Riff, chords and melody. Fast guitars and lively drums. Pearl Jam's "Dark matter" contains all the components that should be on a rock album. The problem, DN's Noa Söderberg thinks, is that it stops there.
Let's be honest: Pearl Jam have almost always been the bland band they're accused of being. Their strong moments – the first records and some of the songs that were released around 2000 – are now in the clear minority. The discussion about a band with high-flying ambitions that cannot be lived up to is at least twenty years old. It is their everyday life.
In 2020, they broke seven years of album silence with a record that was just that: completely competent and easy to forget. Now it's time again. "Dark matter" was recorded in three weeks, which is explained in a press release by the band members "playing as if their lives depended on it" and "communicating with each other at the very highest creative level". It is possible. If so, they have not succeeded in passing that communication on.
Namely, the majority of the time it is like listening to a shell. Everything that should technically be in a collection of rock songs is here. Riff, chord, melody. Fast guitars, lively drums. Well-balanced production. After listening twice, you realize that there is nothing more.
"Dark matter", which has inexplicably been chosen as both the title track and lead single, is the best example. "Waiting for Stevie" is another. How can a band be so interested in playing instruments but uninterested in having anything said? The joy of playing is heard everywhere, but the source of it is impossible to find.
There are exceptions, of course. Opener "Scared of fear" is full of fate, even a little dramatic. The ballad "Wreckage" is more affecting than its individual components give the impression. But when "Setting sun"—an attempt at a grand finale that once again sounds like the instruction manual for a rock song—calls out, I'm reminded of an inconvenient truth: Eddie Vedder is only 59 years old. It's a long way to retirement.
Best track: "Scared of fear"
"Mostly I think that people react sensitively because they know you’ve got a point"
As if out of nowhere, Pearl Jam have kicked into a higher gear. On "Dark matter" the listener meets unexpectedly lively grunge icons.
It has been said before and will surely be said again: few records in Pearl Jam's catalog manage to capture the intensity of the concerts. From "No code" onward, the Seattle band has mostly felt like a shadow of the explosions at, say, Madison Square Garden in 1998 or the Pinkpop Festival in 1992.
Until now.
On "Dark matter" the listener meets an unexpectedly energetic Pearl Jam. Together with star producer Andrew Watt - who has previously worked with acts as diverse as Miley Cyrus, Post Malone, Ozzy Osbourne and the Rolling Stones - the American grunge icons bring to life a spark that I thought had gone out. The title track, in which a cynical Eddie Vedder broods over our polarized world, is the record's heaviest rock number where Mike McCready's riffs strike like thunder. The explosive solo at the end of love-sick "Waiting for Stevie" has the same effect.
"Running" rushes off towards garage-shaking electropunk territory, with periodic nods to "Backspacer". It's an intoxicating detour that raises the heart rate considerably.
"Wreckage", which is about slowly picking up the rubble after a destroyed relationship, breathes calm Americana and Bruce Springsteen melancholy instead. The song is fully loaded with nerve and presence.
At the mere 33-year-old producer's advice, Pearl Jam wrote and recorded the material together in the studio, which may have helped them sometimes manage to capture their famous live form. Watt also does an excellent job of confirming the band's breadth and packaging the songs' changing styles and moods. However, not everything turns out equally well.
"Won't tell" is one of several generic rock songs - there are already 13 of them in the discography - while rushed "React, respond" stumbles along as if the floor were full of sharp Lego pieces. The final "Setting sun" is, however, as beautiful as a sunset. "Let us not fade", a passionate Vedder repeats towards the end of the song. No risk.
"Mostly I think that people react sensitively because they know you’ve got a point"
I find the production a little treble heavy. Tinny almost
The exact word tinny came to mind a few times when I was listening.
I don’t know, just one listen so far, but I thought it was too much soft rock-ish. Dark matter and Running are really no indication of what the rest of the songs are like as they had, in my opinion, by far the most energy and catchiness. I hope more listens helps, but I found it to be bland so far.
