Lightning Bolt Reviews

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Listening Party Review

Ok i`ll try to write some thoughts. It`s really impossible to give a real review case after one listen i can never judge a Pearl Jam album. So it might be that after 5 listens i would write the complete opposite. I even might mix up some songs cause like 10 minutes after i heard it i forgot most of it

Getaway:
- pretty catchy uptempo song. It`s nothing crazy innovative but a great opener for the album i would say. I think the second verse was only voice and drums which was pretty cool. The melody is really catchy and you can sing along after first verse. But yeah it`s a bit - don`t know how to say it but it`s like a mixture of some PJ songs i heard before. So when i heard this i was a bit afraid that they really don`t have anything new to say...

- MYM:
You know that already. Only think i would say that it`s the fasted song on the record.

- My Fathers Son:
When it started i remember me saying what is that? That`s not Eddie singing! But it was Eddie First i really thought it`s Stone singing. Might just be because the room was pretty noisy. Other than that i think it was decent but a bit too long. Got a bit bored towards the end.

- Sirens:
I have to say i did not liked this song very much. I was really disappointed with this one because of all the hype. It`s a pretty (too) radio friendly ballad. Comparing it with Black is a joke too me. It was still interesting the guitars sounded a bit like 80 rock too me. But yeah I think i liked this song the least of all.

- Lighning Bolt:
I liked it much more than the live version we`ve all heard. I think it might be in my top 4 of this album.

- Infallible:
Liked this one a lot too! It has a nice Groove. Reminded me a bit of No Way. It`s not like No Way but the way a simple powerfull groove dominates this song just reminded me of it. Don`t remember much more only that i really liked it.

- Pendulum:
Really nice slow song with a psychedelic touch. Brandon said they recorded this one already for Backspacer but it didn`t made it...

- Swallowed Whole:
Didn`t really got into this one. It reminded me of something from Into The Wild but one of the more upbeat songs like Setting Forth..

- Let The Records Play:
Easily one of my favs. Good old school blues rock. Sounded like Black Rebel Motorcycle Club meets Black Keys!
Really nice can`t wait to hear it again.

- Sleeping By Myself:
I don`t know... It`s a bit like a joke. It`s not that much different than the Uke version but with a funny groove. Don`t know how to say it but it`s difficult to find a reason why this one should be on the album. It really feels like a joke. Not in a bad way but just like they make fun of themselves or something.

- Yellow Moon
Don`t know felt it was a bit boring.

- Future Days
Eddies voice is great but still it`s a bit boring to me.

So all in all i think it`s pretty great but the ending (last 3 songs) for me felt a bit like filler material. Like they had not enough and just put some Eddie solo material at the end. The album is heavy on production. Even more than Backspacer i would say. I have to say i liked it cause that`s what they should do in the studio but i`m sure there will be some people complaining about. So for me it a bit like Backspacer but with more depth and a bit more experimentation.
Ok that`s it for know. I realize this might not really help people to get an idea of the album. In the end it`s really impossible to say anything after one listen And again often the songs i don`t like first become my favorites later and the other way around so don`t take this too serious...

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Listening Party Review

Franzi Schwade
LIGHTNING BOLT -- PRE-LISTENING
Our Opinions on the songs

So guys, I (Franzi) can't really describe music but I tell you the overall feel of the songs & I tried to get an idea of the lyrics, if I could understand Ed
Chris knows more about music, he added his comments after mine Enjoy!

F = Franzi says
C = Chris says

1. Getaway
F: We got this song twice because of a cd-error the first time. I liked it more after the second listen.
It's a faster mid-tempo song I would say. Not nearly as fast as MYM, but still one of the Top3 fast songs on the album.
Ed is slightly screaming the whole time. I guess the lyrics are about faith. Didn't understand much, but it's
more of an optimistic song.
lyrics snippets "hey heyy...it's ok" ... "it's alright"... (often)
"It's alright, I got my own way to believe" is a line that appeared more than once.
"sometimes you find yourself"...
Sounds strange, but it felt kind of right to the melodies.
C: Bass doubles the vocals in the verse - if I had a guitar while listening, I would have figured it out, but now I forgot about it

2. MYM
F: you know that one
C: Yeah.

3. My Father's Son
F: It's a strange one, couldn't describe it. Ed's voice sounds unfamiliar at the beginning, I thought that Stone sang first, too.
Mid-tempo. Really something new.
C: Could catch one line which was something like "My mother...she's a work of art". The verse is almost only vocals, drums and very much bass...
very bassy...dark atmosphere IMO. I like that song as I generally like challenging song structures I thought the bridge is very funny - like a poppy tune making fun of something.

4. Sirens
F: It's a beautiful one, Chris and I thought from the beginning that it sounded a bit like Pink Floyd, kind of like Mother.
At the start he sings several times:
"Hear the sirens..."
It's more of a slow song, but has a nice mood to it, feels lonely, like being alone somewhere at night, just my opinion.
I guess it's a heartbreak song, although I didn't understand most of the lyrics.
There is a guitar solo in it with notes that reminded me of binaural-area solos of mike, but I'm really no guitar expert
It has a catchy melody between the chorus, don't know if that's the bridge or the verses, but I think it will grow on you the more you listen to it.
Overall I think it's a classic PJ song (without being cheesy) that many people will love.
C: It's a long song. In the end, this line gets repeated over and over: "The fear goes away...". The song has a short and rather calm Mike solo.

5. Lightning Bolt
F: To me it really sounds similar to the live version, no big surprise here. Not my favorite song, but the production sounds nice.
It's got an awful fade out at the end & a guitar solo in between. But you know the rest
C:Sometimes I find fade-outs suitable, sometimes I don't. For this one it's ok for me. But I always wonder with what kind of song end they would come up if they play it live...and sometimes they would become very creative about that and I'd love to hear that on an album as well.

6. Infallible
F: It's an unusual PJ song, It has strong drum (and bass) lines and not so much guitar. The music sounds a bit aggressive & has a
more contemporary feel to it than the usual stuff. Eds voice is still in the normal range as a contrast to the more loud music
Lyric snippet if I heard it right
"put your faith in good hands,
pay no more than a glance"
"you think you've been here before"
(oh god, how embarrassing if these lyrics would be totally wrong, but I had to write fast )
It gets screamier at the end & to me it feels a bit like alternative rock in the direction of the newer Foo Fighters songs.
It has a few voice overlays at the end.
& a fade-out again.
C: I found it to be rather long as well. Multiple guitars, backwards played open the song. The rhythm then is very "stompy" IMO. I wrote up some rhythmic notations amd guesses a few harmonies (for some of the other songs too) but find it now hard to remember or express.

7. Pendulum
F: I loved Pendulum. I picture Ed in a dark and moody room, like in a club, but the feeling is very lonely.
Eds voice is very soft and extremely in front of the music (you actually can understand the lyrics very well). The lyrics are very dark.
"my shadow left me long ago"
"understand where we d(w)on't go
this may pass
this may last"
It's really dark and kind of trippy.
It has a strang "a-ah-ah-a-..." part at the end. not his typically "hiiihiii"
There is also a Tambourine which makes the song sound even weirder and it ends with a few fast drum beats, very unique.
C: Echo-y Piano Intro, like in a big hall. Dark mood overall.

8. Swallowed Whole
F: It's the song that reminded me of Backspacer the most.
The lyrics are very environmental.
"I can feel the dawn,
I can feel the earth,
I can feel the living"
"Where's the song inside the wind?" (several times)
mid-tempo
C: Has a rather fast riff, mainly played by an acoustic guitar. Eigth notes, and, if you know what I mean, to count: 1,2,3,1,2,3,1,2 (emphasizing the "1" - a classic alternative rock rhythm). I find the chorus rather "poppy". I noted an "OK" judging the song while listening. But, who know, if it evolves in my ears

9. Let The Records Play
F: It's a fun and ironic rock'n'roll song. It's really catchy and easy to listen to but I think it will get boring after time, at least for me.
It has a break shortly before the end & then more solo guitar and instrumental music for about 20 seconds til the end.
C: I'm with Franzi - Rock'N'Roll riffs (the verse and fragments here and there), sounds rather ironic (without recognizing the lyrics). If I am right, Mike plays slide guitar licks and a slide guitar solo with wah-wah effect. I also noted: "Bridge!" I guess I liked it

10. Sleeping By Myself
F: It's similar to the Uke version, it's more folky, in the direction of Mumford&Sons. With vocal harmonies from the band.
There are louder instrumental parts between the choruses, then the music gets in the background, Eds voice to front & back again.
I wrote "feels displaced". It's just a strange place on the album & Brendan told later that he was the one who wanted this song on the album so bad,
soooo. It's his fault. Would be more fitting as a b-side.
C: There is a "solo" (related to the vocal melody) as an instrumental bridge before the last chorus, I guess. I made a footnote: "Almost trivial." I recognized an Ukulele at the end of the song.

11. Yellow Moon
F: It's a slower song, reminded me of Mark Lanegans Bleeding Muddy Water.
It had a few lyrics with metaphers of the sky & falling stars and stuff.
Otherwise, for the first listen there's not so much I could write about it.
C: In the verse it has a odd time signature: 6/8 - 5/8 ... I noted "echo-y vocals" and something like a dark "fairy tale".

12. Future Days
F: You all heard it. It's really cheesy It has a light echo effect on Eds voice and vocal harmonies. Also it's more like an Ed song, only little soft background music.
The end has the cheesy keyboard. But I guess all the non-PJ-fans will love it, haha.
C: I never found that song too cheesy but considered it to be a challenge to accept it in the catalogue, haha. I like the production...I understand why the piano fits into it...but I could live without a piano here

All in all, I think those are great songs, so, even if I might don't like one or the other, maybe you'll love them.

