Eddie Vedder
Earthling

Eleven years after that “Ukulele Songs” that left everyone a bit taken aback (more a declaration of independence than a true sequel to that gem which was the soundtrack of “Into The Wild”), Eddie Vedder returns with what could be considered his actual solo debut.

“Earthling” arrives at a particular moment: Pearl Jam still have to tour their latest work “Gigaton,” and the ongoing pandemic is still creating quite a few problems in the music world. Nothing better, then, than a solo release for the now-iconic frontman of the American band.

This time around, Vedder chooses to come out with a finished rock record: he entrusts the knobs to the producer of the moment, Andrew Watt, already working with Ozzy Osbourne (and, it seems, the next producer of Pearl Jam themselves), and assembles a noteworthy band, with Chad Smith on drums, Glen Hansard and former RHCP Josh Klinghoffer on guitar, and Chris Chaney from Jane’s Addiction on bass, co-writing all the tracks on the album. As if that weren't enough, the guest list drops real heavyweights like Elton John, Stevie Wonder, and Ringo Starr.

The first two singles, “Long Way” (very à la Tom Petty) and “The Haves” had misled, making one believe in a rather minimal and sparse record, but the third single “Brother The Cloud” already reshuffled the deck, with a sonic imprint that makes it seem almost like an outtake from “Backspacer.” And once you dive into listening to the entire album, you realize the versatility in sound chosen by Vedder.

It opens with the Peter Gabriel-like inspiration of “Invincible,” and subsequently, Klinghoffer's decisive riffing is immediately felt in the pounding “Power Of Right,” which, with “Good And Evil” and “Rose Of Jericho,” forms the heart of the rockiest part of the record, closest to the compositions of the “mother house”; in the tracks enriched by guest contributions, on the other hand, we find the most original things. If “Try” is a raw and direct punk tune enriched by Stevie Wonder's harmonica, “Picture” is fundamentally an Elton John piece, as is “Mrs. Mills” the most Beatles-esque composition ever unleashed by Vedder, with Ringo Starr’s drums obviously helping. Eddie Vedder's father, on the other hand, appears via sampling in the eerie conclusion “On My Way.”

A beautiful album, written and packaged by an author who enjoyed the journey and paid tribute to his heroes (a certain Springsteenian spirit also appears in the beautiful “The Dark”), and it shows. Much more sincere than many other productions claimed to be spontaneous and original.

Best track: Good And Evil