My verdict after four full listens, including one Atmos listen through headphones with lyrics: 9/10 Pearl Jam's best since Avocado (and I love Avocado!). Some of Eddie's best songwriting for sure, exploring very vulnerable and grown-up themes of reconciliation, time, friendship, family, fear, hope, change and, ahem, faith (a lot of references to prayer, faith, "kingdom come," and, thematically, eschatology.) The playing, especially the rhythm section, is phenomenal. My only real complaint: The mix. It is incredibly compressed. There is no room for the music to breathe, there is no real space between the instruments, and Ed's voice gets lost in the stew of loudness throughout the album. I'm hoping the vinyl features a better master.
Post edited by bicyclejoe on
My Pearl Jam Road: 10/22/90 Seattle | 12/22/90 Seattle, Moore Theater | 9/29/92 Seattle, Magnusson Park, Drop in the Park | 9/5/93 The Gorge, with Neil Young and Blind Melon | 7/20/06 Portland, Arlene Schnitzer Concert Hall with Sleater-Kinney | 7/22/06 The Gorge, 10/21/06 Mountain View, Shoreline Ampitheatre, Bridge School Benefit | 9/21/09 Seattle | 9/22/09 Seattle | 9/26/09 Portland, OR | 7/14/2011 Eddie Vedder, Portland, OR | 11/29/13 Portland, OR
As if out of nowhere, Pearl Jam have kicked into a higher gear. On "Dark matter" the listener meets unexpectedly lively grunge icons.
It has been said before and will surely be said again: few records in Pearl Jam's catalog manage to capture the intensity of the concerts. From "No code" onward, the Seattle band has mostly felt like a shadow of the explosions at, say, Madison Square Garden in 1998 or the Pinkpop Festival in 1992.
Until now.
On "Dark matter" the listener meets an unexpectedly energetic Pearl Jam. Together with star producer Andrew Watt - who has previously worked with acts as diverse as Miley Cyrus, Post Malone, Ozzy Osbourne and the Rolling Stones - the American grunge icons bring to life a spark that I thought had gone out. The title track, in which a cynical Eddie Vedder broods over our polarized world, is the record's heaviest rock number where Mike McCready's riffs strike like thunder. The explosive solo at the end of love-sick "Waiting for Stevie" has the same effect.
"Running" rushes off towards garage-shaking electropunk territory, with periodic nods to "Backspacer". It's an intoxicating detour that raises the heart rate considerably.
"Wreckage", which is about slowly picking up the rubble after a destroyed relationship, breathes calm Americana and Bruce Springsteen melancholy instead. The song is fully loaded with nerve and presence.
At the mere 33-year-old producer's advice, Pearl Jam wrote and recorded the material together in the studio, which may have helped them sometimes manage to capture their famous live form. Watt also does an excellent job of confirming the band's breadth and packaging the songs' changing styles and moods. However, not everything turns out equally well.
"Won't tell" is one of several generic rock songs - there are already 13 of them in the discography - while rushed "React, respond" stumbles along as if the floor were full of sharp Lego pieces. The final "Setting sun" is, however, as beautiful as a sunset. "Let us not fade", a passionate Vedder repeats towards the end of the song. No risk.
My Pearl Jam Road: 10/22/90 Seattle | 12/22/90 Seattle, Moore Theater | 9/29/92 Seattle, Magnusson Park, Drop in the Park | 9/5/93 The Gorge, with Neil Young and Blind Melon | 7/20/06 Portland, Arlene Schnitzer Concert Hall with Sleater-Kinney | 7/22/06 The Gorge, 10/21/06 Mountain View, Shoreline Ampitheatre, Bridge School Benefit | 9/21/09 Seattle | 9/22/09 Seattle | 9/26/09 Portland, OR | 7/14/2011 Eddie Vedder, Portland, OR | 11/29/13 Portland, OR
Album is a great example of why it's not now, nor ever has been, Eddie and the Pearl Jams. This album couldn't be made without Mike's guitar, or Matt's drums, etc. Might be part of why I like this so much more than Earthling.
