IN REVIEW: Pearl Jam - "Riot Act"

The grunge survivors survey the scene they helped create.

Yes, it’s true. There has been a certain amount of buzz surrounding the latest release from Seattle’s Last Band Standing. That has a lot to do with the fact that Pearl Jam have been actively supporting the release of “Riot Act” in the media, probably surpassing the amount of press work done for their last three studio albums combined. There are a couple of theories. Logical types claim it has more than a little to do with the fact that Pearl Jam is in its “contract year”, so to speak, with Epic Records, and are trying to ensure a healthy future with the company. This may be true, but the reason you’re more liable to hear from the boys themselves is that, simply, they’re very proud of what they’ve created.

Recorded in a whirlwind session in the spring with producer Adam Kasper (who’s worked with Soundgarden and more recently worked the boards on Queens Of The Stone Age’s amazing “Songs For The Deaf”), "Riot Act" sees Pearl Jam doing what they do best, namely steering their group in a bold new direction. On recent albums, particularly 2000’s rather safe and plain “Binaural”, it was starting to seem as though Pearl Jam were in danger of falling into a rut. Their hardest rockers were suddenly becoming tired and forced, and nowhere near as pleasing as laid-back gems like ‘Low Light’ or ‘Light Years’. On “Riot Act”, Pearl Jam have honed their style to perfection, more often than not opting to lower the volume and crank the emotion and creativity, and the results are astounding.

“Riot Act” is immediately striking from the Zeppelinesque vibe of opening track ‘Can’t Keep’. It’s an acoustically tinged slow burner, one of many mid-tempo ditties contained within the album’s fifteen tracks. In fact, it builds so slowly and subtly that you almost don’t know the entire band has kicked until the scorching solo that ends it. You sure as hell notice the kick in, however, with what follows. ‘Save You’ is the lone moment of pure fierceness on the album (which will no doubt spur a protest or two from folks who were hoping for an album full of Spin The Black Circles). ‘Save You’ is a plea to a troubled soul that just won’t listen, thus the necessity for shouting. However, as earlier noted, Vedder seldom relies on his screaming skills on “Riot Act”, an evolution this writer applauds. He’s always been known best for singing, and that he does well on “Riot Act”.

As the first half of the album continues, its central themes begin to take shape. ‘Love Boat Captain’, an ode dedicated in part or in whole to the nine people who lost their lives in the Roskilde tragedy of 2000, ponders life and its place in the universe, to which Vedder concludes, “To the universe I don’t mean a thing”. However, underneath the doom and gloom is a hopeful message, something many people don’t credit Pearl Jam for having. “There’s just one word that I still believe, and it’s love”, Vedder sings over the wail of an organ, provided by Boom Gaspar, the latest unofficial member of PJ. ‘Love Boat Captain’, co-penned by Gaspar, thrusts Pearl Jam into a new life singlehandedly, Boom’s organ adding a depth and freshness to the music that hasn’t been there in years.

That’s not the only surprise on “Riot Act”. In fact, nearly the entire second half of the album is made up of songs that you wouldn’t recognize as Pearl Jam without Vedder’s trademark pipes. ‘You Are’, mostly written by drummer Matt Cameron, features Cameron using an effect using a guitar being played through a drum machine. The results are stunning, although admittedly hard to get used to. It’s the most original guitar music since Tom Morello learned a few tricks. That said, it’s completely unlike anything Pearl Jam have ever attempted (and, let’s face it, these are the guys who gave us ‘Stupid Mop’). However, as whacked out and pretentious an experiment as it sounds, ‘You Are’ really does work, even if only because it sounds like it’d be great to fuck to. Not kidding in the least. This wouldn’t be too badly out of place in a Ron Jeremy movie.

Then there’s “Help Help”, brainchild of Jeff Ament. It’s quite honestly a creepy song, especially when listening in the dark with headphones. Vedder and Ament go pretty much falsetto in the chorus, repeating “help me”, as guitarists Stone Gossard and Mike McCready, along with Boom, are making some of the most God damnable eerie racket in the background. But, that’s the beauty of PJ’s experimentation circa 2002. The weirdness never hits you full force, as it did in past efforts (remember ‘Bugs’?). Particularly in ‘Help Help’, they keep it bubbling below the surface, only coming up for air on a few occasions.

Of course, there is one exception, that being ‘Arc’. Just over a minute in length, it consists only of vocals which can only be described as the African choir Paul Simon used on his “Graceland” album… except they’re in hell. However, even here there is an odd sense of necessity. Plus, Vedder leads the charge with some of the best vocal delivery he’s ever unleashed. It all makes for a strangely pleasing diversion.

Elsewhere, Vedder toys with spoken-word again, this time with the scathing presidential bitchslap “Bu$hleaguer”, in which Vedder spouts of lines like “Drilling for fear makes the job simple / Born on third, thinks he got a triple”, then offsetting the near-rap with a tuneful, soaring chorus that houses perhaps the most striking line on the album: “I remember when you sang that song about today / Now it’s tomorrow and everything has changed”. Take that, George Dubyah!

The rest of the album’s departures are surprisingly welcome. “1/2 Full” rocks and rollicks with a dirty, bluesy swagger. “Cropduster” showcases the technicality Pearl Jam has never received their due credit for, not to mention Matt Cameron’s masterful stickwork. And, album closer ‘All Or None’ swings with a lazy, acoustic jazz feel that practically breathes smoke in your face. But, again, Pearl Jam have finally learned that they don’t have to jump up and down screaming “This is different! Appreciate it!” to have it noticed. Granted, the album’s inability to stay in one place too long makes for a challenging listen, but its twists and turns are downright thrilling, as long as you’re brave enough to check your PJ preconceptions at the gate and come along for the ride.

This isn’t to say that the entire album is a wild swerve. The first seven songs all have a measure of radio friendliness, with the possible exception of ‘Save You’, which is laced pretty heavily with profanities. ‘Ghost’ rocks with purpose without kicking you in the face. Lead single ‘I Am Mine’ is already having a pleasantly large impact on rock radio. And ‘Love Boat Captain’ is a shoo-in for future single consideration.

However, I’ve saved the best for last. ‘Thumbing My Way’, a mellow, sad ballad of a lost soul, is the jewel in the crown. It damn well could be the most emotional musical statement Eddie Vedder has given in ten years. The lyrical content, though typically dark, has a silver lining in the lyric, “No matter how cold the winter, there’s a springtime ahead”. It’s the kind of statement that speaks louder than any scream.

The Bottom Line:

With “Riot Act”, Pearl Jam climb out from under the cold, dead shadow of grunge, finally establishing themselves as the band their fans have always known they were, with a purpose much more important than selling flannel shirts. Yes, I can be somewhat biased toward them by times, but I don’t hesitate for a split second to say that “Riot Act” is Pearl Jam’s most consistently able album since “Yield”, their most technically sound since “No Code”, their most adventurous since “Vitalogy”, and… dare I say it?… their most thoroughly engaging and satisfying album since “Vs.”


9 EXCELLENT
Release Date: November 12, 2002 • Epic/Sony