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Listening Party Review

Good morning jammers,

a few words about the afternoon in the Ramones Museum yesterday. i think Franzi and cris did a really good job in describing the songs. i wouldn't be able to do this properlly....so thanks again for that!
my thoughts:

- I love the album but i tell you....it's so fucking hard to hear a new PJ record just for one fucking time and not a single rotation more...THAT'S BRUTAL! CRUELTY!! we all know that you NEED a lot of listens to get the real feeling for the album! oh oh, the next month will be so hard. to be honest...i don't know if it wouldn't be better to hear NOTHING until you have the vinyl in your hands and a record player i front of you. glass of vine, maybe a good friend...yesterday it was my first record release session of a new PJ album without my best friend Alfred (R.I.P.), so I was happy to be able to hear it at least with some other hardcore jammers like Cris, Franzi, becky, Benz and all.
But on the other hand...there were a lot of people in a small room, mostly german press guys. so these guys have to write a proper review about the album now. It will be hard for them as they had a lot to do with talking and drinking and eating. AND...everybody has to stand (beside me and a few jammers who took the stage), it was quite hot too. But okay...I'm too hard....that were just a few guys but as Becky knows...when Eddie sings EVERBODY HAS TO SHUT THE FUCK UP!!! as i wrote, it was nice to see friends like Cris and Franzi enjoying the songs as i did. they were able to note some stuff for the board, i had to close my eyes as i didn't want to see any bored face who isn't really interested in the album AND i wanted to focus on the music totally.

- about the songs...as they wrote: there are some real catchy tunes like "Sirens" or "Getaway" (love both) but a song like "Yellow Moon".....can i say It's GREAT? or BORING?? i need a second listen, and one more and more and more....but it's at least a GOOD song. the same with others...

- "Pendulum" is KILLER!! One of my favourites!!!! New sound, new darker mood for PJ in my opinion! Doesn't fit on BS but here....perfect!!
- "Infallible", "Getaway", "Lightning Bolt", "Future Days", "swalloed whole", "My Father's Son" (what a surprising song)
- "Sleeping by myself" good alternate version of the song but WHY NOT A B-SIDE??? I just want to hear new songs on a new album. this is no recycling station.
- totally the album is more mid-tempo (slower?) than backspacer. and it's not "tight" as BS.

- after the first listen: I was more into Backspacer. for me that was easier to get into after one single listen. I remember saying "Yeah, fucking one of their best albums! Love it! yeah yeah yeah!!" not the same this time but a really fucking very good feeling (Oh yeah!!). not a bad feeling. just need more time. We call albums like these a grower.. maybe after many listens i will say "Nah...it's just a "good" album!" but it's still possible that i'll say "That's fucking great!" what i want to say...makes no sense to write to many words about a PJ album we just heard one time or NO time...october is close folks and then we know the truth about OUR opinion. It's music.

Oh hell...that's no review, sorry mates! And sorry for my bad english. But i had the feeling to share some things because i know you want to read some stuff. I really would like to know more about the Q&A with brendan as i had to leave after the listening session for a really really bad job!!!!

No, i try to calm myself down with some PJ unplugged tunes...

See you next month to hear this shit live!
M

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Listening Party Q+A Review (Germany)

And now to the Brendan O'Brien Q&A and the press promo video that they
showed us before listening to the album.

The video was around 10 minutes long & featured parts of the songs Sirens,
Mind Your Manners, Lightning Bolt & Getaway.
Getaway was an early mix and sounded really different then what we heard on
the record later, Brendan apologized for ruining the song in that first
video.
You could see snippets of the MYM music video, interviews with the whole
band, and Ed alone in his car & in the studio archive or something like
that.
Ed talked mostly, but the projector was really dark and the sound quality
not that good so that we couldn't understand anything.
Mike talked about Sirens being the song he's most proud of, Ed talked about
waves (no surprise, haha) & that songwriting is like a wave, once you are
on there you can swim.
Ed also said that he is always relieved after a new album is finished and
that he likes to see what's next.
He also talked about the inspiration to the lyrics or album in general,
that it's about what's going on on the planet. (But, isn't it always? )
You can also see Ed rocking out in his car to the new record, haha.

So, now to the Q&A.

Brendan talked about how he and the band first got together. They toured
europe at that time (1992) and asked Brendan to fly over for their gig in
Nuremberg (Rock im Park) &
he really came all the way to europe for them.
Then he was asked about Of The Earth and I probably understood the first
part wrong because I think he said it was recorded for the last record, but
then someone asked again and B said it was never recorded because it just
didn't fit, but he liked the song live. I thought that was weird.
We then asked what he knew about the new leaks Cold Confession & let it
ride, but he said he never heard of them. I don't trust him on that one

Then the topic changed to Sleeping By Myself. B said something about it
being PJ written, which I didn't understand, maybe he meant that Ed
initially thought this would be a PJ song but later put it on his solo
record. Brendan loooved the song and wanted it on a PJ record badly so he
convinced the band to do a band version of it.

He then talks about the recording process, that in the past he was the one
with little kids who had to leave recording sessions to be with his family
and now the opposite is the case with them all having families. They don't
always record in Atlanta anymore, try to be more near Seattle. They
produced the songs in LA & mixed them in Seattle this time. B didn't seem
to like it that much, he said something about all (the band) being more
concentrated if they are somewhere farer away without much distraction.
They bring there own recordings or song drafts to the studio and then they
work on them/select them together. Ed wants to please everyone and tries to
sing on all the music they bring in, he also finishes the songs. He said
that to the band it's clear, that they wouldn't do a great album without
Ed. That sounded a bit strange to me
B can't remember them ever writing songs together. He said it's always that
someone brings something in and then they go over it later, but not really
like for example a Stone&Mike song or something like that. They are more on
their own while songwriting.

Pendulum was recorded for Backspacer but later didn't fit.
They also got a couple songs leftover from the LB session.

B has nothing to do with a Lost Dogs II kind of album, he is there for
focusing on the future and the new stuff.

Infallible is a Jeff song, Sirens is from Mike & Let The Records Play is a
Stone song. B said that he thinks there's no Matt song on LB.

He also told us (because of the years between the albums) that Ed has to be
ready. Like, they all wait for Ed to give his ok, because he is the main
force for writing. Otherwise the recording process is more democratic than
in other bands.
& B told he always takes his time for PJ records, especially because they
record so little, so it's only around 40 studio days in 3 years.

We then asked if he enjoyed his Birthday Wishes we all sent him from
Belfast in 2010 and he said he liked it very much & that his daughters
organized it and he was really surprised. They played it in the evening at
his house on a big screen

B was asked about the Mirrorball tour and said that he had a blast doing
that and that Neil made a great choice, asking PJ to play with him. He also
said that he wouldn't really want to tour again because he is more a studio
kind of guy and not made for touring
He then was asked about Wrigley and just told that Ed was really grumpy
because of the delay.

& he told that there will be a new Gaslight Anthem album in January, don't
know if that's stuff everybody already knows, but maybe it's good news for
some of you.

END OF THE Q&A

The fans had enough time to ask questions, even several, I think ONLY fans
asked questions, no one from the press did.


Franzi

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Listening Party Review

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Listening Party Review

From Berlin


It's a good album. But I also find it very hard to judge fully based off one listen.
I'm very much a lyrics person. I need to sit and listen to it few times with headphones on and no distractions.
I need to hear the music AND the lyrics. I want to take it all in, and grasp what they are actually singing about.
It was a busy place! Not to crowded, but enough press people there, I guess it was just an everyday thing for them.
A lot more talking going on than I wanted. (from Press People)
Made it noisy and hard to fully hear some parts of it.

I was not able to take notes. I was seriously let in at the very last minute. I wasn't on the list and didn't win the contest to be there. But it was The Ramones Museum,,, And I Believe in Miracles.
A Miracle Happened, and I got in!

So off Memory ( and from reading Franzi and Chris's reviews, which jogged my memory on some songs)
I was able to remember and write out some of my own thoughts.

Getaway... First song it seemed catchy. I remember it had a good beat and I enjoyed it. An upbeat faster tempo.
Not nearly as fast MYM, but it was good.

Mind Your Manners... We all know it. No explanation needed.

My Father's Son... I remember thinking this song was very different. Different how? Honestly,, I don't know how to describe it. I just remember it was very different.

Sirens... I loved this one! It's long and a slow song. I remember the lyrics "Hear the Sirens.. Hear the Sirens" I also remember a nice guitar solo. I see this a classic PJ ballad that fans are going to like.

Lightning Bolt... Again we have all heard this

Infallible... Honestly I can't remember a lot of this one. I think I remember liking this... But Honestly, I can't really give you any good thoughts or description on this one.

Pendulum.... I remember really liking this song also. Kind of a dark slow song.
Found it interesting that Brendan O'Brien said it was suppose to be on Backspacer but it was cut.

Swallowed Whole... Don't remember a lot of this one either. But after the show and discussing it with Franzi and Chris, Chris pointed out "Swallowed Whole" was a lyric in the Song, Unthought Known.
"Swallowed Whole in Negatives" I found this very interesting and something I hadn't really thought about.
Really want to listen close on this one again. See if I find any similarities to Unthought known. Or if it's pure coincidence.

Let The Records Play... Fun Catchy Rock Song. I think I will like it more as I listen to it. For some reason in my head I was thinking it would be something along the lines of Spin the Black Circle. But it definitely was not.
All in all I do remember enjoying the song.

Sleeping By Myself... Disappointed. I really do like the song. Great lyrics and Great song. But I wanted them to change it up. Make it a super rock song, something totally different than the Uke Version. It seemed Very Folk like.
And you do notice just a small bit of the Uke at the end of the song. Maybe I'll like it more after listening to it a bit.
But it seemed out of place on the album.
Brendan O'Brien said HE was the one who pushed to have this song on the album. HE wanted it on.

