Superunknown - Soundgarden

...in 1994, Soundgarden's forth album, Superunknown finally gave the band the recognition and credibility they deserved. The album is experimental and diverse. In general the album uses stunning vocals and filthy dirty guitar riffs to turn simple compositions into works of art.

With guitars and vocals that are both aggressive and melodic in turn and discordant riffs the album is distinctly grunge, but has influences from 60's rock legends ...
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Superunknown - Cornell, Thayil

'If you don't want to believe
You don't have to try
To feel alive.'

After 'Mailman' the album returns to a much more traditional rock style with a simple and anthemic composition and upbeat guitar. The opening riff is instantly recognisable and is soon joined by the drums and bass. Lastly, come the vocals; urgent, but melodic using pauses to give the extra ... more

Soundgarden compromised 4 band members Chris Cornell (who went on to form Audioslave with members of Rage Against the machine) on vocals and guitar, Kim Thayil on guitar, Matt Cameron (now with Pearl Jam) on drums and Mellotron for 'Mailman' and Ben Shepherd on bass, vocals on 'Half' and 'Spoonman', percussion on 'Head Down' and guitar on 'Half'. One of the forerunners for grunge, they had been recording since 1988 and were one of the most influential bands during the 1990s.

Released in 1994, Soundgarden's forth album, Superunknown finally gave the band the recognition and credibility they deserved. The album is experimental and diverse. In general the album uses stunning vocals and filthy dirty guitar riffs to turn simple compositions into works of art.

With guitars and vocals that are both aggressive and melodic in turn and discordant riffs the album is distinctly grunge, but has influences from 60's rock legends The Beatles. Thayil - "We looked deep down inside the very core of our souls and there was a little Ringo sitting there. Oh sure, we like telling people it's John Lennon or George Harrison; but when you really look deep inside of Soundgarden there's a little Ringo waiting to get out." The compositions are simple, but unusual. They use very simplistic drum rhythms with guitars and vocals providing extra rhythm and tempo.

A classic album and a staple addition to any rock record collection. It was mixed by Brendan O'Brien who has produced albums for Pearl Jam, Neil Young, Korn, Rage Against the Machine and Audioslave and is famed for giving an impulsive and intuitive feel to the music. It was produced by Michael Beinholm, who also played piano for 'Let Me Drown'.

Let Me Drown - Cornell

'Give up to greed, you don't have to feed me
Give up to fate, you don't have to need me'

The album starts with edgy guitars and has a stadium feel. It kicks off with an innovative use of vocals that continues throughout the album. They are recorded in two pitches which are harmonised in post production to give a rounder sound. Also, the lyrics use pentameter to give rhythm. Even during the bridge, where the vocals become softer, they still lead the piece. Only in the outro is the guitar allowed a release as the vocals take a back seat for the final few bars.

My Wave - Cornell, Thayil

'Hate, if you wanna hate
If it keeps you safe
If it makes you brave'

Opening with a distinctive, driving riff and compelling, strong vocals. This track has an unusual composition in that the vocals, bass and guitar follow the same melody for the verses, but come apart for the chorus where the vocals are punctuated by a single guitar chord. At the start of the bridge the vocals move away from the central melody and soon drop out all together. For a while the bass moves away too to play a funky riff, but soon returns. The outro is dreamlike with several layers of vocals harmonised and slightly off set holding the melody to start, but degrading over time into atmospheric sound.

Fell on Black Days - Cornell

'So don't you look up
Something that you
Wanted to see fly
Hands are for shaking
No not tying'

One of the best on the album, this track uses melodic guitars and vocals to heighten a heavy relentless bass and simple composition. It opens with a catchy riff and instantly becomes intense and toxifying. Again, the melody is largely the result of the strong and passionate vocals backed by dark and brooding bass and guitars.

Mailman - Cameron, Cornell

'Hello don't you know me
I'm the Dirt beneath your feet
The most important fool that you forgot to see'

The driving force for 'mailman' comes from the bass, adding to the emotional impact of the lyrics and replacing the rhythm normally provided by percussion. Cornell's voice is diverse as he uses a low pitched vocal with little range for the majority of the track and changes to a desperate high pitch for particular emphasis. The guitars remain subdued for the majority of the track, only coming to the forefront in-between verses where they use a series of eerie and descending power chords and distorted lead.

Superunknown - Cornell, Thayil

'If you don't want to believe
You don't have to try
To feel alive.'

After 'Mailman' the album returns to a much more traditional rock style with a simple and anthemic composition and upbeat guitar. The opening riff is instantly recognisable and is soon joined by the drums and bass. Lastly, come the vocals; urgent, but melodic using pauses to give the extra rhythm and pace. In stark contrast the bridge begins with haunting vocals with a melodic lead and moving to a distorted guitar to ease the track back into the main body.

Head Down - Shepherd

'Bow down to live
Your life
Head down, hide that smile
Head high got to smile
Head high like a song you like.'

This track has a distinctive intro with off beat drums, melodic lead and simple bass riff. The verses use harmonised vocals and short lines to give the piece a distinctive rhythm and harmonic and reverberation to create a dreamlike quality, backed by subtle guitars Again, we hear a juxtaposition of two moods (one created by a gentle voice, the other dirty guitar chords) each extenuating the other. Throughout the track the lyrics become increasingly more joyous as more harmonies are used to create a warmer sound. The bridge begins with disorganised noise held together by a vague melody which is then pulled together by the bass before degrading again. The outro is stereotypically grunge as the band becomes increasingly more disorganised and each instrument drops out one by one until we are left where we began with a slowing drum roll and stuttering guitar.

