Lightning Bolt: the official album thread

[Lounge Lizard]

sounds promising

[hlniv]

800 pages. That is all.

just under a month to hit 1000...I give it 5 days

I would like to offer the over/under at 1200 by the 10/15 release date. Lets see some wagers

[dimejinky99]

This is the first review I've seen. Are there others?

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. - - - Pearl Jam, 'Mind Your Manners' - - - 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.

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

[Birds in Hell]

There's also this one:

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. - - - Pearl Jam, 'Mind Your Manners' - - - 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.

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

[dimejinky99]

I didn't realise this was posted. Sorry.

[Mirella]

Okay, I am combining the reviews, but slowly since I am at work. Who wrote the first one in the review thread? A first name or nickname is enough.

groetjes,
Mirella

[stip]

Well, I was a longtime member of the board - and then I went a while without posting (I've been reading posts here since 2003 or maybe even earlier)... and, boom suddenly my account was gone and I wasn't really motivated to start a new account til now...

First, let me say that I share one thing in common with Stip... every time there is a new Pearl Jam record, it corresponds with some major event in my life. I'll write a bit more later about what's going on at this point, but I mostly just wanted to say thank you to everyone who has been posting their reviews and insights so those of us who haven't heard these songs can live vicariously through you

Off topic (sorry) but I never did hear the Speed of Sound demo that I always see people talking about... I'm one of those that loves the version on the record. Is the demo version really better?

Anyhow, glad to be back. Look forward to listening to this new music and sharing my thoughts as well!

welcome back the board was relaunched jan 1st year so all accounts had to be recreated. that's why some people have there horrible new names

[stip]

I didn't realise this was posted. Sorry.

no worries dime. it is easy to miss this thread moves past. I didnt catch it the first time around either


we are archiving reviews in the locked thread, so you can always check there

[stip]

Okay, I am combining the reviews, but slowly since I am at work. Who wrote the first one in the review thread? A first name or nickname is enough.

groetjes,
Mirella

I'm not sure, Mirella

[Mirella]

Okay, I am combining the reviews, but slowly since I am at work. Who wrote the first one in the review thread? A first name or nickname is enough.

groetjes,
Mirella

I'm not sure, Mirella

It's okay, I can not finish it because it is too busy at work. So I will continue tonight and look for it then.

groetjes,
Mirella

[lukin321(2)]

New review from Drowned in Sound. Kinda bummed to hear more about Sirens being cheesy.

http://drownedinsound.com/news/4146871- ... olt?ticker

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.

[harmless]

Swallowed Whole having a "jangly Backspacer sound" is wrong, though, so I wonder what other crap this guy's spouting. I wonder if he would think Yellow Ledbetter was middle-aged cheesy.

[Thejambi]

Guys. Cheese is fucking delicious.

[harmless]

The English press generally hate PJ, and this guy sounds dismissive from the beginning. They've rarely achieved "fun" since "Rats"? What does he even mean there?

[Dr. Van Nostrand]

Swallowed Whole having a "jangly Backspacer sound" is wrong, though, so I wonder what other crap this guy's spouting. I wonder if he would think Yellow Ledbetter was middle-aged cheesy.

if his only listen was at the london listening party, we have already heard that it was kinda noisy in there, so he might not have gotten a great listen

[Dr. Van Nostrand]

The English press generally hate PJ, and this guy sounds dismissive from the beginning. They've rarely achieved "fun" since "Rats"? What does he even mean there?

is rats supposed to be fun? i love it, and think its kinda funky, but i dont know if its supposed to be fun

[harmless]

I love the underhand sarcasm of "valid concern". That's almost endeared me to this review.

[harmless]

The English press generally hate PJ, and this guy sounds dismissive from the beginning. They've rarely achieved "fun" since "Rats"? What does he even mean there?

is rats supposed to be fun? i love it, and think its kinda funky, but i dont know if its supposed to be fun

This guy's favourite ballad on the album is Future Days. Which means they either fucked it up at Wrigley and it's great on the album, or he's a douche.

[dimejinky99]

The English press generally hate PJ, and this guy sounds dismissive from the beginning. They've rarely achieved "fun" since "Rats"? What does he even mean there?

Agreed. There's a lot of that condescension in this review that Pj suffer from English media.
It's almost like a running gag. But all these journos know each other so it probably is.

[harmless]

The English press generally hate PJ, and this guy sounds dismissive from the beginning. They've rarely achieved "fun" since "Rats"? What does he even mean there?

Agreed. There's a lot of that condescension in this review that Pj suffer from English media.
It's almost like a running gag. But all these journos know each other so it probably is.

Definitely. Right from the moment he asks how "grunge" an exclusive club is. "Well, grunge enough for *you* to be there, dick."