The latest issue of Revolver (June 2006) on newsstands not only has a great cover feature on Tool, but the feature review is PJ’s new disc. One of the better ones I’ve read, and I transcribed it for you guys:

Pearl Jam
PEARL JAM
(J RECORDS)

**** (out of *****)

It’s been a decade and a half since Pearl Jam made their mark with Ten, their still-stunning debut. In that time, just about every one of their erstwhile Seattle scene peers--Nirvana, Soundgarden, Alice in Chain--has either crashed and burned or called it quits. Yet Eddie Vedder & Co. solider on, regularly releasing albums and filling arenas, selling boatloads of “official bootleg” live Cds, and commanding the respect and loyalty of a rabid worldwide fan base.

Why have Pearl Jam lasted? For starters, they sidestepped some of the more self-destructive pathways taken by many of their now-defunct contemporaries. Plus, they wrote classic songs and jelled beautifully as a creative unit. Most crucially, there was an unmistakable passion and commitment inherent in every note they played, every phrase Vedder howled, that made you feel that you were listening to a combo for whom rock was nothing less than a religion (as it was for greats like the Who, the Doors, and the Clash--not to mention Nirvana and Alice in Chains). As long as they kept the faith, you felt, they would be golden.

Pearl Jam, the band’s eighth studio album, demonstrates the quintet has still got that faith--in spades. The boys come out with all guns blazing on the opening number, “Life Wasted,” whose life-affirming garage-rock gusto is guaranteed to get your blood boiling. If you’re looking for gnashing, gnarly guitar interplay, you’ve come to the right place: Ax-men Mike McCready and Stone Gossard play like their fingers are on fire. Their instrumental fervor is matched by Vedder’s vocals, which, on several songs (“World Wide Suicide,” “Marker in the Sand,” “Army Reserve”), reveal a markedly political bent.

Like a lot of us, Pearl Jam clearly aren’t terribly happy about the state of the modern world. But they’re just as concerned about individuals as they are about international crises, war, and terrorism. Indeed, one of the most affecting songs here is the anthemic “Unemployable,” a grim portrait of a jobless family man at the end of his tether who’s “scared of life” and wonders if he’s just “here to die.” The theme of wanting to be done with life’s frustrations is further explored on the lovely “Gone,” in which the protagonist decides to “take me one last ride,” possibly of the Thelma & Louise variety.

Yet Pearl Jam don’t wallow in despondency or suicidal ideation for long; they’d rather be raging and rocking. Cock an ear to the punky bashing of “Comatose” and the apocalyptic six-string spewage of “Severed Hand,” and try to keep banging your head in righteous recognition of rawk done right.

Toward the album’s end, the band literally takes us to church with “Come Back,” an actual hymn infused with gospel organ and bluesy guitar licks. As a balm for all us disaffected, pissed-off, and alienated souls, it works admirably, and along with Pearl Jam's 12 other tracks it reignites our own faith in one thing: As long as they keep putting out discs this great, there’s every reason to believe Pearl Jam will be around for another 15 years. --Tom Sinclair

Thanks for posting this. I really like Revolver as a mag.

Most crucially, there was an unmistakable passion and commitment inherent in every note they played, every phrase Vedder howled, that made you feel that you were listening to a combo for whom rock was nothing less than a religion

excellent. lock this fucker up mods.

couldnt be said any better.

Turn a couple pages past the review and you can see me!

maybe the best review I've read so far which actually focused more on the album's qualities and not personal opinions of band members