“Can’t escape the timeline,” he concedes on the pillowy, Tom Petty-indebted “Long Way” as Heartbreaker Benmont Tench adds organ washes. But despite the clawing after transcendence, songs are fictions, momentary in the mind. A feminist in an aggro scene in which Courtney Love endured a lot of shit, Vedder has told women’s stories as early as “ Alive.” The hard acoustic strummer “Fallout Today” gets into the mind of someone “drowned in her perceptions/reaching out in all directions/No escape.” It’s lovely to listen to “Invincible” open up to a multi-tracked Vedder wordlessly scraping at the ineffable like the late Nusrat Fateh Ali Khan taught him long ago I don’t suggest Vedder is at his level, but the effort to escape the strictures of language redresses the image of the Soundscan-era scold. “Good and Evil” and “Rose of Jericho” will not repulse fans of bullshit-free churners like No Code’s “ Lukin” or the eponymous 2006 album’s “ Comatose.”Įarthling’s sturm und drang avoids potted gestures of dads-jamming-in-the-garage rebellion. Listeners, presumably Vedder’s age and who keep their Pearl Jam CDs close, may find the petulant confidence of those guitars a reason to endure this dirty world it’s as if the mutant disco jive “ Dance of the Clairvoyants” from Pearl Jam’s last album, 2020’s Gigaton, were a bad dream after eating spoiled tuna salad. (Stevie and company come in at the end as if at a concert, he observed in a recent interview.) The backing band- Red Hot Chili Peppers drummer Chad Smith, former Chili Pepper guitarist Josh Klinghoffer, and co-producer Andrew Watt on bass-don’t pestle the material.
Steeped in the mythos of bands as the last gangs in town, Vedder allows these superstar friends to garnish tracks instead of bullying them this Neil Young and Pete Townshend devotee betrays not a hint of lèse-majesté.
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