Yellow Moon... It was a slower song. Don't remember a lot of details on it though.

Future Days... Again we have all heard it by now.

All in all, I enjoyed the album. A lot more slower songs than I expected. I thought there would be a lot more Real Faster Rock type songs after hearing Mind Your Manners. (MYM is certainly the fastest song on the album)
But I did enjoy it.
I can't wait to listen to it all again, and REALLY process all the songs and lyrics on a more personal level.

Just remember, everyone is different!
You may think the total opposite of me when you hear it for yourself!
Keep an open mind and listen for yourself!
Then Decide.

It was awesome to be able to be a part of this. And nice to get some insight directly from Brendan O'Brien himself.

I felt very fortunate to be included. Especially when I wasn't even on the list to actually go. The German fans welcomed me with open arms. I spoke no German at all, but everyone was incredibly kind to me! All curious why/how I came from NYC when I wasn't even sure I could get in.
'You have to much money to spend, so you come to see if you can get in and listen?"
We all had a good laugh over that, after I explained myself.

I met some really great people! And am certain I'll be in touch with them all again soon! Several of them I will get to see again next month for the fall tour!

Bring On Oct 15th... I need to hear it all again!

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Listening Party Review

Here's mine. Hope it makes sense. (off to bed now cause it's 2 in the morning and I got a festival to go to tomorrow. )

Exclusive listening session, September 4th 2013, Melkweg, Amsterdam.

The listening session took place in a small cinema room with a large
screen and about 60 seats, with us taking the first row. This turned
out to be a good place to listen to the album because everybody kept
quiet when the album was played, like you would also do in a real
cinema. It started off with a 10 min video promo in which we were
shown bits and pieces of the songs and interviews with the band which
were done by 4 different persons, mainly Judd Apatow, Carrie
Brownstein, Mark Richards and Steve Gleason. These were just really
short cuts and I bet we will get to see the complete interviews later
on, perhaps as a part of the digital package.
Steve Gleason started with saying it's been 5 years since the last
record, what the fuck? Which made the band just sit there and laugh.
The record was described as a stormy dark imagery and Ed said that you
just needed to pay attention to the planet to find something to get
angry about pretty quick. Carrie asked about hearing loss because of
the loud songs in the past and Mike said he suffered from tinnitus
right at that very moment. He is really proud about Sirens and it was
said that Ed stayed up the night before in Los Angeles, writing the
lyrics, and hearing the sirens at night and writing about that.
Jeff said he was writing more the last 4 or 5 years. Ed compared the
record to a flophouse and that he was always glad to finish an album
so he could kick out the current tenants, meaning the songs, and he
hoped the new ones would behave better. The promo ended with Ed and
Danny Clinch sitting in a car getting ready to listen to the new album
and when it started, the volume was too loud and they couldn't turn it
down, which made Ed turn it up even more instead, to the point of
distortion.

Then it was time to listen to the album itself.

Getaway (+/- 3:00)
I brought a stopwatch to time the songs, but I was too excited so I
forgot to time Getaway but it's about 3 minutes long. The song itself
sounds hip and fresh and could easily been written by one of the
current rock bands. The song started with the lyric "Everyone's a
critic", which I guess will prove itself once the record is out.
Other lyrics included '"Find a lighthouse in dark stormy weather",
"it's ok,....make your getaway". The song had a start/stop feel to it
and ended with a guitar shredding outro.

Mind Your Manners (2:40)
The sound on this was much clearer than Getaway to me, but all the
songs were in a compressed format anyway so it was hard to tell
exactly what caused the difference.

My Father's Son (3:02)
This song begins with some spoken wordish lyrics a la 'Bushleaguer'
about insemination and getting a release. This song had a pleasant
rhythm (my notes read tadadadum), and halfway it descends it something
a bit slower and with more bass. The way the lyrics were sung here
reminded me of 'Johnny Guitar'.

Sirens (5:37)
It starts off with the line "Hear the Sirens" x 3 and something about
a circus profound. I liked the start of the song but later on it
becomes a bit more like a power ballad, but the "Hear the Sirens" line
might save it. Need to hear it more to make a better judgement. It
ends with a guitar solo that reminded me of something you would hear
on a Guns N' Roses song.

Lightning Bolt (4:35)
This song features a piano and a guitar fade out. It felt to me like
this song will work better live than on the album somehow.

Infallible (5:15)
This is the song that was played during the soundcheck in London,
Ontario this year, only it has a different intro than the way it
started live. Lyrics featured lines such as "Keep on locking your
doors", "Won't get you this time", "Ships coming in and sinking",
"Thinking we're infallible, we're tempting faith instead". It features
a guitar solo and ends with a fade out.

Pendulum (3:36)
This one starts with some drums and lyrics "We are here and then we're
gone", "My shadow left me long ago", "Understand what we don't know".
Later in this song the guitar sounds a bit like a slide guitar. It's
definitely a darker song, also because of the lyrics which further
include "Into the fire but still I'm cold", "Nothing works for me
anymore". Ed later on starts singing "ah-ah-ah-ah-ah" and singing over
this as well. I liked the different layers of this song. Could become
one of my favourites on this album.

Swallowed Whole (3:49)
I pictured this song to be more somber but it actually is quite a lot
more happy sounding. It begins with some nice strumming guitar sound
and the lyrics seemed to be more darker than the song itself. It
features some rhyme repeating words like drown, drown, drown and loud,
loud, loud, the currents pull me down, the songs are like wind,
breathing forgiveness. Thinking back on it, it could have the same
meaning as 'In Hiding' and it definitely features typically Ed ocean
imagery. Enjoyed this song as well, also because of the way it was
sung. Ends with a guitar solo.

Let The Records Play (3:42)
The most blues rock song on the album but with a fun feel to it and
therefore it stands out from the others, like someone in a party mood
suddenly enters a room where others are having a serious discussion.
Typically a goofy Stone song. Lines include "When the kingdom comes,
he puts the records on", "Shaking but waking, wisdom in his bones".
Features a Stone solo and handclaps (according to my fellow companions
but I did not notice them myself) and ends with a fade out. This song
could go any which way after a few listens. Difficult to say if it
stays with you or not.

Sleeping By Myself (2:59)
Considering the reactions this song got from the rest of the company I
was in, most people are going to shit all over this song. Brendan
O'Brien even said they had a hard time making this song sound less
commercial, which makes you wonder you even more about what the other
versions of this song sounded like.
This is definitely the Speed of Sound of this album. I actually still
kind of liked it. It's as if they made a happier sounding version of
this song, like it is actually quite swell to be sleeping by oneself.
I wrote down that this version reminded me of 'Soon Forget'. It still
features a uke as well. Looking forward to people's reaction to this
once the album is officially out.

Yellow Moon (3:47)
Here we arrive at my personal favourite song on the album. I was even
singing along halfway into the song, which prompted Mirella to shush
me. Not really sure what made me like the song so much but it was just
like seeing a great jacket in a shop and when you try it on it fits
like a glove. It could have been the words as well, which went
something like "Here far away, feel the earth vibrate, the moon
chasing shape", "Round we go, where we stop no one knows", "As the sky
grows dark, we're falling stars". The chorus goes "Yellow moon on the
rise" with the rise part being sung as riiiiiiiise. Looking forward to
hearing this song again soon.

Future Days (4:20)
The album version opens with a piano, at least to me it sounded like a
real piano and not a keyboard. A lot of different instruments can be
heard on this song. A mandolin, a violin. I asked Brendan about it and
he said that only the violin was played by someone outside the band
and the rest was all played by the band itself and Brendan. The
beginning is just a single guitar with Ed singing. The song itself has
a Springsteen feel to it. It ends with the piano as well and
eventually fades out. Lots of fades on this record. There were two
songs which sort of seemed to blend into each other but I cannot
remember which ones these were.

So that is my take on these songs. It seems I enjoyed the second hakf
of the album more, and it looks like I will be in the minority on this
one, judging from other people reviews so far. Let me just say that I
found it very difficult to describe what I was hearing. The album is
not easily digestible in one go, which usually is a good sign. Time
will tell how all these tracks will hold up and how they will stand
when played live. I think we are in for an interesting ride to say the
least.

