parodies & text by nacrowe
SOUNDGARDEN was a truly MASSIVE band for me during my childhood. as ive written about repeatedly and extensively before, the first two albums i ever owned were SUPERUNKNOWN (A&M, 1994) by SOUNDGARDEN and VITALOGY (EPIC, 1994) by PEARL JAM. both were gifts from my parents back when i was ten years old. interestingly, the first records i ever bought with allowance money were all by LIVING COLOUR, specifically their VIVID (EPIC, 1988) and BISCUITS (EPIC, 1990) albums as well as their TIME'S UP (EPIC, 1991) EP, all of which i acquired shortly after obtaining the aforementioned SOUNDGARDEN and PEARL JAM records. all told, it was a great starting haul to a lifelong PASSION.
looking back, SOUNDGARDEN is such a UNIQUE band. obviously CHRIS CORNELL is a songwriter and frontman of the first order, gifted the preternatural CHARISMA, LOOKS and VOICE of an UNDENIABLE ROCK GOD. ROCK AND ROLL very much feels like may have been invented in order to describe and give context to his PRESENCE and ENERGY. dude was an adonis and to me as a child, CORNELL very much was ROCK AND ROLL. end stop. all that being said, his artistic work was THOUGHTFUL, MELODIC and subtly POETIC, often displaying an underlying DARK VULNERABILITY in the midst of POWERFUL anthemic peons a life well lived. his untimely passing a half decade ago is still SHOCKING and TRAGIC and a deeply felt LOSS to the world.
with all due respect to CORNELL, what drew me in as a kid was guitarist KIM THAYIL. the OFF-KILTER RHYTHMS and ODD, EXOTIC-sounding SONIC TEXTURES provided an EXPANDED PALETTE of what a guitarist could produce with the instrument. in other words, dude was a GUITAR WIZARD. i still hold him in high regard and only much later in my musical journey learning about EXPERIMENTAL POST PUNK bands could i see his work in context. for me THAYIL's EXPANSIVE SOUND that was SLUDGY yet kinetically and rhythmically ANGULAR and UNPREDICTABLE like an INDIAN-AMERICAN half TONY IOMMI (BLACK SABBATH), half ANDY GILL (GANG OF FOUR) hybrid. yet his guitar playing never felt forced or strained in the mix, instead providing a push and pull counterpoint with CORNELL and his ETHEREAL PRESENCE and OTHER-WORDLY VOICE. arguably part of what made their songs so SPECIAL was this INTRIGUING dynamic were CORNELL anchored these EVOCATIVE AURAL LANDSCAPES with a MELODIC SENSIBILITY that was equal parts BRAVADO of MELANCHOLY. its a sound that whose ALCHEMY has not been replicated since.
i was in junior high when SOUNDGARDEN broke up in 1997, arguably at the peak of their powers post DOWN ON THE UPSIDE (A&M, 1996). despite being bummed about it, i respected them immensely for calling it a day before they felt they were phoning it in and not in control of their own narrative. its hard not to since that is the ULTIMATE PUNK ROCK move. they refused to become a NOSTALGIA act, they refused to become AEROSMITH. i similarly respected their decision to return two decades later and KING ANIMAL (UNIVERSAL REPUBLIC, 2012) basically started artistically where they left off, which is a PHENOMENAL achievement. a minor miracle in fact.
that ALCHEMY stayed intact. for me there is a certain MAGIC to SOUNDGARDEN that is as much a part of my wildly IMAGINATIVE childhood projections as it is about the quality of their catalogue. i am obviously biased given my formative experiences, but i find myself still intrigued by their records. the last demoed songs recorded before CORNELL untimely passing are rumored to be in the works as the final artistic statement from the LEGENDARY ALTERNATIVE ROCK band. i have no apprehension that if released, such will be great. and i look forward to hearing them eventually.
embedded below is an early DEER GOD RADIO episode on nonprofit internet radio station MAKERPARKRADIO.NYC that includes a playlist celebrating the ICONIC SEATTLE ALTERNATIVE ROCK band SOUNDGARDEN. enjoy!
