Superunknown

by

Soundgarden

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I've listened to lots of music, and "Superunknown" doubtlessly stands as arguably the best album I have ever heard. Visionary, perfectly executed and technically impeccable, Soundgarden set the standard for dark hard rock with this one. I can't really think of a place to start in praising this album, but Chris Cornell's vocals are as good a place as any. From the hushed tones of "Fell on Black Days" to the cathartic wailing of tunes like "My Wave" and the propulsive singing of "Fourth of July," Cornell can simply do it all. His dark, churning, guitar riffs, aided by Kim Thayil's soaring, distorted solos, complete the powerful atmosphere of these songs. Add in Matt Cameron's nimble and inventive drumwork and the result is a musical masterpiece. The variety of this album is also noteworthy, as it mixes hard rockers like the opening double shot of "Let Me Drown" and "My Wave" with slower, more melodic numbers like the hits "Fell on Black Days" and "The Day I Tried To Live." The megahit "Black Hole Sun," while a strong song, is easily the worst track on the album, with the exception of the filler track "Half." "Superunknown" boasts all that serious music fans could possibly want, from creativity to technical precision to complex arrangements to a truly masterful and powerful overall vocal performance from Chris Cornell. A masterpiece in every sense of the word.

Soundgarden doesn't waste any time hitting everybody right away with their brand of bruising rock and roll on "Superunknown." "Let Me Drown" leads things off in a most in-your-face way, sounding almost live amid whirlwind garage guitar howlings and Matt Cameron's popping, energetic thumps, which are capable of forcing anyone to play the air-drums in certain spots. It's a fast and furious way to lead things off, and "My Way" keeps the energy going, with do-your-own-thing lyrics by Chris Cornell and a great chorus to boot.

Things don't stay this frantic, however. If the term "grunge" ever meant anything, it couldn't be applied more to songs like "Mailman," "Limo Wreck," and the painfully grinding "4th of July" - all slogging, slow-motion riffs with dismal outlooks. Lyrically, it's all pretty despairing, but at least Soundgarden never faked their emotions. In fact, albums don't come much more from the heart than this. Don't pay attention to just the radio hits; this is a very deep album, basically with songs for everyone.

On the faster side of things, "Superunknown," the song, could have been a big radio hit for Soundgarden, a driving rocker with Cornell's piercing vocals in full effect. Songs like "Head Down" and the over-played "Black Hole Sun" have way more tunefulness, the former a refreshingly good and relaxed take on vocals by Cornell. Two of "Superunknown's" better songs include the short and punkish "Kickstand," and the mid-tempo, ultra-cool-riffed "Fresh Tendrils." Undoubtedly, there were many potential radio releases off "Superunknown," not that radio means everything, especially for these guys.

Overall, there are fifteen songs here which may seem hard to digest in one sitting. This is tough, dark stuff. Like their Seattle brethren, Alice in Chains, Soundgarden make music that is an acquired taste, it may not latch on as quickly as an STP or Nirvana song. Howver, it's definitely worth it to give "Superunknown" and Soundgarden a try. Hard rocking guitars and drum beats, smart lyrics, a painful outlook and sensitive attitude, all carried by Chris Cornell's raging voice - this, my friends, is Soundgarden. What this album lacks in adventure is more than made up for through sheer will of throwing themselves into these intense rockers with wild abandon and letting loose on the world.

Tune your guitars down and tune in.