[stip]

Listening Party Review

AlternativeNation.net representative Joost Konersmann attended the listening party in Amsterdam for Pearl Jam’s new album Lightning Bolt and has shared the following track by track first impression review of the album:
Getaway:
Ed sings about ‘Dark stormy weather’ over an pounding bass driven riff. It sounded ‘contemporary’, heavy and light at the same time. Dark lyrics but incredibly catchy melodies. Two blistering Mike solo and really strong vocals by Ed. A rocking pop tune like: The Fixer or Breakerfall (not that they have much in common) but less classic rock. More contemporary (like the Arctic Monkeys and The Killers had a lovechild..).
Mind Your Manners:
A good hard punch after a “Getaway”. Good combo to start this record.
My Father’s Son:
When they tried ‘new wave’ type songs on Backspacer they only succeeded on “Got Some”. They also succeed here. Tight playing, bass heavy and a weird bridge (a ‘typical’ Matt bridge). There’s a lot going on in this bridge. It was not an experimental song but I already want to hear this song again. Another dark heavy pop tune.
Sirens:
The song that some already say is the best the band has ever written. Well…it could very well be a grower and the one I will like the most in about a year or so. But on first listen it didn’t do much to me. Pearl Jam never came this close to an ‘eighties’ power ballad. Mike has written this song and is very proud of it he said on the EPK (which featured interviews done by: Judd Apatow, Carrie Brownstein and more….). Not impressed with this one on first listen.
Lightning Bolt:
After being slightly disappointed by “Sirens” this felt as a celebration. We all have heard the live version, I wasn’t too keen on it. But it does sound much better on album. Reached higher than “Unthought Known”. Still a song that Eddie could write in his sleep but it’s not a nightmare.
Infallible:
My first notes say: YES, YES, YES!!! This is exactly what I wanted from a new Pearl Jam record. They cover new ground here. Another bass heavy track (probably written by Jeff who owns this record). Excellent use of keyboards and weird effects. Lots of harmonies in vocals and instruments. Did I hear a cowbell (not sure on that…)?? It was the song I liked the most and their most experimental one in a decade. Hard to describe. But if you have heard Jeff’s latest solo record While My Heart Beats you can kind of get a feeling of what to expect here. Incubus goes Achtung Baby, for the lack of a better description…sorry
Pendulum:
Remember that tour announcement video Pearl Jam posted some time ago with a mystery new song clip? If you liked the weird sounds you were hearing, than you will love this song! because it’s “Pendulum”. Some nice piano played for the intro. Another atmospheric and experimental track (it was at this point where I started to believe that Pearl Jam really made that record I ‘wanted’ from them). What’s that high sound? High Pitch vocals? Wow! It’s Ed! He has never sounded like this before. The harmonies again sound great. Lots and lots of dubbed vocals. Tight compressed drums. Another excellent track!
Swallowed Whole:
Another Ed track, nice counterpart to ‘Lightning Bolt’. This is actually a great pop song, some jangle jingle REM like guitars with some Who-like chords under it. Another song that Ed could write in his sleep but on first listen I liked this one more that LB.
Let The Records Play:
Ladies and Gentlemen…it’s time to kick out the jams and twist and shout. Roll over Beethoven, Jack White and Dan Auerbach…This is Pearl Jam’s take on a blues rock featuring hand claps and tube-screaming solos. A light and fun song, much better than “Supersonic”. Not the best track on the record but I had a huge smile on my face. Nothing original but new for Pearl Jam. Will be fun live.
Sleeping By Myself:
Why? Why Ed? Why Brendan? Why is this on the record….it doesn’t belong here. Basically it’s the same as the ukelele song only with some arrangements. The arrangements are nice but they don’t add much. I liked the ukelele version much much better, that was its home. Feels out of place here. Uninspiring moment for the band. But who knows, it could very well be the next single and become a hit. But “Of The Earth” or “Cold Confession” would be fit here much better, fuck even “Olé” would have been better.
Yellow Moon:
Another dark and atmospheric song. This will definitely be a grower, it has weird time signatures. Some great vocals and a really nice solo by Mike. Another song that I already want to hear again.
Future Days:
Much better than the live version. It still has that Springsteen sound. Nice touches with the violin and no drums. The cheesy piano outro actually works here..it fades out. Not the best track on the record but a good way to end this record.

So, it’s impossible for me to go beyond my first impressions. But I think it will be better than Backspacer. It’s a darker and more atmospheric record with some great gems. It’s half of the record I really wanted from them (Getaway, My Father’s Son, Infallible, Pendulum, Let The Records Play, Yellow Moon) and half of what you have heard from this band before (Mind Your Manners, Sirens, Lightning Bolt, Sleeping By Myself, Swallowed Whole, Future Days). That latter half would be the logical extension from Backspacer. But that first half is 50% of an incredible record, the record they didn’t make. They could have gone Achtung Baby or Yankee Foxtrot Hotel on us but didn’t. This will be a great record but I already have mixed feelings over what could have been.

[stip]

the greatest review ever

Perfect as an opener! "Getaway" is a real crusher with a full-bodied Vedder. Raw rock guitars rock the song structure in unprecedented heights, like a hurricane earthy artifacts thrown into infinity. The windy noise take long drawn out notes and amplifier feedback, buzzing with gentle melodies in the middle.

SONG 2 - MIND YOUR MANNERS
Her first single released shows Pearl Jam are still the rebels before. Only just a little meek, since their criticism numero uno aka George W. Bush had to leave the pitch at the presidential desk. A certain socially critical irony is unmistakable in "Mind Your Manners" when Vedder urges to the customs chatter. Hard, raw and with a message. The single accesses the rock 'n' roll charm of the 60s in the riffing, distorted him like Motorhead or later - somewhat hidden - Metallica thrash with their tirades. Today, take Volbeat .
SONG 3 - MY FATHER'S SON
With "My Father's Son", Pearl Jam lean back a little, let air to breathe, show wistfully vulnerable, but at the same time open like an open book. In peace lies strength: their songwriting bursting forth before stichelnder jaggedness.
SONG 4 - SIRENS
A ballad from the picture book, only much better. What Eddie does with its powerful because touching voice, can not be human. Transported during the beat of the bass, Ed pushes the drive conditions trembling high voltage busbar. Spreading, but not long-winded.
SONG 5 - LIGHTNING BOLT
The title track closes after O'Brien addition to the first two songs on the record, the trilogy of the Pops to "Lightning Bolt". A metaphor for Pearl Jam, bursting with the forcefulness and strength. A plump charged "Booooooolt" Vedder supported by the realization that hit!
SONG 6 - INFALLIBLE
Another song that gives and overview the quieter second part of the plate initiates. Only clarifies the economy even more, such as Pearl Jam skillfully with minimal resources can heat a captivating and energetic drama.
SONG 7 - PENDULUM
While a Western guitar motif lost on the swings drum bass fusion, get your own thoughts into the subconscious often forgotten. "Pendulum" is a sweeping soul from the ballast. Brendan suggests, the song was actually written for previous album "Backspacer".
SONG 8 - SWALLOWED HOLE
Great covered song, not immediately jumping in the face, for it consistently and forcefully pulled through. Repeated "down down down" words depict soulful rock with plenty of space.
SONG 9 - LET THE RECORDS PLAYLIST
The track exudes a blues vibe that sniffs the scent of the good old school from the 60s. Not far-fetched, but Pearl Jam demand on the board hearing.
SONG 10 - SLEEPING BY MYSELF
One-and-bred Southern ballad, although the band still comes from Seattle, the westernmost northern United States. Their oldie-country charm they could often play towards the end of their albums.
SONG 11 - YELLOW MOON
With the bright "Yellow Moon", Pearl Jam feel to their old grunge dejection. Eddie whispered in the gloom away endlessly syllables.
SONG 12 - FUTURE DAYS
Their retirement remains an emotive ballad that brings to help the serene contemplation piano and strings.

Here musicians stuck firmly in their own Grandesse, not worrying about could-would-could. Music with a volume of whole oceans flows from the South, the Pearl Jam as concocted in the studio. In Vedder's unparalleled voice, a thrilling songwriting musicians and O'Brien's crystal clear as fuller production, which allows wide room and play any sound body, any references and comparisons are superfluous. Although "Lightning Bolt" is not as bleak as Vedder describes, and not as conceptual as "Backspacer", but pushed closer to the individual parts, with each part flows into batching About Trump Fung.

[stip]

Getaway!!!!!

[stip]

http://richapps.de/files/getaway_guitar.mp3

DaveVedder presents getaway on guitar

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From Mirella

Hier is mijn verslag nog van afgelopen woensdag. Staat wellicht niets nieuws meer in na de reviews die al gepost zijn, maar ik post het toch. In het Engels zodat ik het niet twee keer hoefde te schrijven.

What happened first, or where I come from, or how we got there (you can skip this part; I only wrote it for those who asked)

Where to start? Well, I love Pearl Jam but I do not listen to their albums much. I prefer to see them live, and the songs are in my head anyway, with occasionally my own version of their lyrics . That is why any ‘production’ issues do not really affect me. Of course, when I hear Ten now, or any other album, I notice things. And when others start talking about fade outs or overproduction, I start to hear those. But other than that, I have loved every single album, played it to death when it came out and then not many times in the years after. Unlike some friends I also loved the most recent albums. Vs. used to be my favourite album for years.

Somehow, Pearl Jam always manages to make the right album for me at the right time. Musically, but also lyrically. When I was angry, they made angry albums, and when I was confused or sad, they matched that. Right now, I am pretty happy in life, and still concerned about many things at the same time. Songs like Unthought Known are perfect for that.

Last year we (as in Europe) did not only get Pearl Jam with some of their best concerts ever, but also Eddie Vedder on his very first European tour. I still need to write about that one day. On top of that, last February we finally got a Brad tour. Add Jeff Ament’s RNDM and the new Stone Gossard album, Mike McCready being active in sharing what he does on the social media, and Matt Cameron touring with Soundgarden, and it should be easy to understand I feel very spoilt as a fan .

With all this in mind, I had pretty high expectations for the new album. Loving what the band members do apart from each other already, the combination has a lot of potential. I wondered if any part of their own other work would influence Pearl Jam. The build-up so far has been great. First we got Mind Your Manners, and I had lots of fun trying to decipher the lyrics. I am still not sure about those. Then they played two more new songs live, and I was one of the many people from all around the world who listened to that live through a street cam (!) outside Wrigley Field. We got Lightning Bolt and Future Days. And there were promo videos for the North American tour and the album, and the artwork for each song, and people taped a sound check of some unknown song in London, ON.

There were track lists in circulation that might or might not be false. Curious as I am, I asked my record company contacts if they knew anything more. They did not, but I was glad to be in touch with them again like I used to when I still made a fanzine. The real track list got published with the song artwork, so that became clear soon enough.