photo & text by nacrowe
it is difficult to overstate the importance of SOUNDGARDEN's fourth studio album SUPERUNKNOWN (A&M, 1994) in my young life as a music listener. unapologetically, i am most definitely a 90s kid and as such, as ive repeated on this blog before, was gifted both SUPERUNKOWN and PEARL JAM's VITALOGY (review linked HERE) in what had to have been christmas 1994. i should also mentioned shortly after such my first record purchase was a compact disc copy of LIVING COLOUR's VIVID (review linked HERE). so not a bad first foray indeed. that being said i am emotionally tied to this album so this review will not be some pseudo-critical appraisal of its worth. to me the experience of listening to this era of SOUNDGARDEN is akin to reliving my childhood. so that is my bias.
compared to its predecessor, the similarly stellar BADMOTORFINGER (A&M, 1991), SUPERUNKOWN is more psychedelic and sonically expansive, incorporating nontraditional instrumentation (i.e. spoon percussion on "SPOONMAN") and their requisite odd time signatures that still manage to be highly contagious and earworm-y. standout tracks include "4TH OF JULY," "FRESH TENDRILS," "HEAD DOWN," "FELL ON BLACK DAYS," "LIKE SUICIDE," "MY WAVE," "SUPERUNKNOWN," "LET ME DROWN," "SPOONMAN," "THE DAY I TRIED TO LIVE" and of course the generational ALTERNATIVE ROCK anthem that is "BLACK HOLE SUN." okay, i realize that i just named most the tracks on the album, but that is kind of the point here. its a landmark album with many of the best tracks of their career, hands down.
growing up my personal favorite track was the title track, "SUPERUNKNOWN," which slowly builds from a mixolydian sounding eastern single note riff that expands and and enlarges until the choruses and guitar solos engulf the universe. guitarist KIM THAYIL is an absolute wizard and is criminally underrated amongst his ALTERNATIVE ROCK peers. the dude is an utterly unique and has a preternaturally deft ear for both crushing riffs and dynamic texture shifts. that said, "SUPERUNKNOWN" itself is an absolutely epic track sonically that lyrically is about SELF-TRANSFORMATION and stepping into the unknown despite your personal MISGIVINGS, INSECURITIES and TREPIDATIONS. that song alone has been the soundtrack to all my "fuck lets go decisions" over the years from joining PEACE CORPS in ALBANIA to any number of teaching jobs i took in quasi-safe locales ranging from VENEZUELA to MYANMAR.
the brutally guttural guitar tone of "4TH OF JULY" has been immensely influential on the EXTREME METAL genre of DRONE METAL, particularly key bands like BORIS, JESU and especially SUNN O))). that deep low-tuned guitar absolutely crushes and propels the listener on a slow plodding sonic dirge not experienced before, even by the likes of SLUDGE METAL bands like MELVINS or NEUROSIS. lyrically the song is uses natural imagery to thematically espouse on concepts related to MORAL REBIRTH and PERSONAL REJUVENATION in the wake of some undefined debasing experience. such a revelation is personally experienced by the narrator through a massive thunderclap and natural visual display that borders on the sublime. i always interpreted the song as that moment when a transformative idea comes to conscious fruition from whatever subterranean depths and unknown processes it came out of.
i could go down the line here song by song but i wont. suffice to say that SUPERUNKNOWN is required listening and is the ultimate showcase of the almost ALCHEMICAL ARTISTIC SYNERGY of these four talented musicians: all of whom are songwriters. CHRIS CORNELL with his voice and songwriting abilities are a revelation unto itself, making him easily the standard bearer amongst his ALTERNATIVE ROCK peers. what a generational talent he was. BEN SHEPHERD likewise contributed one of my favorite tracks ("HEAD DOWN") and his ability for composing interesting arrangements and odd textural juxtapositions is the secret weaon of the band. KIM THAYIL like i said before is a wizard and experimental riff meister of the first order (right there in my mind with DIMEBAG DARRELL of PANTERA). and MATT CAMERON and his adroit and tasteful percussion choices throughout laid the groundwork for one of the most experimental and artistically successful ROCK AND ROLL albums ever.
but then again i am incredibly biased.
REST IN PEACE CHRIS CORNELL.