Binaural by Pearl Jam
Binaural is the sixth studio album by the American alternative rock band Pearl Jam, released on May 16, 2000 through Epic Records. Following a full-scale tour in support of its previous album, Yield (1998), Pearl Jam took a short break before reconvening toward the end of 1999 to begin work on a new album. During the production of the album, the band encountered hindrances such as singer Eddie Vedder's writer's block, and guitarist Mike McCready entrance into rehabilitation due to an addiction to prescription drugs. The music on the record featured an experimental sound, evident on songs that used binaural recording techniques. The atmospheric tracks, mostly featuring somber lyrics dealing with social criticism, lead the band to convey these themes with images of nebulas in the album artwork. Binaural received positive reviews, and debuted at number two on the Billboard 200. Although the record was certified gold by the RIAA, it became the first Pearl Jam studio album to fail to reach platinum status in the United States. The album's 2000 tour spawned a large collection of official bootleg releases. Similar to the process for Yield, the band members worked on material individually before starting the recording sessions together. Lead vocalist Eddie Vedder called the making of the album "a construction job." Binaural was the first album since the band's debut that was not produced by Brendan O'Brien. Gossard stated that the band "felt like it was time to try something new," and that they "were ready for a change." Instead the band hired producer Tchad Blake, known for his use of binaural recording. Binaural recording techniques, which employ two microphones to create a 3-D stereophonic sound, were utilized on several tracks, such as the acoustic "Of the Girl." Regarding Blake, Gossard said, "He was just there for us the whole time, wanting us to create different moods." This was the first Pearl Jam studio album following the departure of drummer Jack Irons, and features drummer Matt Cameron of Soundgarden, who had previously drummed on Pearl Jam's U.S. Yield Tour.
That Pearl Jam originally named themselves after the NBA player Mookie Blaylock makes a poetic kind of sense: Of all the bands to come out of the alternative-rock boom in the early ’90s, none felt so deeply connected to sports as they did—their focus, their fluidity, their kinetic energy and positive release. For as dark as the material on <i>Ten</i> is—portraits of homelessness (“Even Flow”) and mental illness (“Why Go”), family dysfunction (“Alive”) and teenage alienation elevated to physical violence (“Jeremy”)—the overall spirit of their 1991 debut is one of brightness and vitality, of rising above. As the story goes, singer Eddie Vedder—a gas station attendant in San Diego who’d never met his bandmates before joining them in Seattle—came up with his first round of lyrics for their demo tape while he was out surfing, his feet still covered in sand as he laid down vocals. Where decades of pop culture had split notions of male identity into macho and sensitive, jocks and nerds, Pearl Jam, in their own unwitting way, brought them together: Here were five very earnest young guys, desperate to take you above the rim.<br /> And for all the stereotypes of Seattle rock as grungy and monochromatic, <i>Ten</i> (its title a tribute to Blaylock’s jersey number) has a broad palette: syncopated hard rock (“Once”), fragile ballads (“Black”), Hendrix-indebted psychedelia (“Deep”). Where Kurt Cobain ironised conventional guitar solos by purposefully screwing his up, Mike McCready plays with the passion and enthusiasm of someone who still believes in them—a distinction that not only kept continuity with classic rock, but made Pearl Jam more akin to Guns N’ Roses and Metallica than, say, the Melvins. And while his subject matter was intimate, Vedder never sang like he belonged anywhere smaller than an arena, creating a prototype for basically every famous rock vocalist in his wake.<br /> He later worried it was all too much—too open, too personal, too vulnerable. But the lack of emotional distance is part of what makes <i>Ten</i> so distinct. Prior to Vedder joining the band, guitarist Stone Gossard and bassist Jeff Ament had played in Mother Love Bone alongside vocalist Andy Wood, who died of a drug overdose in 1990. They were looking for a new beginning; Vedder was looking for a chance. Standing onstage at the Pinkpop festival two years later, in the summer of 1992, around the time that <i>Ten</i> was certified gold, Vedder, gasping for air, turns his Polaroid camera on a crowd in the tens of thousands. He’d later tell an interviewer backstage that it was overwhelming to look out at such a sea of people—as if, in disbelief, he’d needed those pictures as proof that it had really happened. At a moment when mainstream rock was in upheaval, Pearl Jam’s real rebellion was to live.