Then, later, there was going to be a listening session in Berlin, at the Ramones museum. Ten lucky fans could be there, and my boyfriend Dennis joined the contest and seriously planned to go there by train if he would win. I wrote that it would be nice if we could get a listening session in the Netherlands as well, and to my surprise I did not only get a reply that there would be one, but also an invitation for myself and two more. So, that is how I, Dennis, and one of the two Joosts from the Dutch Ramblings Forum ended up on the list for Amsterdam. The next days I found out that two more friends, who happen to be writers and publishers, were on the list as well, and the day before it would happen, another writing friend also got on the list.

Berlin was the day before, and very soon after, we got the most detailed reviews from the lucky fans who won and attended. Christian and Franzi made a combined review, that I loved for it had a lot of information from different points of view, and even some lyrics. Other than that I just tried to memorize the track list so it might be easier during the listening session. And we took little notebooks and pens. And Dennis brought his watch so he could catch the song lengths.

Melkweg, Amsterdam, Netherlands, 4th of September

In the afternoon we went to the venue and after getting special laminates for the occasion we could wait in the tea room upstairs until everybody was there. Around 50 people, some of them speaking other languages. Then we went to the cinema room, leaving our cell phones at the entrance, of course. In front of us there were two empty stools, two boxes, and a screen. In a short introduction we were welcomed to this special event, and told we would get some video first, then the album, and then a Q&A with Brendan O’Brien, who produced the new album and most of Pearl Jam’s previous albums.

Video

The short film was part of a project, so we can expect more. It showed 4 people interviewing Pearl Jam; Judd Apatow, Carrie Brownstein, Mark Richards, and Steve Gleason. Gleason asked a question about why it took them so long to come with a new album, and he concluded his question with What The Fuck? That was funny. Jeff Ament explained how it was mainly waiting until they had something to say. He had been writing more in the last 4-5 years than ever before. He told about when Sirens was written, in LA, and that they heard the sirens. Eddie also explained some more, and I wrote down: ‘takes your hand, once you are on your way it is pretty easy’. He also talked about being happy when an album was finished, looking forward to starting something new. And about that every time you think you have answers, new questions arise. There was a funny part with Eddie Vedder and a man (I was told that was Danny Clinch) in an old car, playing the record loud. And in the end credits I saw many names, but only managed to write down the name Andy Smetanka, who also made the animation for the MYM video. All in all I think this video took 10-15 minutes.

Lightning Bolt, the album

1. Getaway
Good opener. Not with a boom but a pretty happy song. Maybe as fast as MYM, hard to tell after just one listen. Lyric snippets I think I heard: ‘everybody naked in this town’, ‘all right’, ‘smiles’ ‘making love like the lizard’, ‘I got my own way to relate (?)’, ‘I got my own way to live’, ‘Hey hey it’s okay’, ‘faith’, ‘mine is mine and yours’. And I noted: singing guitars.

2. Mind Your Manners
Sounds right in its place after the first song. I did not take notes during this song since we already know it, and just enjoyed it for the good song I think it is.

3. My Father’s Son
I had been looking forward to this one in advance because of the title, but it was nothing like I could have imagined. The voice is different from any other song, and all the instruments sound slightly ‘off’ to me. Hard to explain. I noticed one single guitar at some point, and also a funky rolling bass. There was a soft part and some nice tempo changes. Some of the lyrics sounded negative to me at first listen, So I really need to hear it again to decide if I like it or not, and that the ‘finally free to believe’ is all about.

4. Sirens
Starts with ‘hear the sirens’ a couple of times, the second time ending higher than the first. Later the word ‘circles’ is used, or maybe ‘circus’. Then there is an absolutely beautiful ‘ah’.
‘more and more in this here town’, ‘let me get my breath’, ‘just to know we’re safe’ ’I’m a grateful man’, ‘take your hand’, ‘nothing lasts forever’ are some lyrics I heard
The singing gets higher, which I really like, and there is a nice and quiet part in between.
‘every choice/mistake I made is not my plan to see you in the arms of another man’
And then right when I thought it was getting a bit cheesy, it turns out to be a beautiful song. ‘want you to know .. always loved you’ Higher singing and very fine guitars. There is a short part that reminds me of TV commercials or something, but it all ends well. Multiple voices.

5. Lightning Bolt
Very clear. Sounds just like the live version but more cheerful and I actually liked this better on the record than live, so far. Just when I thought the song was a bit too long, there were these nice screamy lines bellowed out. Very catchy. And the song fades out.

6. Infallible
This one fades in. To me this sounded a bit eighties British, in a good way. Not the music, but the way it is sung. There is a very distinctive part of the music I tried to write down, but ‘tudududu’ will not really help to get this across, unfortunately. I really want to hear this again. There is a lot of drama in the lyrics, with disasters and sinking ships, and one of the lines is ‘pay no more than a glance’. Another one: ‘you think you’ve been here before, you are mistaken’. Some stadium rock like music and some more bellowing, and then the part we heard in that Toronto sound check, but much clearer. ‘for everything is possible in the thoughts and minds of men’. The singing in the end is rather sensual, for lack of a better word.

7. Pendulum
Starts with piano and bass, lyrics, and then drums. More lyrics, including ‘my shadow left me long ago’, and silence. This one has a beautiful haunting rhythm, and I think I also heard a tambourine. ‘easy come and easy go, easy left me a long time ago’. With the last ‘o’ being stretched. Beautiful guitar part, reminded me a bit of Snowy White. ‘I’m in the fire but I’m still cold, nothing works for me anymore’ ‘ah ah ah ah ah’ sounding as recorded with a voice box. I later heard this is the song you can hear parts of in the tour announcement video.

8. Swallowed Whole
Starts like it could have been on the Singles soundtrack. At first glance this sounds a bit pretentious but it is still beautiful. Lots of nature references. Finally a good guitar part again. ‘where’s the songs inside the wind’.

9. Let the Records Play
I loved this one! Pretty standard rock, pretty standard structure, but exactly why pretty standard rock can rule. Good sing-along, bit of rhyming, ‘when the kingdom comes’, and somehow a part even reminded me of ‘in the summertime’, however weird that may sound. ‘Down’ is sung low, Mike has a great part in this one, and it also ends with a fade out.

10. Sleeping By Myself
We know the song from Eddie solo, but this is a real band version. More flashy, TV show like, maybe even cabaret, guitar singing along, very full. Background singing, lots of bass. Really strange if you keep the version we know in your mind. I wonder what this sounds like if it is the first version you hear. A part is acoustic, but then the whole band joins again. Frank, one of the writers who sat next to me, had a face that showed exactly what he wrote down: WTF. I am still thinking I want to like this song. Really not something to decide after just one listen.

11. Yellow Moon
This song is very easy to immediately like. It starts out in a way I recognized from another song, but I could not pin down which one. ‘here far away one could feel the earth, moon changing shade and shin’. Long sung words, ‘roooouund we go where we .. stopping no one knows’. Nice image painting lyrics, sudden end. The song was not short, but it felt like it was much too short.

12. Future Days
And the last one was also played live already. Starting with piano it sounds very much like a Eddie solo song, church-like, strings and more, mandolin (?). Lyrics about human relationships and the elements, like most of this album and the one before. And not cheesy at all, while I thought it was a bit too sentimental when played live. Piano at the end as well. Good positive song to end with.

Q&A with producer Brendan O’Brien

Right after the listening session the stools were taken by Brendan O’Brien (B) and a host, and she started out with some questions. After that people in the audience could ask their questions.

B told us how he preferred to work with bands with a low drama situation, because that works best if everybody can get straight to the music. There were times when he got a pool ball thrown at him. And now that everybody has grown up, it gets easier. After all these years he also is trusted more. When he worked on Vs. that was one of his first records, with only a Stone Temple Pilots record as his experience. The singer is the most important to make it all work, in his opinion. Eddie has gotten more extravert now and also listens more. He tries to please everybody.

Sleeping By Myself was the toughest track for this album, because it sounded too much like a commercial single at first.

Someone asked about Boom, and B answered that he is there for touring. If any keys are needed in the studio, B can play those himself. For the album there was one guest violinist for one track, and they played all other instruments themselves.
Hey still likes the old fashioned cutting tape, and was one of the last to still do that.

When asked about how many songs were not on the album, he said there were not many. They started out with 10 to 15 demo’s and only 2 or 3 did not make it to the album. Total studio time was 7 or less weeks, but spread over 3 years, and they work very fast, with the band in one studio and Eddie in another room with his own team. With everybody having children wanting to stay closer to home, it can be difficult. A longer time or a different studio might be good in the future.

He did not have to be asked about Off the Earth, since everybody had already asked about that before, so he mentioned it during this conversation. He really likes the song but it was not recorded properly yet.

When asked about his opinion of the albums so far, he said he does not have an objective opinion. And the albums he did not produce, simple do not exist for him. (I thought this was funny, another friend thought it was pretty arrogant.)

He hopes Lightning Bolt, the album, will remind people how good Pearl Jam is, and that they still like them. For B, Lightning Bolt and Backspacer feel like one big record.

working on this one was all better than before, and more fun.

During his questions Dennis managed to mention that he should let Eddie Vedder stop smoking, and B said he tried .

B was glad to answer more questions, but the Q&A stopped rather suddenly, since people had some one on one interviews and time was short.
I could not think of any more questions, so that was okay. Now let us see what will appear in the press from this, later.

What happened since, so far (also only for those who want some kind of epilogue)

After the listening session we stayed until everybody had gone, and then we went to grab some dinner with the group of six friends who were there. That was a lot of fun, mostly catching up on life stories and reliving shared Pearl Jam tour memories until our plates were empty we all went our separate ways again, by car or train. It’s an hour by car for us from Amsterdam.

Back at home around eleven, other reviews were already there. Frank had posted his notes, which looked great with drawings and all, and Joost had written a review that was very detailed and well written, if you ask me. I needed to go to bed but Dennis started writing his review right away. He finished it around 2 am and published it. In the meantime, people were ‘jokingly’ pushing me to hurry up and write as well, but I could not. First of all I was too tired, and secondly, I needed to pack for a weekend festival (Into the Great Wide Open, on a Dutch island called Vlieland) and be fit to drive us there the next morning.