I am not going to fall for the hype again from early reviews. PJ must have a great PR team. I am glad they are still making music but this is completely forgettable like their last few albums minus a song or two.
I am not going to fall for the hype again from early reviews. PJ must have a great PR team. I am glad they are still making music but this is completely forgettable like their last few albums minus a song or two.
You must either be half deaf or listen to another album. Dar Matter is pure gold!
*** Final edit after 3+ listens (with headphones). ***
Pearl has once again put out another great album (12 for 12 if you're counting)!
Here's what I am going with, separated into 5 tiers (barely):
#1. WAITING FOR STEVIE...no doubt about this gem being their best song since Quick Escape.
#2. SETTING SUN...the second half vaults this one over the others in this upper tier. #3. REACT, RESPOND...yes! #4. DARK MATTER...it was the right call to release this one first. #5. UPPER HAND...could be the live fan favorite years from now.
#6. RUNNING...I like this one a lot better after a handful of listens.
#7. SCARED OF FEAR...the best of the lower tier. #8. WRECKAGE...I disliked it at first, but it has now surpassed three other songs, probably because of that cool little riff. #9. GOT TO GIVE...tough to rank 8-10 for sure. #10. WON'T TELL...hurts to rank this so low as I love the beginning chords.
#11. SOMETHING SPECIAL...a lot better than Gigaton's stinker Take The Long Way.
Post edited by Spartanacus on
19 Pearl Jam shows and still searching for Deep! 1998 (2) - East Lansing & Auburn Hills; 2000 (2) - Tampa & Noblesville; 2003 (2) - Lexington & Noblesville; 2006 (1) - Cincinnati; 2007 (1) - Chicago (Lollapalooza); 2008 (Ed in Milwaukee); 2009 (1) - Chicago; 2010 (1) - Noblesville; 2013 (3) - San Diego & Los Angeles I & II; 2016 (Temple of the Dog in Los Angeles); 2017 (Ed at Ohana in Dana Point); 2021 (3) - Dana Point I, II & III; 2022 (3) - San Diego & Los Angeles I & II; 2025 - Southern U.S. Tour Please!
It's interesting, As fans people experience it all differently. I think theres fans of the early grunge sound that only like that, so as Pearl Jam evolved their sound over the decades some fans dont like it and only like the early stuff Other fans music taste has evolved with the band and like that sound and have a more varied music taste, Others probably just like it because its Pearl Jam and wouldnt if another band put it out.
All ok and valid, Im just glad I fall into the bracket of loving the overall Pearl Jam sound and think this album is amazing.
Only one listen so no review yet (I know all yous all can't wait) - but these are incredible performances from Mr. Cameron and my favorite Pearl Jam guy Mr. McCready. Here's Mike waiting for his solos to start:
Spectrum 10/27/09; New Orleans JazzFest 5/1/10; Made in America 9/2/12; WF Center 10/21/13; WF Center 10/22/13; Baltimore Arena 10/27/13; WF Center 4/28/16; WF Center 4/29/16; Fenway Park 8/7/16; Fenway Park 9/2/18; SeaHearNow Asbury Park 9/18/21; Camden 9/14/22
Tres Mtns - TLA 3/23/11; EV - Tower Theatre 6/25/11; Temple of the Dog - Tower Theatre 11/5/16
Disastrous album. The real problem of PJ is Eddie Vedder's voice and right after the production of Andrew Watt. There are only 3 or 4 good tracks, the rest of the album is rubbish. Running e React are the lowest points while Upper Hand and Stevie the highest. I wasn't excited after ther first three singles but now I'm totally disappointed.
