Gigaton: Official album thread

[sweeper]

This is the real Pitchfork review: https://pitchfork.com/reviews/albums/pearl-jam-gigaton/

They gave it a 6.2. I think they started reviewing albums with Riot Act. These are the scores:

Gigaton: 6.2
Lightning Bolt: 5.0
Backspacer: 4.6
Avocado: 5.5
Riot Act: 4.9

In other words, the best album since at least Binaural. =)

[Xsquilax82]

Pitchfork reviewed Yield years back and rated it at a 8.5. I guess 8.0+ scores to them are considered their top rated group.

But their reviews make little to no sense numbers wise, since some highly acclaimed great albums out there are given 4.0s, 5.0s, and 6.0s by Pitchfork. But it has been like that for years.


http://www.pitchforkmedia.com/record-re ... ield.shtml


Yield: 8.5

The rock journalism headlines have all read the same for Pearl Jam lately. Eddie Vedder and his bandmates would have a lot to prove with Yield, their fifth and most anticipated full- length release in which the band is being forced to prove it has not yet reached its musical peak.

Five years ago, Vedder and his counterparts were among the most celebrated participants in the grunge rock revolution. Today, the revolution is long since over, and many of the bands popularized during that period have met their demise. Pearl Jam would have to prove that it's not a band whose viability can be measured against the prevalence of flannel shirts.

One of the pressures Yield will have to face is that people expect it to offer some clue about where American rock is headed. With genre fusions rising in popularity, many have proclaimed that straight-on rock and roll is dead. Could Pearl Jam provide something more enthralling than the Britpop, trip-hop and bubblegum be-bop that's been commercialized in recent months?

And would Yield finally become the album where Pearl Jam reigned in the massive ego of its lead singer? Vedder's public image as a disturbed artist and political activity has gotten his band into loads of problems. The only difference Pearl Jam made while boycotting Ticketmaster and scalpers was that fans had to travel to undesirable and obscure venues just to see the band in concert. And, how was it that Vedder, who always claimed to not want the limelight, was always popping up on "Letterman?"

At first listen, Yield doesn't do anything to put those concerns to rest. Most of the songs seem to sound just like the average Pearl Jam selection. However, this disc is one that requires repeated listenings to get the gist of what the band is trying to communicate.

Upon being digested and dissected, Yield is perhaps the most lyrically powerful album Pearl Jam has ever produced. Most of the songs were written by Vedder alone, and they seem to finally offer insight into his journey from a troubled, pop culture icon into adulthood. The songs are overwrought with spiritual imagery as angels, oceans, faith and God are all common topics. But even when Vedder sings about characters in third person, it seems pretty obvious that he's talking about himself.

In "Wishlist," Vedder expresses a need to connect with people, then reverses himself seconds later. "Given to Fly," the record's first single, profiles an angel who escapes from a lonely captivity, just to return to the pain later in order to share love. But perhaps the most ironic entry is "All Those Yesterdays." Repeatedly, Vedder asks himself if he has accomplished and experienced enough in this life, eventually concluding that he may never be satisfied. "What are you running from?" he asks. "All those yesterdays," is his answer.

In short, Yield is like other Pearl Jam albums in that it maintains the legacy of Vedder's struggles as a tortured soul. However, the songs seem more honest than in previous efforts. With its spiritual tone, Yield seems to offer more insight into why Vedder is who he is and who he longs to become. But more importantly, Yield proves that Pearl Jam, and even rock music, is still alive and kicking. What remains to be seen is whether the fans can deal with the band's new level of maturity.

-Holly Bailey

[Lounge Lizard]

Whats up with the speculation that this is the first part of a double album?

https://twitter.com/antiquiet/status/12 ... 9733839872

Noticed the "Side A" thing right away when opened up the album today. I just chalked it up to it being a CD with only one side on it and they were being cute. Curious about whatever is on the spine...doesn't look exactly like a heart to me though. Not sure what it is.

The spine image is the left half of the "lungs" logo in the liner notes. Like here...

The "lungs" are actually whale backs as seen from above.
Check out wordbook scans by B.
I can't locate the exact link right now.

More in support of this:

Also, the etching on Side A says, "Breaching whales send me messages."

[warehouse]

the interview w josh evans was awesome. i want to hear that hour-long jam he mentioned.

[elliseamos]

the interview w josh evans was awesome. i want to hear that hour-long jam he mentioned.

Yeah, I imagine something like the TB2000 instrumentals and I feel like it needs to see the light of day. I was also amused by the quote along the lines of, "we went back and picked out the times when Eddie was doing something interesting." As if to say, much of the time he wasn't interesting.

[stip]

Finally listening to this on proper speakers. Everyone knows how much I adore Backspacer, and I thought Lightning Bolt was yet another strong album, but thanks goodness they didn't go with BoB this time. He wouldn't have allowed most of these songs to happen. The little detours in so many songs, outros, the change in tempos in the bridges, he would've nixed all of that as well as the entirely of DOTC. I've thought Ed put in great vocal efforts the last 2 records, but this is a great lyrical effort. Just lots of great incisive couplets and evocative imagery we haven't consistently heard in awhile. Also, this is may be the most 'Seattle sounding' of their records. I don't mean in an early 90s grunge sense, I mean the vibe of the Pacific Northwest just sort of translates here. I think recording in their home base, just being 5 Seattle dudes who like banging out some cool tunes and being socially conscious ... all of the comes through.

