No Code - Pearl Jam (CD 1996)

Well, looks like I m back earlier than expected to continue the tour of Pearl Jam s back catalogue! The next stop on the way is 1996 s No Code, the band s fourth album. A milestone in many ways. This one completely moved the band away from their heavier, harder rock style (aside from a couple of tracks) as they continued along the experimental bent begun by 1994 s Vitalogy. They, of course, alienated what remained of their Ten fan base completely with this effort. Only the true fans clung along, realising after hearing the album I m sure that the band s change was for the better. They were experimenting with a new sound, diversifying their music, and leaving more options open to themselves. (This was incidentally the first full album recorded with the band s new drummer - formerly of the Red Hot Chili Peppers - Jack Irons.) As it turns out, they actually returned to a more mainstream rock style for their next album, 1998 s Yield. But that s another album, and another review entirely. It should be my next one, unless I decide to do something zany and deviate from my chronological order method (I don t think that will happen somehow).

As I may have already mentioned, I purchased Vitalogy and No Code at precisely the same instant. I may have also mentioned that No Code spent a bit more time in my CD player than Vitalogy did at the start. I know, I know, No Code is meant to be the hardest one to get into, due to its completely different sound, but I actually found it incredibly likeable on the first couple of listens. (Vitalogy was the one I had real difficulty with, the flow of that album is not as good as this one.) Actually, now that I mention flow in a sidetracked remark, the flow of this album ain t anything great either. There is a fair mix of really mellow tracks, slow-burning rockers, and all out hard rockers (with the hard rockers being in the minority here), and it is sometimes disorienting the way the pace shifts throughout the course of the CD. However, the tunes and rhythm of some of the songs drew me in from the very start, and the ones that I didn t get right away I soon got to know by listening around the ones that I did pick up. While there is a good bit of experimentation with the Pearl Jam sound here (this is the album that sounds least like the band is perceived to sound), they still manage to retain a distinct Pearl Jam feel to the music anyways, so it s all good. But anyway, I better get to the meat of the review before I ramble you all to death.

Pearl Jam (1996) are Eddie Vedder (vocals, guitar), Mike McCready (guitar), Stone Gossard (guitar, vocals), Jeff Ament (bass) and Jack Irons (drums).

Track Listing

1. Sometimes
2. Hail, Hail
3. Who You Are
4. In My Tree
5. Smile
6. Off He Goes
7. Habit
8. Red Mosquito
9. Lukin
10.Present Tense
11.Mankind
12.I m Open
13.Around The Bend

The album trudges to an unusual, mellow shock! start with the relaxed, gentle Sometimes. The track is characterised by its very sparse nature, the most dominant instrument is the gentle bass, and it says something for the loudness of the song that soft bass manages to dominate. There are some gently picked melodic guitars also, and Vedder s voice sounds restrained throughout. It is not a great track to begin with, but it is pretty painless and gone rather quickly.

Seek my part, devote myself
My small self, like a book amongst the many on the shelf

Hail, Hail is one of the only songs on here that could fit in on radio, it is more like what Pearl Jam were on their first two albums (in fact, they would normally have kicked off with a track like this). Anyway, it rocks with a bang, has a really great chord progression, and the guitars are big, fierce and cutting as they blast those chords out. Rolling bass hooks all over the place, particularly in the manic chorus (where Eddie s speech seems to become really slurred). A great track, one of the best on the album.

Swore I d love you till the day I die, and beyond
Are we going to the same place, if so can I come?

Who You Are was released as a single I believe, although it has a really weird sound, the drums have a jangly and sprightly rhythm to them. Short bursts of guitar push the verses along, and an excruciatingly simple rumbling bass line comes bouncing in later. There is a couple of decent solo sections thrown in there as well, but this is again another one of my least favourite tracks. In My Tree has to be one of my favourites though. Beginning really densely with an oppressive bass line and rapid dull drum rolls, it soon builds up into a big distorted affair with the help of some ghostly wailing guitar parts. Vedder s voice flows excellently as well, when he gets going he really can make the band sound twice as good. The drums continue to fill rapidly and relentlessly throughout, this one is very friendly, entertaining and fun to listen to.