Milan 2014, Trieste 2014, Milan 2018, Padua 2018, Rome 2018, Berlin 2022, Imola 2022, Frankfurt 2022, Wien 2022, Prague 2022, Amsterdam-1 2022
Disastrous album. The real problem of PJ is Eddie Vedder's voice and right after the production of Andrew Watt. There are only 3 or 4 good tracks, the rest of the album is rubbish. Running e React are the lowest points while Upper Hand and Stevie the highest. I wasn't excited after ther first three singles but now I'm totally disappointed.
Havent listened yet but I already knew from earthlings the production was going to be very bad so I’m hoping I can just look past that. At the same time , without him we might wait another 5 years for a patched together album. I’m still extremely excited to sit down tonight and have a proper listen. Only heard the first two singles.
Finally got a listen on a good audio setup and it's fantastic. The stretch from Won't Tell through Running in particular. The singles, especially Running, work much much better in the flow of the album vs standalone songs. Two enormous thumbs up. Very eager to hear these songs live. Please partner with Nugs and give us some livestreams!
Got to listen a little for second time on way to work. I liked scared of fear and react, respond better than first listen. So see how it goes. I don’t think we will see Andrew Watt back though.
Got to listen a little for second time on way to work. I liked scared of fear and react, respond better than first listen. So see how it goes. I don’t think we will see Andrew Watt back though.
If it is Watt or someone else, just please let it be someone that keeps them reigned in a little. The fact that DM is so tight is what I'm really liking about the album so far.
Got to listen a little for second time on way to work. I liked scared of fear and react, respond better than first listen. So see how it goes. I don’t think we will see Andrew Watt back though.
We can all only hope you're wrong...I agree with Ed and Stone (latest podcasts/interviews), Andrew produced a great sounding loud album that holds its composure cranked, and he deserves a second album.
Ed enjoyed working with him so much he stopped the album they were already making to start making a PJ album. Stone & Jeff have raved about him. I’m about 100% certain he gets at least one more crack at it.
Ed enjoyed working with him so much he stopped the album they were already making to start making a PJ album. Stone & Jeff have raved about him. I’m about 100% certain he gets at least one more crack at it.
Ed enjoyed working with him so much he stopped the album they were already making to start making a PJ album. Stone & Jeff have raved about him. I’m about 100% certain he gets at least one more crack at it.
Get it done after the tour
Fuck it, do what they did 30 years ago and write on the tour "bus" between gigs. Bottle the lightning while the spark is ignited.
Got to listen a little for second time on way to work. I liked scared of fear and react, respond better than first listen. So see how it goes. I don’t think we will see Andrew Watt back though.
We can all only hope you're wrong...I agree with Ed and Stone (latest podcasts/interviews), Andrew produced a great sounding loud album that holds its composure cranked, and he deserves a second album.
I love the album, but can only help the mix better if they do another one with Watt. It is overly compressed. There’s no room for the music to breathe and the instruments to separate. Everything is just mashed together and mixed loud.
Measurements of DR Peak (the lower the number, the more compression, the worse the fidelity and clarity).
Their most compressed album yet. DR for each album:
Dark Matter - 5 Gigaton - 8 Lightning Bolt - 8 Backspacer - 7 Pearl Jam - 6 Riot Act - 6 Binaural - 7 Yield - 7 No Code - 7 Vitalogy - 9 Vs. - 9 Ten - 10
Post edited by bicyclejoe on
My Pearl Jam Road: 10/22/90 Seattle | 12/22/90 Seattle, Moore Theater | 9/29/92 Seattle, Magnusson Park, Drop in the Park | 9/5/93 The Gorge, with Neil Young and Blind Melon | 7/20/06 Portland, Arlene Schnitzer Concert Hall with Sleater-Kinney | 7/22/06 The Gorge, 10/21/06 Mountain View, Shoreline Ampitheatre, Bridge School Benefit | 9/21/09 Seattle | 9/22/09 Seattle | 9/26/09 Portland, OR | 7/14/2011 Eddie Vedder, Portland, OR | 11/29/13 Portland, OR
My initial reaction is that this album is all over the place and has no flow. A lot of styles going on, and too many for it's own good. It definitely has it's moments, but the lows are very low. I'll give it more time, but if this isnt the worst PJ album in the catalog, it's probably only better than lightning bolt which isn't saying much.
