Dan Clinch directed the video, which features the group giving a dramatic performance on a stage streaked with light and shadow. In contrast to the high-voltage pummeling that was the first single from the album, "Mind Your Manners," this track finds the band embracing their more introspective side: Eddie Vedder gives a poignant vocal performance, and he's backed by soaring guitar riffs and a driving bass line for a great mid-tempo rocker. The back half of the album sure isn't inclined to help, largely abandoning even the modest steamrolling enjoyment of the record's initial jolt in favor of thoroughly forgettable mid-tempo dreck, save for "Supersonic", which nonetheless sounds like a band trying to be the Ramones minus the fun.Veteran rockers Pearl Jam have released a music video for "Sirens," a single off their upcoming album Lightning Bolt, which is set for release on October 15th.
Still, we have to rely on "Amongst the Waves" to deliver anything remotely resembling the soaring anthemics that used to be a PJ trademark (what I wouldn't give for a "Light Years" even). The same hit-or-miss sensitivity marks "The End"- Vedder inexplicably finds it necessary to remind us he's "just a human being" on one song and "just another human being" on the other- but at least "The End" manages to land on the right side of affecting thanks to its painfully honest depiction of romantic dissolution ("This is not me/ You see/ Believe/ I'm better than this/ Don't leave").
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The gentle "Just Breathe" might seem like the perfect opportunity for Vedder to finally dust off those resonant pipes, but instead he sings the tune with a distractingly country-ish catch in his voice, plus the tune is numbingly syrupy and the lyrics, after a promisingly pointed start ("I'm a lucky man to count on both hands the ones I love") devolve into tedium. (I know some folks hate Ed's singing, but it mostly seems like they're reacting to the fact that his voice launched a thousand Nickelbacks, which is like hating "The Simpsons" because of "Family Guy" or "American Dad".
What's worse, this chugging blitzkrieg negates the power of the band's greatest weapon, Eddie Vedder's voice, which can display its craggy richness and masculine grace only when the band isn't trying to break land-speed records. Sooner or later, however, you remember these guys wouldn't know a melody if it bit them in the ass. The opening four songs kick-start and then keep up a certain pleasing level of propulsiveness, with the goofily fast-and-loose "Gonna See My Friend" (hey, is that an actual bassline I hear?) and Thin Lizzy-ish double entendres of "Johnny Guitar" being particularly listenable.
PJ's long-dormant punk and hardcore proclivities (ugh, "Lukin") have been rising to the surface with greater regularity in recent years, and I'll admit in short bursts this bulldozing approach can be somewhat satisfying. And when I say "riff-driven" I really mean "almost entirely riff-dependent," because musically the riffs themselves are typically the only things worth your attention.
Virtually the whole record settles into the same formula the band's been dutifully churning out since the dawn of the millennium- lively but almost utterly hookless riff-driven hard rock. Backspacer, the group's ninth studio album, seems to suggest in its tossed-off 37 minutes that Pearl Jam have no greater concern and regard for what they do than the rest of the world can muster.
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