leaders Sitting Bull and Crazy Horse, both of whom stood up against the United States government at one time or another in order to protect their traditions and their homeland. Following these name-drops, he refers to the sitting President as “sitting bullshit”, providing the satirical criticism of the government that Pearl Jam is known for. The song sends a strong message by ending with the words “much to be done”, repeated as the instruments fade out behind Vedder’s voice, reinforcing the idea that politics still remain a central theme, concern, and well of inspiration.
“Never Destination” provides instrumentals that are reminiscent of Vs. It’s punchy and aggressive, and Vedder sounds just as indignant as he did back in the 90s, but something is missing. It’s reminiscent of what Pearl Jam was built on, but perhaps not enough, and regardless, the song leaves the listener with a longer for something.
“Take the Long Way” seems to gather inspiration from the grunge explosion of the late 80s, and seems to take direct influence from Soundgarden. With heavy guitar riffs, a gritty bassline, and quick, aggressive percussion, it comes as no surprise that this track was penned by drummer (and former member of Soundgarden), Matt Cameron.
The album is structured with the heavier rock songs in the beginning, as if to remind us that Pearl Jam is here and they don’t plan on going anywhere any time soon. These tracks are followed by a handful of slower, contemplative, and reflective songs towards the end.
In a slower, melancholic track, Vedder sounds as though he’s singing a lullaby in “Buckle Up”. The song is eerie and unsettling, though with lyrics such as “The drapes pull back/Reveal her wound/Her boy on her lap/A murderer groomed”, it’s no wonder the tone of the song is so unnerving.
"Comes Then Goes” is a melancholic acoustic eulogy. While I would like to speculate and muse that perhaps this track is written with Chris Cornell in mind, the reality is that it is just vague enough that it could’ve been written for any lost friend, which is precisely what makes it so relatable to listen to.
“Retrograde” and “River Cross” arguably contain the most important lyricism, but also are the slowest of the album and casts the darkest forecast.
Gigaton Album Cover
Ultimately, Gigaton sounds like a matured version of the band. There’s a variety of experimentation, with Pearl Jam refusing to commit to one sound for the album, but there is still something lacking. The album isn’t united as a whole and it lacks fluidity from track to track. While there is no returning to the band’s earlier days, which is arguably why Backspacer and Lightning Bolt were such let downs, this album doesn’t yet feel like the band is comfortable with where they have arrived either. It feels as though they’re walking in shoes that are still slightly too big for them.
Pearl Jam's Gigaton: 7/10
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