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detailed re-imagininations of Pearl Jam’s unstoppable run of of 1990’s albums - from debut ‘Ten’ to fan-favourite ‘Yield’
“pretty cool man”
-eddie vedder

 


‘Ten’
(1991)

(original)

(charcoal type)
(jeremy ”lemon yellow sun” motif)

As their explosive, genre-defining entrance into pop culture and the wider music scene, ‘Ten’ felt massively undersold by the imagery of the band high-fiving.

 In this adaptation, the “lemon yellow sun” depicted in the lyrics of ‘Jeremy’ wears a cruel smile in an attempt to capture the subtle naivety and youthful brilliance of ‘Ten’s tracklist; with nods to the original colour palettes and Eddie’s surf-while-songwriting habits.



‘Vs’
(1993)

(original)

(lino-cut)

The pressure built from ‘Ten’s multi-platinum success formed an abcess ripe to burst.

Like cornered animals, the band doubled-down on the volatility in their sound, informing the imagery I chose for this cover. I felt a more stark, analogue, hand-made approach represented this music’s truth: a warning against humanity.




‘Vitalogy’
(1994)

(original)

(casette version)
(initial sketch)

While the relentless reproach of public’s eye continued, the band shed the chains of ‘grunge’.

 In exploring youth, vigor, and self-preservation - Vitalogy abandons its need for raw aggression to express its dismay. For this reason I crafted a central ‘symbol’ inspired by simplified, demi-religious iconography allows the band to sell a promise - vitality. My blatant cigarette-packet style design direction laughs at this notion, reflected in the album’s ashen lyrics.




‘No Code’
(1996)

(original)

(medium format film photo)

Pearl Jam reinvent their sound as they turns inwards, meticulously combing through Eddie’s most introspective thoughts.  

 For this reimagination I wanted a scrutiny of life to come through: a grid deconstruction of a piece of imagery that appears in Present Tense, a bent tree. I took this medium-format film photograph in one of my favourite places in the world, long before I had heard this music. The confusing and often barely readable type on both sides amplifies the central concept of ‘no-code’ - a message for all of ‘do not ressucitate’.







‘Yield’
(1998)

(original)




A resignation to the very idea of being a rock band: to be truly free.  

 Fame, public tension, and their tendency for anthemic songs - Pearl Jam fought it all for many years. This tracklist signifies a release, a great ‘letting go’ of these many hang-ups the band had worn on its sleeve for the last 8 years. I no plan for this cover, I just created something that felt true to myself and the band, and made peace with it. I have a tendency for a grand or higher purpose behind the things I make, so instead, I sought to yield.






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