For me wreckage, won't tell and something special were the lows. Upper hand, setting sun, scared of fear and running were my initial highlights. Waiting for Stevie has some great moments, and also some parts I'm not really fond of.
This album is a lot to digest....but for now I'm feeling a 6/10
And yes, I know my review sucks.
Through no peer pressure, I'm editing my evolving rating. As I said initially, this album is a lot to digest. Usually it's the albums that confuse on first listen that I end up liking the most, so hopefully that's what's going on here.
As of now, I'm bumping this up to at least an 8/10, subject to change. I dont want to overrate it quite yet. I still think Something Special was an odd addition to a Pearl Jam album and probably would've been a better fit on an EV solo project. The other songs that were rubbing me the wrong way were Wreckage and Won't Tell. It's something about the backing vocals and production that made them feel more like overproduced mainstream pop songs than proper Pearl Jam tracks...but even those are becoming increasingly tolerable to me, especially within the context of the album.
I listened to this in Dolby atmos ultra HD last night with headphones, and it made a huge difference. It's definitely way more produced and polished than most PJ albums, but if you hear it through proper speakers it does sound great.
At the moment, the album overall sounds like Pearl Jam showing off to me. Every member throughout the majority of the album. I mean that in a good way. I'm not quite ready to declare any of it classic, but the instrumentation, vocals and interplay between the band is really superb throughout.
This is a pretty good summary of the album: “Is Dark Matter that different from immediate predecessors Backspacer, Lightning Bolt, and Gigaton? Not really. But is it somehow Pearl Jammier, in an ineffable sense? Yep—in fact, it’s something special.”
Backspacer is the immediate comparison that keeps coming to mjnd because both records feel so concise, but there are several songs that would have been at home on LB, and in general i think this is the album that Gigaton could have been with a little more restraint.
Comments
astoria 06
albany 06
hartford 06
reading 06
barcelona 06
paris 06
wembley 07
dusseldorf 07
nijmegen 07
this song is meant to be called i got shit,itshould be called i got shit tickets-hartford 06 -
Dagens Nyheter
1/5
Riff, chords and melody. Fast guitars and lively drums. Pearl Jam's "Dark matter" contains all the components that should be on a rock album. The problem, DN's Noa Söderberg thinks, is that it stops there.
Aftonbladet
4/5
My verdict after four full listens, including one Atmos listen through headphones with lyrics: 9/10
Pearl Jam's best since Avocado (and I love Avocado!).
Some of Eddie's best songwriting for sure, exploring very vulnerable and grown-up themes of reconciliation, time, friendship, family, fear, hope, change and, ahem, faith (a lot of references to prayer, faith, "kingdom come," and, thematically, eschatology.)
The playing, especially the rhythm section, is phenomenal.
My only real complaint: The mix. It is incredibly compressed. There is no room for the music to breathe, there is no real space between the instruments, and Ed's voice gets lost in the stew of loudness throughout the album.
I'm hoping the vinyl features a better master.
Pearl Jam: Dark Matter review – the faithful will rejoice
https://www.theguardian.com/music/2024/apr/19/pearl-jam-dark-matter-review-the-faithful-will-rejoice
"...I changed by not changing at all..."
Dar Matter is pure gold!
Pearl has once again put out another great album (12 for 12 if you're counting)!
Here's what I am going with, separated into 5 tiers (barely):
#1. WAITING FOR STEVIE...no doubt about this gem being their best song since Quick Escape.
#2. SETTING SUN...the second half vaults this one over the others in this upper tier.
#3. REACT, RESPOND...yes!
#4. DARK MATTER...it was the right call to release this one first.
#5. UPPER HAND...could be the live fan favorite years from now.
#6. RUNNING...I like this one a lot better after a handful of listens.
#7. SCARED OF FEAR...the best of the lower tier.
