Posts Tagged ‘ Matt Cameron ’

Album of the Week 18-2017: Soundgarden – Badmotorfinger


Along with Alice In Chains, Soundgarden is one of the very few bands from the early nineties Seattle scene that is actually appreciated among heavy metal audiences. The band’s third album ‘Badmotorfinger’ clearly shows why. The noisy punk leanings or mainstream ambitions that many of the band’s peers did have are absent here. Instead, ‘Badmotorfinger’ is full of heavy riff work reminiscent of Led Zeppelin and Black Sabbath and odd time signatures with ditto rhythms. And while the songs did streamline the band’s sound, it does so without sacrificing even the slightest bit of the Seattlites’ unique character and approach.

Compared to the album’s direct predecessor ‘Louder Than Love’, ‘Badmotorfinger’ sounds significantly more focused. The songs are harder-edged and while there is still a great deal of variation to be found on the record, the quartet doesn’t need quite as much time to get to the point here. However, the biggest improvement to be heard on ‘Badmotorfinger’ is in Chris Cornell’s voice. With this album and Temple Of The Dog’s sole release, 1991 prove to be the year that he transformed from a promising rock singer to a powerhouse vocalist with a massive range. Hardly anyone has come close since.

Ultimately, any of these improvements would be meaningless if the songs weren’t any good. Luckily, ‘Badmotorfinger’ is the most consistent set of songs Soundgarden has yet released. The band found a way to combine their love for odd measures with memorable melodies without having to alternate between those extremes. ‘Outshined’, for instance, feels like a catchy rock song despite its 7/4 meter and heavy riff and ‘Room A Thousand Years Wide’ is such a pleasant listen, that you hardly realize that the 6/4 rhythm that it’s built upon is quite unconventional. ‘Badmotorfinger’ is filled with such moments. It’s always a good thing when a band isn’t trying to be too clever with these things.

‘Slaves & Bulldozers’ is the ultimate proof of just how heavy Soundgarden could get: Kim Thayil and Chris Cornell pump out some crushing riffs, while the latter belts his heart out in the chorus. ‘Jesus Christ Pose’ has Matt Cameron’s incredible rhythms and the propulsive riff work pounding relentlessly underneath yet another amazing Cornell performance and opening track ‘Rusty Cage’ manages to be heavy and hypnotizing at the same time. ‘Holy Water’ is somewhat reminiscent of Alice In Chains and some songs are weirdly, but successfully decorated with horns. New bassist Ben Shepherd’s love for punk shines through the wonderfully aggressive ‘Face Pollution’.

Before ‘Badmotorfinger’, Soundgarden was a decent band that occasionally lost their way halfway through meandering songs. The increased focus did help the band a great deal, because ‘Badmotorfinger’ is easily one of the best records of its era. Terry Date’s production, which gave the band’s bottom end a not so subtle punch without damaging the clear highs, is another important factor in why the album sounds so good. And while its follow-up ‘Superunknown’ would definitively propel the band into stardom, ‘Badmotorfinger’ still stands as the bands ultimate artistic statement. One on which rock, metal, punk and pop melt into one irresistible whole.

Recommended tracks: ‘Slaves & Bulldozers’, ‘Rusty Cage’, ‘Jesus Christ Pose’

Advertisements

Album of the Week 47-2012: Soundgarden – King Animal


Still I can hear guitarist Kim Thayil say it in an interview which took place shortly after Soundgarden’s return to the stage: “If we make another album, it will probably sound different than we’ve done before.” In the meantime, ‘King Animal’ was released and it sounds exactly like you would expect from Soundgarden. Maybe even slightly better than expected; it surpasses 1996 farewell album ‘Down On The Upside’ in every possible way. To these ears, ‘King Animal’ sounds like the album Soundgarden could have done between ‘Badmotorfinger’ and ‘Superunknown’. The Seattle rockers still sound fresh, inspired, powerful and open to the odd surprise.

Every element that made Soundgarden so good in the first place is still firmly intact on ‘King Animal’. Say what you want about Chris Cornell’s dubious solo carreer, his strong Rock voice with just the right amount of rasp is still among the best in the business. Matt Cameron hasn’t ceased to inject his grooves with the force of Rock and the technique of Jazz, Ben Shepherd still knows how to make his presence known, even during passages in which he plays fairly standard stuff and Cornell and Thayil once again weave their guitar lines into an irresistable, psychedelic tapestry.

Although Soundgarden has recorded a bunch of kick-ass straight forward Rock tunes for ‘King Animal’ – the appropriately titled opening track ‘Been Away Too Long’, ‘Attrition’ and ‘Non-State Actor’ are quite brilliant in that matter – it isn’t until the band hits that semi-psychedelic mode when the album really hits its peak. It’s probably not a coincidence that the three songs Thayil wrote or co-wrote the music to are among the album highlights; ‘A Thousand Days Before’ has a hazy atmosphere with great guitar work reminiscent of the nineties Stoner scene, ‘Blood On The Valley Floor’ has a monstrous groove underneath pleasantly dissonant riffs and the heavy ‘By Crooked Steps’ deliciously stomps through odd meters, which is also a hint of Cameron’s involvement.

That’s not where the fun stops though. Cornell’s slow and introspective ‘Bones Of Birds’ has an inescapable atmosphere, Shepherd’s ‘Taree’ has a bunch of amazing, Black Sabbath-ish riffs, ‘Worse Dreams’ has some killer unexpected twists, Cameron’s ‘Eyelid’s Mouth’ works towards multiple amazing climaxes and features a stellar performance by Cornell and the hypnotizing closing track ‘Rowing’ has a somewhat Delta Blues-like atmosphere, slightly reminiscent of John Lee Hooker, and a killer, fuzz-laden guitar solo near the end.

Okay, that’s a lot of tracks I mentioned, but the truth is that almost every song here is a direct hit. There’s nothing as crushingly heavy as ‘Slaves & Bulldozers’ or as vicious as ‘Jesus Christ Pose’ on here, but ‘King Animal’ quickly became one of my favorite Soundgarden records. It’s just barely short of the brilliance of ‘Badmotorfinger’, but it’s at least on par with breakthrough record ‘Superunknown’. It’s good to hear that this group of musicians can still create something magical together; an album that isn’t a delight to listen to based on nostalgia, but on the amazing music created right now.

Recommended tracks: ‘A Thousand Days Before’, ‘Blood On The Valley Floor’, ‘By Crooked Steps’, ‘Bones Of Birds’, ‘Non-State Actor’, ‘Rowing’