Pearl Jam
Gigaton

The anticipation for this new (eleventh) work by Pearl Jam, “Gigaton,” was truly feverish.

The lengthy break between albums (it's been seven years since "Lightning Bolt"), interrupted only by the mediocre single "Can’t Deny Me," which is fittingly not included in the new album's tracklist, undoubtedly played a part. Additionally, there's a surprising change in producer: out with Brendan O’Brien, who still plays some keyboard parts on the album, and in with Josh Evans, who produces and mixes here. Not to mention a first single that got everyone talking.

It's "Dance Of The Clairvoyants," a track in full Talking Heads territory dominated by the bass, surprisingly played by Stone Gossard here. The song literally shook the band's substantial fanbase to its core and divided the rest of the audience down the middle. “Dance,” in any case, is not indicative of the overall path taken by the now-classic American band.

“Gigaton,” in fact, despite an anticipated turn towards uncharted territories, is quintessentially a Pearl Jam album. It is not the eagerly awaited return to the youthful freshness of “Ten,” “Vs.,” and “Vitalogy” (you wouldn’t expect it to be), nor does it follow the classic guidelines of albums like "Backspacer" and “Lightning Bolt.” It's also far from the back-to-the-roots ambitions of the 2006 “avocado” album. It is, therefore, a standalone entity, attempting to forge new paths while maintaining a clearly visible trademark on its surface.

There are still many tracks in classic Pearl Jam style: the opening duo, entirely credited to Vedder, is a well-delivered punch. "Who Ever Said" opens (as usual for Eddie and the guys) with great energy, with McCready launching into an inspired solo with new wave flavors and helping build a powerful crescendo finale; the second single "Superblood Wolfmoon" is a classic garage rock piece that nods to the highly underrated “Backspacer.” In the same vein, we find "Never Destination" (another Vedder-penned punk rock offering, which in “Gigaton” provides the most rocking tracks of the set).

As for the novelties, we start with the third single "Quick Escape," by far the best track on the album: a delightful piece co-written by Vedder and Ament, with the latter delivering a riff halfway between U2’s “Zoo TV Tour” period and certain Zeppelin-like atmospheres. Then there's "Alright" (another inspired gem by Ament), an atmospheric and dark ballad reminiscent of “Parting Ways,” and the long, Floydian (with subtle Springsteen-like touches) “Seven O’ Clock,” ending with an unusual falsetto from Vedder. The grunge of "Take The Long Way" (a work by Matt Cameron) is a heartfelt tribute to the never-forgotten Soundgarden, featuring Megan Crandall of Lemolo on background vocals, paving the way for "Buckle Up," the only contribution to the album by Stone Gossard, who opts for a kind of inspired reimagining of "We Walk" by the very early R.E.M.

The final three tracks are a sort of mini-album within the album that harkens back to the atmospheres of “Into The Wild,” Vedder’s unforgettable solo debut: “Comes Then Goes,” perhaps dedicated to friend Chris Cornell, is a highly evocative ballad for guitar and voice lasting almost six minutes, entirely built on Vedder's vocals. “Retrograde,” a ballad in the vein of “Sirens,” dates back to the very first sessions for the album held in Seattle three years ago; "River Cross" closes things out, the only track already presented live during the frontman’s solo gigs, a beautiful piece that enchants with its organ and Vedder’s warm voice, and reveals itself as one of the best album closers in the American band's production.

“Gigaton” is a beautiful album and an excellent opening for a new phase for the five from Seattle. Hopefully, it won’t take another seven years for a new record.

Best track: Quick Escape