Dark Matter
The drums make the first argument on Dark Matter. Matt Cameron gives the title track a hard, forward push, and the guitars answer with the sort of riff that seems designed to reach the back of a large room. Pearl Jam sound comfortable being a big rock band here.
Producer Andrew Watt helps the 2024 album move quickly and keep its attention on the songs. Scared of Fear has a bright guitar attack and a chorus that rises naturally out of the verses. React, Respond is more agitated, with Eddie Vedder pushing against the rhythm instead of smoothing it out. Neither track wastes much time announcing what kind of record this is.
The strongest passages use that energy without relying on speed. Wreckage gives the vocal room to turn over an attractive melody, while Waiting for Stevie lets the guitars build towards a much larger release. Mike McCready's lead playing is particularly effective when it carries the emotional force beyond the last sung line. The band sounds most convincing when the arrangement keeps developing after the chorus has done its job.
Upper Hand takes longer to reveal itself. Its opening atmosphere makes the eventual entrance of the full band feel earned, and the spacious movement offers a useful contrast to the brisker tracks. Running then supplies a quick jolt, although its impact is more immediate than lasting. The album has enough variety to avoid feeling like a sequence of similar declarations.
Something Special is the awkward fit. Its affectionate intent is clear, but the direct, sunny melody sits less comfortably beside the more searching material. The full, dense production can also make the louder songs compete for the same space, reducing some of the distinction between individual instruments.
Setting Sun gives the record a patient and expressive finish. It suggests that Dark Matter's most persuasive quality is the band's ability to turn uncertainty into a strong melodic shape. The fast songs provide the spark, but the ones that leave a little room are the reason to return.
