[rating=6.00]
On Pearl Jam’s 2006 self titled release the band found their angst-ridden past melding swimmingly with their middle age present. There was a President they could rebel against, wars they felt were unjust and an overall pissed off feeling that resulted in an excellent disk. Things gradually changed with wars ending, their candidate taking office and things generally looking up as the band seemed happy on 2009’s un-memorable Backspacer. The world is much in the same spot and the boys are in a fairly good mood still in 2013 with Lightning Bolt and it is obvious that they are simply a better band when they are angry.
Things aren’t horrific here (better than Backspacer) but Pearl Jam seems to be content smack dab in the middle of the road. They have every right to do so being one of the only arena rock bands alive these days, but throughout Lightning Bolt there are hints of much more interesting tidbits lurking behind the edges and a younger PJ would have dove into that fray while today’s band stays straight-laced.
The first single “Mind Your Manners” is the most chaotic and energetic tune presented with an excellent punk slant but a track like “Sirens” is more indicative of the release. The song tries for grandiose but has a Cheap Trick “The Flame” vibe to it, parts feel plugged in with a muted guitar solo followed by acoustic strumming and an overall malaise behind the piano. The title track also falls into this trap reaching for huge arena rock rafters, in the vein of PJ’s heroes The Who, but “Lightning Bolt” is cluttered and overly cerebral instead of emotionally invigorating.
On the plus side the opener “Getaway” finds that familiar angst in adult fashion but also for the first time in a while (maybe ever?) the band gets groovy before a slashing guitar ending. The bass also drives “My Fathers Son” which has its moments while “Pendulum” takes an interesting drum pattern from Matt Cameron laces some eerie keys over it and puts eastern guitars on top of Vedder singing “easy left me long ago”. The track isn’t an easy or straight ahead PJ tune and the disk is better for it.
While Eddie Vedder is the vocal glue and creative force that holds the group together, Lightning Bolt finds him singing on and on when perhaps more instrumental interludes are in order as the production and instrumentation do really sound phenomenal. One example is the wistful closer “Future Days” each instrument sings delicately but Vedder comes off verbose, diluting the overall effect.
“Let The Records Play” is the most frustrating/exciting track on the release. It toys with a meaty blues stomp, something the Seattle group has never done, but then shifts into a cheesey pop ballad with a clap along bridge, that wishes it was doo-wop. It flirts with the blues a few times but never commits, then fires up an outro jam that contains the most exciting playing on the whole disk only to fade out before really hitting home.
