Pearl Jam
Ten

THE REVIEW

If "Nevermind" is considered the quintessential Grunge album, the best known and the greatest; "Ten" will go down in history as the most multifaceted and versatile Grunge record. Right from the start, the opening is atypical for a work of that genre; "Once" rises from the shadows, grows steadily and just when it seems to explode, it actually cradles on Eddie Vedder's vocals and restless guitars, never exceeding the limits.

We are far removed from Nirvana's philosophy. "Even Flow" only reinforces this idea; while the roaring guitars never soften their tones, the hypnotic melody of the refrain and the brazen rhythm provide that touch of originality that might otherwise be missing. "Alive" is one of the group’s most famous songs; a hybrid hard rock with calm tones, emotional and unstable, boasting an epic and catchy chorus and the final solo, so predictable at first, yet so inescapably poignant and loaded that it rises to the level of true hard rock, transcending it at times. Then we find purely Grunge tracks like "Why Go" and "Porch"; fast rhythms and tight lyrics, soaring refrains, immense voice as always. These pieces lack the destructive and psychological power of Nirvana, leaning more towards visceral blues rather than nihilistic punk; it is perhaps here that we find the true reason why "Ten" stands apart from other more classically Grunge works. The peaks are not reached with punk-rock; rather with hard-rock or psychedelic ballads, but not with punk-rock. Indeed, two excellent tracks on the album are "Oceans" and "Garden"; the first is a lunar ballad, the voice surreal, the atmosphere intense and the atypical structure make it an acoustic gem. The second is a delicate and enchanted trip. The guitars paint the mist where the voice wanders, among evanescent apparitions and sudden powerful outbursts.

"Black" and "Jeremy" are probably the absolute peak of Pearl Jam and, in my opinion, of the entire Grunge movement, precisely because they evade that style while maintaining its visceral and existential character. The anger expressed in two nearly opposite forms. The broad spaces traversed by the guitar, the desolate singing, the sweet piano, the magnificent crescendo and the raging voice come together in a splendid track like "Black", moving and indefinable. Resigned lightness with a deep soul. "Jeremy" is a fiery and restless ride; perfectly balanced between the shaded melody, electric guitars supported by gentle orchestrations, a bitter text and the extremely communicative voice (as always). The peak is reached at the end with guitars chasing each other amidst laborious sighs; if you’re asked what Grunge is, let them hear the end of "Jeremy" and they will understand everything. "Deep" is nothing more than a canonical Melvins-style track, with noise guitars and hypnotic sounds interwoven.

The finale is entrusted to the beautiful nine minutes of "Release", a sort of reprise of various themes from the album, with an extra dose of melancholy and catharsis. In conclusion, "Ten" is an excellent work, capable of combining typically Grunge sounds with moving emotional crescendos, hard-rock power, and punk anger. Perhaps it does not have the destructive power nor the desolation of 'Nevermind', but it remains a milestone for the Grunge movement. If Nirvana's album was the contemplation of pain, this is the way out of it.

A complete and essential album in music history.