Dark Matter

Pearl Jam 12枚目のスタジオ・アルバム『Dark Matter』
プロデューサーはTHE ROLLING STONESの最新アルバム『Hackney Diamonds』を手掛けた第63回グラミー賞最優秀プロデューサーのAndrew Watt。
2023年、Pearl Jamのメンバー、Eddie Vedder [vocals]、 Jeff Ament [bass]、Stone Gossard [rhythm guitar]、Mike McCready [lead guitar]、Matt Cameron [drums]は、カリフォルニア州マリブにあるシャングリラ・スタジオで、プロデューサーのAndrew Wattの指揮のもと、ただプラグインして、曲を演奏した。
彼らは同じ空間で向かい合い、最高レベルの音のコミュニケーションを図った。インスピレーションが炸裂する中で作曲とレコーディングが進み、『Dark Matter』はたった3週間で完成した。
その結果、『Dark Matter』には、生涯のクリエイティブ仲間、兄弟達が一つの部屋で、命懸けで演奏をしたかのような気迫が宿っている。
名高いキャリアの血と汗と涙とエネルギーの全てが刷新され、この一つのアルバムに注ぎ込まれたかのようだ。1CDケースバウンド・ブック仕様。

Dark Matter arrives relatively quickly on the heels of Gigaton, an urgent warning call coincidentally delivered at the dawn of the COVID-19 pandemic. Teeming with apoplectic energy, Gigaton activated Pearl Jams collective muscle memory, tapping into the messianic fervor that ran through the bands earliest records. Dark Matter doesnt traffic in that sense of righteousness, choosing instead to concentrate on replicating the sound and form of their 90s heyday. The conduit for this conversion is Andrew Watt, a producer who wasnt yet a year old when Pearl Jam released Ten, who nevertheless cultivated a reputation as a classic rock rejuvenator partially due to records like Earthling, Eddie Vedders bright and colorful solo record from 2022. After Earthling, Watt managed to shepherd records by Ozzy Osbourne, Iggy Pop, and the Rolling Stones that felt like their iconic work while also still sounding fresh. He repeats that trick on Dark Matter, crafting a record that hints at the heights of Ten and Vs. without precisely sounding like either -- theres too much sonic separation, too much punch, too much digital sheen to be mistaken for a Brendan OBrien production. Pearl Jam is older, too. Not only are they not as interested in exorcising demons, but theyre also unlikely to stray from their chosen path. Lacking the aimless detours that gave Vs. and Vitalogy an off-kilter charm, Dark Matter is streamlined and purposeful, never overstaying its welcome on either the ballads or rockers. While that can be a slight detriment on the albums loudest number -- combined, the sleek sound and concise compositions give the faintest suggestion of restraint -- the efficiency is ultimately to the bands benefit, highlighting their empathetic interplay by pushing melodies and hooks to the forefront. "Scared of Fear" and "React, Respond" provide a bracing opening to the record but Dark Matter is at its most compelling at its quietest moments ("Setting Sun" provides a suitably contemplative closer) and on "Waiting for Stevie," a song that summons Pearl Jams inherent sense of majestic melodrama. "Waiting for Stevie" suggests the days where the horizon seems boundless, an aesthetic that used to be the unifying force on Pearl Jam records, but here its used as an effective flair on an album that, above all, aims to please. That impulse is rare for Pearl Jam and its satisfying to hear them play to their strengths throughout Dark Matter. ~ Stephen Thomas Erlewine

エディ・ヴェダーのソロ作『Earthling』に続いてアンドリュー・ワットがプロデュースを手掛けた12枚目のアルバム。実験の方向に意識を傾けた前作『Gigaton』と比べても破壊力のストレートさは明白。万人が思い浮かべるバンド像に照準が合った作りは却ってフレッシュで、その意味ではワットにとってもローリング・ストーンズの『Hackney Diamonds』に比肩する一作だろう。
bounce (C)狛犬