I brought my notes and the iPad, but did not get to sit down and write for the next four days. Had a wonderful long festival weekend, and I woke up with either Future Days or Lightning Bolt in my mind every day. And I thought a lot about what to write down and how. I mean, could anyone write a review after just one listen? Besides, my scribbles were almost illegible. I am amazed about how far into detail our German friends got, and how much they managed to catch and share. Christian even succeeded at reproducing a part of Sirens on YouTube! And I love the reports we got from my Dutch friends so far, including my own boyfriend. Was there anything I could still add? I did not think so, so I decided to just go ahead and write what I would have done already. Trying to tell you what I heard and what I thought about that. It may or may not add anything, but at least I have tried.

And for what it’s worth: I like the album a lot after this one listen. It is Pearl Jam as we know them, and still it is new. Same quality, same diversity, and 12 songs is never enough. I hope they will make a double album a next time . It is hard to tell if the band members ‘other jobs’ have influenced them as Pearl Jam. There is a development but that is nothing new; they have always changed. Let us wait and see what the songs will do live, and what the album after this one will be like.

Last thing I read was a rumor that Sirens would be the new single and that it would come out this week. I hope that is true.

[stip]

Full interview with Mike is posted on the site now.

http://www.cfox.com/drex/

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BoB interview

http://www.classicrockmagazine.com/feat ... -and-loud/

Brendan O’Brien has produced six Pearl Jam albums, starting with their second, Vs., in 1993 and continuing with their upcoming tenth, Lightning Bolt. Ahead of Lightning Bolt’s release on October 14, O’Brien was in London recently to talk about his relationship with the band.

Brendan, you’ve worked with Pearl Jam over a period of 20 years now. What are the pros and cons of having such a well-established relationship with a band?
I think the first cons of making four albums together was that they got tired of being told what to do, which happens to all good artists. Some time after we did Yield, I just think they wanted to do it themselves for a while. The pros are, when they’re ready to do something a little more outgoing, significant – whatever you want to call it, that’s what I call it, I can’t help myself! – they call me again.

And when they arrive in the studio, do they know what the songs are going to sound like, or is there a lot of sitting around thinking?
There’s very little sitting around thinking, I can promise you that. Because you can’t pre-determine what you’re doing. Except that if you do a record with Pearl Jam, you’d better have Eddie [Vedder] good and loud! And a groove going. If I do anything I’ve got to get that right. Most songs we still start by recording live, in the room, with everybody playing at once, even though we don’t keep as much of that stuff as we used to.

You’ve said that some Pearl Jam records are more difficult to make than others. How would you place this one on that spectrum?
The difficulty for me was trying to get them back into the studio. I think that’s probably my value to them, I’m going: “Let’s keep going on, let’s stop fucking around, let’s go.” Thinking of some of their earlier records, Vs. was hard for me to make because I didn’t know any of the guys really. Especially Eddie, and Eddie was very stand-offish in those days. He was just very protective. He would tell me: “You’re Stone and Jeff’s friend” [laughs], when we would get into discussion. That was his defence mechanism. “Alright, man, whatever…”

Sleeping By Myself was used first on Eddie’s Ukulele Songs solo album, and I understand using it again on Lightning Bolt was your idea?
Eddie sent me his record before it came out to see if I liked it. I said: “There’s one song on here that we’re gonna steal, because it’s a Pearl Jam song as far as I’m concerned. And there are gonna be the fans who know that record. I don’t know that the rest of the world’s gonna know that song that much.” His record actually ended up doing much better than I thought it would… but I just thought a lyric like that with him singing it is so unusual, and it’s such a sweet, direct, straightforward song that I felt like we needed it very much.

Where did you record the album?
Henson Recording in Los Angeles, which is the old A&M Studios – the We Are The World studios. We wanted a We Are The World vibe, man! There’s still something about going into a studio, not into a house, not into someone’s fucking garage, that makes people feel like they’re going to work and going to do something significant. I do like that submarine mentality, and everybody going into the ship together. It’s only worked well once for me, recording in houses. That was Blood Sugar Sex Magik. I engineered that, and had the time of my life.

You’ve known Pearl Jam for a long time. How have they changed as people, and as a band?
They’re all pretty much the same guys. They all have families now, so they’ve moved on a little bit. I mean, shit, we’re all 20 years older than we were. I think Eddie has changed quite a bit – not at the core – but in that he’s accepted his role. When I first met those guys, he couldn’t go anywhere, it was crazy. He still can’t go places sometimes. But I think he’s much more grounded in life in general. It’s easier.

Interview: Nick Hasted

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Lightning Bolt: The TSIS Partial Review

Well it’s been just about four years but we finally have our first extended taste of new Pearl Jam, thanks to a partial leak of songs from Lighting Bolt (Getaway, Lightning Bolt, Let the Records Play, and Swallowed Whole). They’re good. A couple are very good. Lightning Bolt might be great. A few caveats:

1. This is a crappy sounding leak. You can definitely get a feel for the songs and make out the details, but the whole thing sounds blurry--like a 10th generation copy of a cassette mix (which is basically how I first heard Vitalogy). It is clear that everything will have more definition and depth when we get the album (and it is understandable why artists don’t like it when their stuff leaks in substandard form, and why people with more will power than myself don’t listen to this stuff).
2. Based on what we’ve gathered from the Lightning Bolt listening parties, these tracks are the connective tissue on Lightning Bolt--the songs that help move the record along or serve as breaks between some of the more expansive and ambitious songs. That’s not to say that they are lightweight. These songs have attitude or reach for (and arrive at) some majestic places. But they are also the songs that are probably the most likely to feel familiar.

Is this a logical extension of Backspacer? Yeah, pretty much. At least these songs are (again, from all accounts the songs that are likely to feel different we have yet to hear). They feel stripped of the heavy and increasingly claustrophobic weight and anger that characterized, in different ways, the run of albums from Binaural through S/T. They are lighter. They take themselves less seriously (even when they’re earnest, and you don’t get much more earnest than Lightning Bolt). Instead of being angry they are wry--the knowing smile you’d get from someone who isn’t going to be surprised by much anymore. But there is also a musical depth that was absent from much of Backspacer. The songs seem to feel a little more solid, and in some ways more purposeful. There is a sense of mission that wasn’t always present on Backspacer (or was understated enough to be missed if you weren’t looking for it), but that makes sense. Lightning Bolt seems to be a more ambitious undertaking, and the band seems more energized, more present, more prepared to give us something we haven’t heard before. And Eddie sound really good--the crackly screaming on Backspacer (which I did like, but many did not) seems to be gone, and the deeper parts of his register which were curiously absent from that record are back. Picture Backspacer Eddie singing with the same energy but in the Riot Act style. If you’re reading this you’ve heard Mind Your Manners and so you probably know what I’m talking about.


I think we can also make some sense of the title now, and the larger theme of the album. Lightning Bolt really seems to be shaping up to be an album about inspiration--where it comes from and, just as importantly, what you can do with it? How does it move you, and how does it hold you back. Recall the lyric from Hail Hail ‘I sometimes realize I can only be as good as you’ll let me’. It is looking increasingly like this is the core issue the album is going to grapple with. The context seems to be, at least in part, a world that is failing us, that is falling down on every front. I can relate. I was struck the other day about how unhappy I was that THIS was the world I brought my little girls into, and that there needs to be something more than this. The question is what will get us there. So once again I’m lucky enough to have a pearl jam record come along that mirrors where I am in my own life.

There seems to be a definite villain in this story--just about every song we’ve heard is locating the forces of inertia and reaction within religion--both the actual institutions of organized religion and a broader critique of its otherworldly focus. There are probably better targets that Eddie Vedder the social theorist could have picked, but at the same time to focus on the religious aspect misses the point. This is less an album about religion’s alleged failings than it seems to be an album that is looking for something to replace it.

Or that’s my initial read, anyway. There are still 5 tracks we haven’t heard, and their presence on the record could change everything. Okay, onto the songs:

Getaway: This is the song that feels the freshest of the four, and is a surprising choice for an album opener. Usually a song with this kind of accelerated mid tempo stomp shows up later in the record. This song has an appealing swagger to it. It struts in a way most pearl jam songs don’t, and seems driven by Jeff’s bass work. If Got Some slowed itself down and was slightly less sleazy than Johnny Guitar you might end up with Getaway, although it’s a surprisingly earnest song for its self-confidence (then again, it’s Pearl Jam). There’s a really strong ending on this, reminiscent of the Rearview Mirror outro (although not that powerful--I don’t want to set people up for disappointment). But still, this is how we all wanted Got Some to resolve, and it should segue nicely into Mind Your Manners.

It does open up with an unfortunate lyric “everyone’s a critic” which means we’ll hear 50 different reviewers thinking this lyric is addressed at them. The anti-religious language is most prominently on display here, with the song trying to encourage people to hold fast to their conviction that things can be better in a world that just wants you to accept things the way they are. In that respect the swagger has a little bit of false bravado to it--trying to express a confidence it may not entirely feel. It also helps make clear that religion is the problem because it feels static and soporific. It may not be the cause of the world’s problems, but it is getting in the way of the solutions.