Who Ever Said - this one improved the most with proper audio. I remember Getaway really flooring me and I listened to it repeatedly. My first reaction on computer speakers was that it felt good but that I needed to grasp the lyrics and the song structure. The lyrics here really set up the album well. Good tone setter in that sense.

Superblood Wolfmoon - is growing on me. I think having the album and hearing how some of the songs are structured is making this a better compliment ... although I don't know why it was a single.

DOTC - banger, cool lyrics, great vocal delivery, inventive .... nuff said. A band classic, gonna be fun live.

Quick Escape -- fuuuck the outro jam is so tasty. Yeah, this really is the band improving in their game. It's like a early band era song but played by 5 guys with a wealth of experience rocking massive stages all over the world for 30 years. Jeff is doing shit on bass he wouldn't have thought to do and Matt is Matt. If your name is Pearl Jam and you've got this tune sitting around, you put it on the album.

Alright - the most critical song on the album. It is a spiritual soulmate to In My Tree. Not that it sounds the same, bit it's a n ode to solitude and introversion and it's healing powers. Settles this album down for the entire rest of the stretch.

7 O'clock - Liked this one initially, but I was wondering if it was too hackneyed in a Bruce Tunnel of Love kinda way to be great given Ed's vocal cadences. But, he knows what the fuck he's doing here. The vocal cadences a device he's using to carry the lyrics. If the lyrics weren't great, the song may have faltered bc of the Bruce thing. But the lyrics are good and some of the couplets are great and really what I've needed to hear in this fucked up Trump era. These are lost wilderness years and the devastation of what's going and how to react to it are laid bare. Definitely a central song on the record. Looking forward to more listens. Tunnel of Love and War on Drugs sorta stuff going on.

Never Destination - I can't explain, but this just fits coming off of 7 o'clock. Feels like it makes sense, flows well lyrically from the previous tunes, and brings up some necessary pace and tempo. Again, this isn't a stock song, it goes on those detours that BoB just wouldn't have allowed.

Take the Long Way - take a bow, Matt F'n Cameron. If you have that guy in your band, you gotta have a cool Cavedweller tune like this. So much tasty goodness here. Gonna play this one again and again.

Buckle Up - cool weirdo PJ tune, I'll come back to this more as I get into the album.

Comes Then Goes - what a GEM. This is as good as anything Pete Townshend can come up with. Just one good lyric after another. A healing tune for these times, a late period Ed/PJ masterwork. This can stand up with the greats. What a talent this guy is, Eddie Vedder.

Retrograde - Great stuff, love the sounds and more than earns it's place in a key album spot. I'll be coming back to this more too.

River Cross - classic closer and extremely fitting lyrically for this album. Can't wait to let this sink in me more as I absorb more of the lyrical elements of the album.

This is a lyrical album in a way that I haven't experienced in a long time with the guys. I loved Backspacer because of the visceral punchy energy and it's crackling melodic tightness. But now the band is pushing me to think and listen in terms of lyrics and song structure. This will make me want to go back and re-explore parts of Yield, Lost Dogs, and Riot Act and it has elements of those albums with the grown up perspective of Lightning Bolt. A completely necessary moment in the band's catalogue. Essential.

this was a great post

Agreed

[Teeeeeekay]

Has the “In the midst of the 6th” been talked about?

[Jorge]

love the josh evans interview. what a big strong boi.

Why did this make me laugh

[corduroyg]

who ever said and comes then goes are monster songs, i put both among their all time best.

[Tim]

Apparently there's a Gigaton commercial showing in the US. Anyone seen it?

[Kalevi]

The last 30 to 60 seconds of almost every song on this record increases it's score by at least .5

[Kalevi]

Overall sequencing reminds me of DOTU only better

[warehouse]

The last 30 to 60 seconds of almost every song on this record increases it's score by at least .5

excellent observation. they really fuckin brought it this time

[Ms Harmless]

Holy fuck this album is bad. I just skimmed through it. Haven't really listened to a Pearl Jam album since they put an avacodo on an album cover. This duff is perfect for kids with that special extra chromosome, like that swiss miss Greta Thunborg.

shut the fuck up

[stip]

he has been banned - no need to engage.

[Ms Harmless]

good

[Kalevi]

So many references to other established artists in the lyrics
Petty
Cornell
Neil
Townsend
Led zep
Beatles

I'm sure there are more, not to mention the stylistic nods to Bruce and talking heads. I know some say cranberries singer is the object of SBWM

[warehouse]

weirdo's like that only want you to respond to them, even if they deserved to be slapped, its best to just ignore them. especially in a thread about pearl jam's best album since 1998. this thing covers just about everything they do well, and there's still tons on this album that is completely new for them. the sound alone is so much better than every album they've ever done.

[warehouse]

So many references to other established artists in the lyrics
Petty
Cornell
Neil
Townsend
Led zep
Beatles

I'm sure there are more, not to mention the stylistic nods to Bruce and talking heads. I know some say cranberries singer is the object of SBWM

queen and mercury are mentioned. we might need a separate thread for this lol

[vedder316]

Working thru the visualizers on my tv now.

Surely the freshness of these tunes, and the exuberance of new PJ will wear off. Surely it will, but this album is really fucking good.