Pearl Jam
Vitalogy

THE REVIEW

After "Vs", which marked a significant change in the sound of PJ, "Vitalogy" arrives, which reduces the punk charge, yet still allows for the continuation of evolution.

The forcefulness of the second album doesn’t vanish, but it's distributed differently and mainly expressed through more gloomy and measured compositions; you can feel that PJ measures their strength and fully exploits their potential, varying the structures more and giving a greater touch of originality.

"Vitalogy" is a dark album, often melancholic and sad, capable of moving, as well as exalting, making us think as well as transmitting anger. "Last Exit", with its simple and unstoppable rhythm, is a sort of warning; "Let the sun rise, Let it burn my mask… This is my last exit". A declaration of intent, a desire to show oneself bare and raw, which will be revisited during the course of the album. When I spoke of continuity in evolution, I was referring to tracks like "Spin The Black Circle", a sort of hysterical and unbridled assault, definitely a step forward from the similar tracks of previous works because it enjoys a form originality never before seen in the group.

We then proceed with tracks of a new style; "Not For You" is a powerful neurotic trip, a gradual, busy crescendo; "Tremor Christ" is a splendid arid dance; the group is capable of perfectly shaping themselves and recreating incandescent or evocative atmospheres without difficulty. "Whipping" revisits the classic rock of "Vs" with a much more accentuated rhythmic and angry strength, I would say sincere. "Satan’s Bed", although not a bad song, perhaps isn't completely in tune with the others due to its somewhat forced refrain, not in harmony with the mood of the album. "Corduroy" is a sort of new "Jeremy", with guitar strokes that, following the vocals, soften and restart, like sudden waves, giving the track an exceptional sense of dynamism. Together with the opening, it’s perhaps the song that stands out the most from the rest, precisely because it retraces paths now abandoned, still proving to be excellent in their reactionary vein.

Beside these extraordinary pieces of powerful rock, we find the intimate ballads; the band has also improved on this front, gifting us incomparable gems like "Nothingman", "Better Man", and "Immortality". The first, perhaps the most emotionally fragile, is a lullaby full of remorse "Nothing man, Could have been something, Nothing man". "Better Man" transforms that remorse into hope, just as the initial delicacy of the song then soars into a liberating burst. "Immortality" is perhaps Vedder’s melodic peak. A desolate view on humanity; a moving journey of despair, indescribable like rain washing our heads of every sin. The third side of "Vitalogy" is the experimental one; "Bugs" is an irreverent play of harmonica and voice. "Aye Davanita", with its psychotic rhythms, is a subliminal dance, excellent.

The seven minutes of "Hey Foxymophandlemama. That’s Me", a crazy dialogue surrounded by disorienting sounds, close the album, which dominantly positions itself as an absolute pinnacle of PJ. It may not have the naive spontaneity of the debut, but it is certainly their most curated, intimate production and, simply, the one with the best songs.