Some standout lyrics include “sometimes you have to put your faith in no faith” and the anchor line of the chorus “mine is mine and yours won’t take its place”

Lightning Bolt: We’ve all heard the Wrigley version. The studio has a little less on guitar solo front, but is otherwise superior in just about every other way, and is easily my favorite of the new songs. Yes, it does sound like Unthought Known, but it is the song Unthought Known wanted to be--Unthought Known started off with a marvelous build but the song plateaus too quickly and ends up treading water. Lightning Bolt moves and breathes and rises and falls and has a life that to it that UK could never sustain. We start out with the familiar palm muted guitar and piano accents, although it’s a bit faster and more urgent, and it explodes about 30 seconds in, rising and expanding with a threshing guitar solo that stops abruptly so we can drop back into the verses (this time with some fixer bridge coloration) and rise again

The final minute and forty five seconds of this song is wonderful. There are some really nice spacey guitar effects (or keys or something) underneath the dramatic sweep of the song and some wonderful emancipatory imagery that can keep up with the stakes the music keeps raising. It all culminates with a Given to Fly esque ending that Unthought Known and Amongst the Waves both desperately needed. Eddie belts out a great set of lyrics soaring on the wings of the music into the sort of cathartic outro that is the hallmark of so much of their best music.
And with no repair in sight there is
No God with such might
As you open her world wide with such a view
And your death will soon arrive
As she finally decides
That all her problems, they won’t die with you

I think the best thing I can say about the end of Lightning is that by the time the outro closes with “she’s a lightning bolt/uncontrollable/like you” I actually believe (for a few seconds) that this is a good title. If you hate the outro of Marker in the Sand or Joshua Tree era U2 this may be a turn off, but then again the same traits are there at the end of Given to Fly. This is basically the promise of release and a better world to come implicit in so much of pearl jam’s music, but made explicit. That’s a lot of drama for one song. I think this one pulls it off.

My biggest complaint is that this is all resolving so well and then there is a damned fade out right in the middle of a space I wanted to linger in. I can’t really judge until I hear how it transitions into the next song, but it better be worth it.

Since they named the album after this song it’s probably safe to assume that this song is meant to be a centerpiece track on the album. Like I said earlier, it’s a song about inspiration, keeping faith in dark times (in your personal life and in the world around you--pearl jam has long used personal relationships to mirror a larger social struggle), and holding on for the ride. In a lot of ways this strikes me as a companion piece to Force of Nature (with a different type of 80s style excess), although if the central element in Force of Nature is water this one is air.

It starts out slow, but this really turns into a glorious song.

Swallowed Whole: If REM did the soundtrack for Into the Wild we’d probably have gotten Swallowed Whole. It’s a jangly optimistic number that starts out sounding like an Eddie solo song but, Mike and Stone actually decide to write music for themselves this time, and so the song ends up sounding a lot richer and fuller than you might expect when you first heard to expect Into the Wild. High energy verses (reminiscent of a major key Uberlin, if you are familiar with that REM song) with quieter choruses and bridge. There’s a nice solo leading out of the bridge into the final verses that reinvigorates the song just when it starts to drag. Like Lightning Bolt, this ends much stronger than it begins. All the energy dissipates in the final 15 seconds, but it feels like a resolution rather than a let down. Picture the end of Tremor Christ.
Whispered songs inside the wind
Breathing in forgiveness
And the chapter I’ve not read
Turn the page

This is easily the most Better Days new age batch of lyrics we’ve heard. It seems to be about finding inspiration from the world around you, and using its energy to heal the wounds we’ve inflicted. A bit heavy handed in places, but it’s well meaning and lacks the Eat Pray Love vibe we got from a song that, well, appeared on the Eat Pray Love soundtrack. Picture eddie writing a song about how he feels reborn after he surfs, but then being told he can’t use any water imagery, and you’ll end up with this.

This is probably the song I personally enjoyed the least of the batch, but part of that may be because I hardly feel the need for something light and refreshing after Lightning Bolt, which already left me feeling pretty good. This song might take on some extra life after following the two allegedly darker and heavier songs preceding it on the album (Infallible and Pendulum). And it’s still good, mind you, catchy, with a strong ending.

Let the Records Play: This is some pretty familiar thematic territory, an idea they’ve tried to express ith marginal success in Big Wave and Supersonic. They get it right here. It’s a song about numbing yourself with drugs and alcohol at the end of the world. There’s a swampy southern barroom swagger to this (I hear that over the 50s rock and roll vibe reported from some of the listening party reviews). If ZZ Top was going to cover a pearl jam song it’d be this one. The vocal melody is catchy in a curiously upbeat way, as if by celebrating oblivion you can somehow defeat it. Nice solo reminiscent of Supersonic, but it actually belongs here. Some nice soloing to take us out that once again ends in a fade out for seemingly no reason. It’s not as bad as Lightning Bolt, but I’m still not sure why guitar solos can’t just finish. If you gave 1/2 Full a shot of whiskey and some beef jerkey and a hard on and told it to listen to Get Right you’d probably end up here.

And yes there are handclaps, and yes they work. This is how you write a fun song without making it feel disposable.



I am reluctant to draw too many conclusions just yet. This is not a high quality leak, and it’s difficult to really grasp a song outside the context provided by the songs that surround it. I think I liked Mind Your Manners more than any of these except Lightning Bolt, but then again I loved Mind Your Manners. I’m not sure any of these are going to become my favorite song on the album, but they have me primed for the record and feeling really good about it. If everything else matches the quality of these songs we’ll have a good record. If everything else is better we could have a great one. My Father’s Son, Sirens, Infallible, Yellow Moon, Pendulum--the ball is now in your court.

[B]

Album Preview: Pearl Jam's 'Lightning Bolt'

Pearl Jam represent one of the most consistent and successful rock bands active today – and a first listen to ‘Lightning Bolt’, the Seattle quintet’s new album, further confirms this status. Still standing, never once bowing to the dreaded ‘hiatus’, the Eddie Vedder-fronted outfit is in as rude health today as it was back in the ‘90s.

The reasoning behind the band’s longevity is based in qualitative terms, surely. But it’s probable that Pearl Jam’s members have always sought to satisfy their own musical cravings, following instincts over any fleeting trends. Across the course of the band’s career, kick-started with 1991’s ‘Ten’ LP, they’ve regularly integrated new sounds into their grunge foundations, such as softer, folk-like styles akin to the work of Neil Young.

Each shade of the band’s varied palette has had its time in the spotlight. ‘Thumbing My Way’, from 2002’s ‘Riot Act’, telegraphs Vedder’s subsequent ‘Into The Wild’ soundtrack work. Likewise, 2000’s ‘Soon Forget’ finds the frontman previewing his ‘Ukulele Songs’ LP of 2011 by presenting said instrument to the fore.

Great songwriters rarely lose their touch, whatever the shifting of bandmates – and Pearl Jam has welcomed five different drummers over the years. ‘Lightning Bolt’, released on October 14th via Monkeywrench/Republic, vividly portrays the differing tangents this band can take its signature sound on.

Opener ‘Getaway’ is immediately striking, its fierce riff self-assured with arena-shaking confidence. Guitarist Mike McCready’s solos reflect this band’s classic rock roots, while the vigorous beats from ex-Soundgarden drummer Matt Cameron are breathtaking.

The following ‘Mind Your Manners’ continues this all-guns-blazing approach. The guitar here is more barbed than the previous cut, with a real heavy metal feel. The adrenaline begins to surge. ‘My Father’s Son’ ensures it doesn’t dissipate, its primal punk-cum-garage momentum indicative of a band truly locked into their flow.

Track four, ‘Sirens’, is the first step into Pearl Jam’s refined acoustic territory. At its beginning there’s just Vedder with a single guitar, before McCready ups the track’s intensity and the vocals rise in unison. It’s an all-out affair.

The title-track finds those two words, “lightning bolt”, howled during its chorus. It’s remarkably similar, in a good way, to ‘Animal’, a number from 1993’s second LP, ‘Vs.’. So far, ‘Lightning Bolt’ feels like a live set taken into a studio, such is its pace.

‘Infallible’ – another rougher-edged song, the fifth of its kind so far – is a hard-grunge affair which finds Vedder hitting every note with real precision, like a spear fisherman not missing a single strike. It’s a wonder how this man’s voice has sustained across the years – he sounds every bit as strong here as he did on ‘Ten’ and ‘Vs.’, what feels like a lifetime ago (and, for some fans, probably is).

And then, something completely different, as ‘Pendulum’ sounds unlike anything these men have recorded previously. It’s a bleak piece, reverbed guitar bringing a real sense of desolation to proceedings. A tambourine comes in, and an adagio bassline furthers the song’s atmospheric, experimental sound.

‘Swallowed Whole’ is similar to ‘Sirens’ – it begins quietly but builds to a rocking climax. A swaggering bass dominates the mix on ‘Let The Records Play’, the track’s jam-like qualities crystallising a very ‘90s sound, albeit one mixed with the raw garage of Iggy And The Stooges.

‘Sleeping By Myself’ is taken from ‘Ukulele Songs’, but further developed here, as you’d expect from a full-band version. The emotion of the original remains, though, with a great connection between the lyrics and melodic backing. The penultimate ‘Yellow Man’, too, manages to convey this fluency between each member’s role, the despair-soaked vocals reflecting the lead guitar’s tone.

Closer ‘Future Days’ is the first time on ‘Lightning Bolt’ where the lyrics are completely positive, perhaps expressing the contentment these men have found in middle age, with families beside them. They’re happy, and this folk-like number comprises a fine bookend to this tenth studio album.

Words: Cai Trefor

http://www.clashmusic.com/features/albu ... tning-bolt

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First Listen: Pearl Jam's tenth studio album Lightning Bolt

Artists:
Pearl Jam »
Eddie Vedder »

benfyffemusic by Benjamin Bland ▾ 0 comments 09:26 September 17th, 2013

Pearl Jam are a bit like croissants. It feels like a long time ago that you were particularly excited about them but every time they cross your path you cannot help but fall in love with them all over again. That’s the magic of being a great rock band I guess, and Pearl Jam have always been a great rock band. Even during the least creatively inspired periods of their discography they have remained a superlative-inducing live act and, perhaps most significantly, they have always retained the respect of their fans. It’s clear that, unlike certain other major names in the rock world, Pearl Jam have always, and will always, care.