Black Hole Sun - Cornell

'Heaven send
Hell away
No one sings
Like you
Anymore'

Possibly the biggest hit from this album, this melodic and harmonic track is on the whole far less instinctive than the rest of the album. The entire track is surreal in mood. It begins with an airy lead behind which lurks a bass with a darker purpose. The ascending lead guitar gives way to a disorganised composition before drifting to a close. The vocals use 2 pitches of Cornell's voice to create a harmony. The lower voice taking the melody while the higher voice wails repeated lines to give the piece its intensity. The lyrics add to the rhythm, by using two or three syllables in each line resulting in the sentences becoming disjointed and adding to the surreal quality. In contrast the guitar solo is intense and intricate before the vocals take us up out of the bridge and into the last chorus.

Spoonman - Cornell

'Feel the rhythm with your hands
Steal the rhythm while you can, Spoonman'

Credit for the title of this track goes to Jeff Ament (Pearl Jam). During the filming the 'Singles' Ament came up with a list of imaginary song titles. Cornell took as a challenge to write a song for that title. This is quite possibly the only rock track in the history of time to use a spoon player (street artist Artis) and a cow bell along with drums for the percussion. In fact, the spoons and co percussion lead the bridge and the chorus. The vocals are joyous and almost conversational, ending each 2 line section with the work 'Spoonman'. They add to the pace, mood and tempo of the piece, while the lead guitar provides the distinctive melody.

Limo Wreck - Cameron, Thayil, Cornell

'And the wreck of you
Is the death of you all
And the wreck of you
Is the break
And the fall'

In direct conflict with the lighter 'Spoonman', 'Limo wreck' begins with a foreboding rhythm and bass overlaid with a whimsical lead and tamed vocals for the verses which become strained for the chorus. Percussion is monotonous throughout the majority of the track with occasional rolls. All this creates an amazing conflict of opposing forces between the emotional vocals and relentless push from the band. The bridge stands out with a slightly more involved version of the original riff.

The Day I Tried to Live - Cornell

'The day I tried to live
I stole a thousand beggars' change
And gave it to the rich'

This accusatory track has outstanding lyrics and is a favourite of mine. The opening riff is distinct and instantly recognisable, but the track is driven by bass and stunning vocals that are again harmonised for the chorus. The vocals begin subdued, telling the listener a story, but become emotional and powerful as they hit the chorus head on. There is a repeat of the first verse as an outro, this time with more passion and a larger vocal range, before drifting to a lonely end.

Kickstand - Cornell, Thayil

'Kickstand you got lose and I threw up
Kickstand, you got the juice to fill my cup'

After the melodic 'Day I Tried to Live', the short and sharp 'Kickstand' hits like a sledgehammer. A much more traditional punk rock sound, this track is fast paced and less calculated than it predecessors and features aggressive guitar and hard vocals.

Fresh Tendrils - Cameron, Cornell

'Shame shame
Throw yourself away
Five me little bits of
More than I can take'

A simple composition where both guitars and bass jam around a central fantastic riff. In a bizarre twist the bass takes the driving force, with an unusually intricate riff. Vocally, each verse are split into to distinct moods; monotonous during the first half and more impassioned for the later half leading into a raw chorus. For the chorus the vocals become triumphant while the guitars are less more animated.

4th of July - Cornell

'Cause I heard it in the wind
And I saw it in the sky
And I thought it was the end
And I thought it was the 4th of July'

A foreboding guitar and bass introduces this apocalyptic tune. The vocals are simple in arrangement, but use two pitches of Cornell's voice to create effective harmonics. Here, the lower pitch is almost spoken word, while the higher pitch has a larger range and gives melody to the piece. The bridge features a wailing lead guitar accompanied by crescending vocals building to the last verse. The outro is largely taken by the vocals and the rest of the band descends into noise, there is no close as the track melts onto the next.

Half - Shepherd

'Half a chance
We still
Have half a chance'

A bizarre tune with distorted, high pitched and eerie vocals. Percussion is erratic though they are overlaid with a melodic guitar, viola and cello that give the piece an eastern feel. The drums barely play a part with just a beat or two punctuate the melody. The outro slows to a hypnotic pace using a cello for a fuller sound.

Like Suicide - Cornell

'She lived like a murder
But she died
Just like suicide'

Again, two pitches of Cornell's vocals are used to create harmony. The lower voice this time is sweet and soft, with a harsh and intense high pitched voice. The composition is melodic with a great solo from the lead guitar echoed by a simpler version on a second guitar and distinctive drum set.

She Likes Surprises - Cornell

'Lips and thighs abused by our eyes
Acting surprised like she likes it'

The final track uses distinct and simple riffs for guitars and bass, with the soft, layered vocals taking the lead backed by distorted guitars. It opens with simple and clear bass notes leading to simple, warm and almost childlike vocals, backed by dirty guitar chords that shape the verses, while the chorus features desperate high-pitched vocals lead by the guitar. 

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