Up here the sky so high I scrape
And my eyes peeled both wide open, and I got a glimpse
Of my innocence

The same could be said for Smile, another distorted rocker, but this time with more of what could almost be described as cheesiness, thanks to some harmonica and a fun, mid tempo style. The choruses can get on my nerves a little, they sound a bit forced, although they do have some nice guitar parts underneath. But the rest of the song is fine, with nice fuzzy guitars and a cool distorted solo appearing near the beginning. Off He Goes is a lovely touching ballad, that worms its way under your skin in no time. Another fairly sparse number, content to be acoustic all the way through, although there are some great little chimes of guitar, which appear at the choruses usually. The bass is just there to have a presence really, and back up the guitar, giving the song a good atmosphere. The chorus is one of the best that Pearl Jam have written I believe. A gentle solo crawls out eventually (this one pans out at almost six minutes).

I wonder about his insides
It s like his thoughts are too big for his size
He s been taken, where, I don t know?

Habit is a big beast of a rocker, you will get a shock when this one enters off the back of the last track, because it s just so damn loud. Big thundering, crunching guitars characterise this one, it is the heaviest number on the album. Lots of simple, but powerful drum fills also, and a tremendous squealing solo to close the song out. Vedder sounds like an animal most of the time here, growling and sounding fierce. The same could be said about Lukin. Barely a minute long, this ferocious punk song is only just on the album and no more, it fleets in and then out again before you have time to realise it is actually there. It does have some very nice drumming again, lots of big nasty fills (I especially love the way the drums kick in). Sandwiched between these two raucous songs is the masterwork of the album. Red Mosquito lurks in the inner depths of No Code, disguising itself amongst the other songs. It is only when you first coax it out that you realise it may just be Pearl Jam s best song. But that s a big statement to make. It has the most addictive wailing, wandering, bluesy riff in the world, and a nice refreshing acoustic flavour when it comes to the chorus. That s about it. It s really the extremely distorted, soloing, mad guitar that makes this song what it is. You have to hear it.

If I had known then what I know now
How could I have known then what I know now

Present Tense is a very slow starter, a burner of a song. It is extremely sparse for the majority, featuring mostly small chimes of guitar every few seconds, a very heavy, resonant touch of bass, and Eddie s soft vocals. The choruses are driven along by extremely booming bass, almost mean in a way. An acoustic guitar strums its way into the mix just before the second chorus. At the end of the song, the drums start to kick in, and the track turns into a slow pounding rocker for a bit, with lots of lovely big bass hooks and heavily strummed guitar. Then it returns to a quiet, chiming feel to end on. A pretty great song, even if it can tend to get a bit boring at points.

It makes much more sense
To live in the present tense

Mankind is notable only because Stone Gossard sings instead of Vedder (the horror!), otherwise it is a pretty standard, and reasonably bland rock song. Infantile in sound, with big meaty guitars, heavily distorted, but the whole thing is far too easy to be annoyed with. I m Open is kinda strange, some spoken word, some brief sung lyrics. It is the sparsest song on the album, only featuring gentle guitar melodies and a constant drone of bass. I find it really relaxing and a decent song. Around The Bend is similar in its relaxing sound, but is not nearly as sparse. A lovely acoustic chord progression drives the entire thing really, and there is a gentle pound of drums throughout. A gentle, melodic and pretty beautiful way to end the album.

Off you dream my little child
There s a sun around the bend

All things taken into consideration, No Code is a really great album, pushing the five-star mark. It is generally a more mellow and relaxed CD than any other Pearl Jam album, while still featuring a few heavier rocking songs. If you like Pearl Jam but have not heard this, then I d advise you to check it out, but be warned that it is not what you would expect from the band. If you don t like Pearl Jam, then I d probably still advise you to take a listen, as it is a largely different sound for them, one which could be enjoyed by almost everyone. It s definitely not mainstream, but is damn entertaining and diverse, something that the large majority of music fans could easily appreciate.

Excellent: Hail,Hail, In My Tree, Off He Goes, Red Mosquito
Good: Smile, Habit, Present Tense, I m Open, Around The Bend
Average: Sometimes, Who You Are, Lukin, Mankind
Weak: NONE

Final Rating: 16/20