That means that, as DiS prepares to listen to the band’s tenth studio album, Lightning Bolt, at an exclusive London private members club no less (how grunge is that?), we can at least be confident that it won’t be a complete St Anger style middle finger to the face record. Here’s some early impressions from the first listen...



‘Getaway’

Opening track ‘Getaway’ has the edge of punked up Vitalogy-era Pearl Jam but with a slightly more accessible edge. ”It’s ok, sometimes you find yourself being told to change your ways”, sings an impassioned Eddie in the chorus. A rousing opening track.
‘Mind Your Manners’

If you are reading this then you have probably already heard this one, it being the first single off the record. The riffs are pretty tight and mechanical by Pearl Jam standards, and, along with the opener, it gets the record off to a harder start than 2009’s Backspacer, which was a more poppy affair from the outset.





‘My Father’s Son’

This is a bit more like the Backspacer sound. There may be some synths going on in the background here, which is nice. On first listen this is fairly unremarkable, but it definitely signals that the album isn’t going to stay in the more rock-centric vein of the first two tracks.
‘Sirens’

Right, we’ve reached cheesy ballad territory now. Any remaining hope that the album signals a return to a consistently harder rocking Pearl Jam sound is dwindling. The band think highly of this one apparently, but it’s bit too fluffy and middle-aged sounding for these ears.





‘Lightning Bolt’

We’ve now reached a more Yield-esque sound, which is either great news or the worst case scenario depending on your perspective. Spiky enough to carry a little bit of attitude, but there’s not really any real aggression present either. The riffs are probably good enough to make this one into a minor live favourite.
‘Infallible’

Ooh, more synths. This reminds me of some of the more interesting moments on Binaural. Probably the most exciting moment on the record upon first listen, but, as ever, it’s tricky to be too positive on the back of just one listen. Definitely one to look out for at any rate.
‘Pendulum’

Yet more synths, and some piano too. We’ve gone full-on from punkier Pearl Jam to that rarest of Pearl Jam forms, the experimental Pearl Jam, in the space of the first seven tracks. Matt Cameron’s drumming gives this an almost krautrockian vibe, which is pretty damned cool it has to be said.
‘Swallowed Whole’

We’re back to the jangly Backspacer sound again. After the two previous tracks this one is a bit hard to get too excited about, but it’s not necessarily any worse, just more straightforward.
‘Let the Records Play’

Oh dear. This is one of those rare moments when Pearl Jam come off as almost pastiche-like in their attempts to make a song that’s pure “fun”. They have rarely pulled off the trick successfully since ‘Rats’ two decades ago. Unfortunately they definitely don’t get it right here.
‘Sleeping by Myself’

A reprisal of one of the songs from Eddie’s solo Ukulele Songs record from a couple of years back. Apparently this was re-recorded and included on the album at the suggestion of producer Brendan O’Brien. He’s had better ideas.





‘Yellow Moon’

Quite an atmospheric track, and features some great guitar playing from Mike McCready. It feels like it’s trying to be a bit more epic than it’s perhaps capable of, but it’s definitely a massive step-up from the previous two songs. “One life, one grave”; Eddie at his least cheerful or his most philosophical?
‘Future Days’

We’re at the end already. This comes off a bit like the band’s attempt at ‘Love Reign O’er Me’ at first, largely thanks to a sweeping piano intro. It ends up being a bit lower key than that though. There are no drums, but there is some nice violin playing. A nice way to end the album, and the best ballad-like track on the record into the bargain.



All in all? Well it’s a mixed bag in all honesty. The first two tracks are very misleading, as they are the two most up-tempo “rocking” tracks on the whole album by some distance. Predominantly this is very methodically paced. In fact it’s almost Riot Act esque in that it feels very measured from ‘My Father’s Son’ onward. This isn’t necessarily a bad thing when it results in ‘Infallible’ and ‘Pendulum’, or in fact ‘Yellow Moon’ and ‘Future Days’, but ‘Sirens’ and ‘Sleeping by Myself’ come across as rather flaky from first listen. Whether a more consistent sonic approach would have been better is debatable, but at least Lightning Bolt isn’t afraid to be varied. This in itself proves that Pearl Jam are still very much a valid concern.

Lightning Bolt is set for release on October 15th.

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TSIS Sirens Review

I have written well over 200 pages of text on Pearl Jam’s music, what I think it means, and what it means to me. I have never felt as stumped by a song as I have by Sirens. For the first 5-6 listens I had no idea what to make of it. I still am not really sure. But if I was going to make a list of songs I thought Pearl Jam would someday write this would have been right there at the bottom. It is so puzzling because this is, in many ways, the anti-Pearl Jam song. Take almost everything you would normally expect from them, invert it, and you end up somewhere close to sirens.

Early reports of this song likened it to an 80s power ballad. I was expecting something huge and bombastic like November Rain. Hell, I was looking forward to that. I find as I’ve gotten older I have a certain appreciation for songs that just go for broke, and bask in their own ridiculousness. 10 years ago my favorite karaoke song to sing probably would have been Jeremy. Today it is Total Eclipse of the Heart.

In some ways, this is the textbook definition of a cheesy song. In other ways it is the opposite of cheese. There is often a calculated, manipulative quality to cheese, and this song fully embraces this type of song with the breathtaking sincerity that has always separated Pearl Jam from their peers. This is guilty pleasure that is not only guilt free, but would be puzzled by the suggestion that you should feel guilty.

It’s curious. It would be a textbook definition of an ultra cheesy 80s power ballad, except there is no huge chorus, the huge solo is subdued, there is no catchy vocal melody, no hook—the things that made the cheese fun. Everything that made an 80s power ballad what it was is actually absent from here. It’s almost like you’re left with the bare bones template of that style of song. These are master craftsmen, and so this begs the questions, what did Pearl Jam choose to fill it with, and did it work?

The music is very pretty, but oddly non-descript. Again, it’s almost like a template just waiting for the details that will make it beautiful. Like an undressed mannequin, maybe. There are some nice moments here and there (I really like the strumming coming out of the solo, for instance, and some nice background vocalizations), but for the most part it is unadorned, absence the lushness or desolation Pearl Jam usually adds to these songs. There is a lovely melancholy to the music, but again, it is still a blank canvas.

Eddie is what fills it in. This is a subdued performance, but he sounds beautiful and sings movingly. The song primes you for power ballad excess and then hangs all those expectations on Eddie’s affecting but understated performance. Unlike everything else we’ve heard on this record, the vocal melody is not particularly prominent. So it’s all on his subtle performance and the story he is telling. For instance, the song climaxes with a gentle falsetto delivery of the lyric ‘the fear goes away’ and some delicate vocalizations, rather than the bombast we’d normally expect. It tries to sweep you away so gently you don’t notice until you’re already falling. If you let it happen it’ll be a wonderful song. If you don’t, the song will be boring.

It’s a moving set of lyrics, for the most part, a story about the fear of loss that comes from being blessed by having something too precious to lose, and the gratitude for having experienced it. Eddie has covered this in The End, Speed of Sound, and Just Breathe. In some ways this is the most ambitious take on these themes.

In some ways this is a song written from a very specific experience, and easier to appreciate if you can relate (as is always the case with love songs about the possession of, rather than the hunger for). If you have that person you literally can’t bear to lose (not just someone you love) it’ll be easier to get inside this song. It’s a love song, but not love in the new love/passion/bright flame sense of the term. This is the love that turns to air, that you breathe in so often you cease to notice except for those moments where something forces you to step back and see it again for the first time. The shock of how powerful it is, and how meaningful it is, can be breathtaking when you are lucky enough to have it happen. There is no experience in the world that feels more real. But if you’ve never experienced it then Sirens will seem, well, cheesy.

It’s true that songs like The End and Just Breathe also tried to do the same thing. Many people found those songs cheesy or overwrought. I loved them, but I knew I loved them right away and they also had the tools to help me love them right away. The more striking vocal melodies, the drama/melodrama in the music. These aren’t present in Sirens, and so this isn’t an easy listen

So there we go. The song still confounds me, even ten listens in. I don’t love it. I don’t hate it. I don’t feel indifferent about it (I can easily spot those reactions). For the first time in twenty years I just don’t know what I think yet. In that respect I don’t know when I’ve last felt this challenged by a Pearl Jam song, even though this doesn’t seem like a particularly difficult song. The challenge comes from the way it plays against expectations—the expectations I have for Pearl Jam and the way it simultaneously primes you for a particular experience and then undercuts the obvious foundations for that experience.

I can say this. I know that it is very pretty, but in a way that feels a little blank. Like I said above, this song, more than most of the catalog (if not all) is a canvas waiting to be filled. And Eddie fills it. But without the obviously vocal melody, chorus hooks, and the rest, it’s going to come down to learning the words, diving into the story, and letting it sweep me away. That will take time, and quiet, and not sitting in my office getting interrupted by my colleagues. If this is a song I want to belt at the top of my lungs it’ll be a massive success. If it isn’t, then it’ll be a song that comes up on shuffle, and gets the occasional listen as I try to discover if this is the time it’ll move me. But it is way too early for me to tell.

Tonight, when I pace the floor of my daughter’s room rocking her to sleep and listening to this song, I’ll find the answer. And since my eyes just teared up just a little, maybe I already know…

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https://soundcloud.com/higgos-1/pearl-j ... rview-mike

mike radio interview

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http://www.antiquiet.com/news/2013/09/p ... th-sirens/