Pros: Diverse, open-minded, excellent songwriting, deep and poignant
Cons: Not easily accessible, the opposite of 'Ten'
The Bottom Line: It isn't as straightforward or accessible as their previous work, but you'd be incredibly hard-pressed to find a better album out there.
...maybe even the start of a new rock era, period. Alright, so fans always have really mixed opinions on the band's fourth release, No Code. Some absolutely love it, and think it's better than all their other releases, before or since. Some absolutely hate it, saying it's too diverse and inconsistent to even be considered a 'true' Pearl Jam record. I'm somewhere in between, but much closer to the first preference. No Code is a far cry from their 'grungier', more guitar solo-driven days of Ten, which will disappoint some (casual/close-minded) fans. However, compared to the cluttered mix of songs that was Vitalogy, this record is a godsend. I feel it redeemed the band, and paved the way for where they're headed now, musically.
Let me start out by stating that, although each Pearl Jam album has probably been my personal 'favorite' at one point or another, this is my overall number one PJ release. I find myself enjoying No Code more consistently, thoroughly, and seriously than any of their other albums, even though I enjoy each one of their records, for their own reasons. However, before I delve deeper into why this is such a great album, I'll point out the few gripes I have with it. First off, there is some truth to the 'inconsistency' complaint some fans cite...to say it's a diverse album just doesn't cover it. It's got an incredibly wide range of songs on here, which is usually a blessing, but also produces some of the lesser-enjoyable songs like "Smile" and the laid-back opener "Sometimes". Though none of the songs are outright throw-aways (see 'Binaural'), or like they were merely added to fill time (see 'Vitalogy'), like all albums, it does have its weaker spots, and I would not say that every song on the album is essential listening. While this album has a lot of really great hits, it's got a couple of serious misses, too. The song order is sometimes a little kooky, too...it seems hastily thrown together, and it's some of their other albums have a better sense of flow. Sembelence wavers throughout (exception: the transition from "Lukin" to "Present Tense", more about that later on). Other than that, though, you're dealing with a damn near immaculate record. These minor complaints are not serious enough to warrant any serious dark spots on a very delectable album.
One of the reasons No Code is so outstanding is because it showcases all the members at their full-on best, both working together, and alone. Jack's opening floor tom beats on "In My Tree" are beautifully tribal, and his drums are exceptional on the other tracks, as well (observe the polyrhthyms of "Who You Are" and the furious poundings of "Lukin"). For a band that is renowned for it's rotating drummer's stool, Jack Irons has offered some of the band's most engaging beats, particularly on No Code. Stone's vocal debut on "Mankind" is an interesting change of pace, and as usual, his rhythm guitar parts are as interesting as ever. Speaking of which, I think that this was the first album by the band where each guitarist, Eddie included, really came into their own particular style, and all three of them are given their own moments to showcase their talents from beginning to end. Mike shines in full form, both in solos and riffs, from the intoxicating "Red Mosquito" and frenetic "Habit" to the slow, soothing strum of "Off He Goes". Jeff's basslines are as smooth and subtle as ever, but his solo on "Present Tense" is particularly amazing...it really proves how under-rated he is as a player, as well as a vital member of the band. And Eddie, well...he's really better than ever on here, I think. He ranges from his trademark soft-hearted croons on "Off He Goes" to the fierce, blistering screams of "Lukin", and I really think he showcases his best vocal work on No Code, bar none. At the recording of this album, Eddie had already distanced himself to the over-the-top shrills and yells of the band's first album without losing any of his trademark emotional momentum in his vocal delivery. Lyrically, he's better than ever, as well...the songwriting here can be both incredibly introspective or commentative, sometimes demonstrating both qualities within the same song. I personally find the material on No Code to be the most personal, relatable tunes the band has released, and with good reason. Overall, the band has never been in better shape. And the songs on this album prove it.
In my mind, No Code has some of the most sincere, inspiried work that Pearl Jam has ever produced. The moods range from mellow, down-to-earth, and sullen ("Off He Goes") to energetic, frenetic, and charged ("Red Mosquito", "Lukin") to anywhere in between (the solitary rant of "I'm Open" is somewhere in there, and unlike any Pearl Jam song before or since). It's got what I hold to be their best love song ever, "Hail, Hail" (forget "Betterman"), as well as some of their most angry, caustic material in years, too. On No Code, the band had finally reached an epoch where they were able to sound pertinent without preaching, and could express unadulterated rage without a hint of angst. I think the best example of emotional spectrum changes is when the breif, insane, Black Flag-influenced "Lukin" transitions immediately into the chilling, bittersweet "Present Tense" (my personal favorite song on the album). The seugeway is nothing less than breathtaking. Overall, though, after listening to this album, you leave with a calm sense of warmth and appreciation for what you've just been given. What's that, exactly? One spectacular album.
The production of the record is top-notch, with some songs offering a very stripped-back, bare-bones acoustic approach, while others swirl and amaze with multiple layers of guitars and vocals. I still notice new things (sometimes even whole guitar sections!) whenever I play this album. It grows on you with age, both with each listen, and as you yourself evolve in life.
If you're new to P Jam, or just gaining interest in them, do NOT make this your first album purchase! For new fans, I'd recommend buying either Ten and/or Live on Two Legs first. In fact, it should probably be one of your final purchases (along with Binaural and Vitalogy). But rest-assured, once you discover this beauty, you won't be sorry you waited for it. I don't think it's the world's best introduction to Pearl Jam, but it's certainly one of their best releases, and one that is often over-looked by more casual fans and record critics alike. I feel that this album opened a door into a more old-fashioned, traditional (yet equally experimental) sound that the band is still making fine use of to this day, as 2002's Riot Act clearly proves, and after this, there was simply no turning back. The band had the balls to release an album that was a large sidestep from their previous work, offering a more refined, matured version of a band that will, for better or worse, always be pigeonholed as a stepping stone in the lives of most Generation-X'ers. They released a record that nobody, least of all the majority of their fans expected, and the fact that it's still as vital and valuable as any of their other albums before or since deserves a well-earned round of applause. Ignore what the others might say. If you're a Pearl Jam fan who can genuinely appreciate the best that the band has to offer, and isn't afraid to take a little more time to appreciate it, then you cannot go wrong with the overshadowed masterpiece that is No Code.
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