#8. WRECKAGE...I disliked it at first, but it has now surpassed three other songs, probably because of that cool little riff.
#9. GOT TO GIVE...tough to rank 8-10 for sure.
#10. WON'T TELL...hurts to rank this so low as I love the beginning chords.
#11. SOMETHING SPECIAL...a lot better than Gigaton's stinker Take The Long Way.
1998 (2) - East Lansing & Auburn Hills; 2000 (2) - Tampa & Noblesville; 2003 (2) - Lexington & Noblesville; 2006 (1) - Cincinnati; 2007 (1) - Chicago (Lollapalooza); 2008 (Ed in Milwaukee); 2009 (1) - Chicago; 2010 (1) - Noblesville; 2013 (3) - San Diego & Los Angeles I & II; 2016 (Temple of the Dog in Los Angeles); 2017 (Ed at Ohana in Dana Point);
2021 (3) - Dana Point I, II & III; 2022 (3) - San Diego & Los Angeles I & II; 2025 - Southern U.S. Tour Please!
I think theres fans of the early grunge sound that only like that, so as Pearl Jam evolved their sound over the decades some fans dont like it and only like the early stuff
Other fans music taste has evolved with the band and like that sound and have a more varied music taste,
Others probably just like it because its Pearl Jam and wouldnt if another band put it out.
All ok and valid, Im just glad I fall into the bracket of loving the overall Pearl Jam sound and think this album is amazing.
Amazing collection of songs - no stinker on this record!
WF Center 10/22/13; Baltimore Arena 10/27/13; WF Center 4/28/16; WF Center 4/29/16;
Fenway Park 8/7/16; Fenway Park 9/2/18; SeaHearNow Asbury Park 9/18/21; Camden 9/14/22
Tres Mtns - TLA 3/23/11; EV - Tower Theatre 6/25/11; Temple of the Dog - Tower Theatre 11/5/16
The real problem of PJ is Eddie Vedder's voice and right after the production of Andrew Watt.
There are only 3 or 4 good tracks, the rest of the album is rubbish.
Running e React are the lowest points while Upper Hand and Stevie the highest.
I wasn't excited after ther first three singles but now I'm totally disappointed.
https://podcasts.apple.com/us/podcast/kyle-meredith-with/id1381546475?i=1000652711504
If it is Watt or someone else, just please let it be someone that keeps them reigned in a little. The fact that DM is so tight is what I'm really liking about the album so far.
Their most compressed album yet. DR for each album:
Dark Matter - 5
Gigaton - 8
Lightning Bolt - 8
Backspacer - 7
Pearl Jam - 6
Riot Act - 6
Binaural - 7
Yield - 7
No Code - 7
Vitalogy - 9
Vs. - 9
Ten - 10
It said "Life is nothing but a dream."
I've spent so many years in question
To find I'd known this all along.
https://www.spin.com/2024/04/pearl-jam-dark-matter-review/
As of now, I'm bumping this up to at least an 8/10, subject to change. I dont want to overrate it quite yet. I still think Something Special was an odd addition to a Pearl Jam album and probably would've been a better fit on an EV solo project. The other songs that were rubbing me the wrong way were Wreckage and Won't Tell. It's something about the backing vocals and production that made them feel more like overproduced mainstream pop songs than proper Pearl Jam tracks...but even those are becoming increasingly tolerable to me, especially within the context of the album.
I listened to this in Dolby atmos ultra HD last night with headphones, and it made a huge difference. It's definitely way more produced and polished than most PJ albums, but if you hear it through proper speakers it does sound great.
At the moment, the album overall sounds like Pearl Jam showing off to me. Every member throughout the majority of the album. I mean that in a good way. I'm not quite ready to declare any of it classic, but the instrumentation, vocals and interplay between the band is really superb throughout.
Backspacer is the immediate comparison that keeps coming to mjnd because both records feel so concise, but there are several songs that would have been at home on LB, and in general i think this is the album that Gigaton could have been with a little more restraint.