Review Summary: 1994's 'Superunknown', the bold followup to grunge classic 'Badmotorfinger'.
"If this isn't what you see/it doesn't make you blind," Soundgarden vocalist Chris Cornell bellows in the opening line of title track, "Superunknown". Soundgarden didn't seem to foretell any particular success with what they had created in 1994 juggernaut 'Superunknown', but the manic followup to 'Badmotorfinger' gorgeously tests the boundaries they had previously set with their sludgy, dirty, swagger, songs like "Fell on Black Days" and "Mailman" lyrically transporting the listener to their special, dark corner.
"For all of your kisses/turned to spit in my face", Chris snarls in the chugging "Mailman", a moody, bass-heavy riff that simultaneously nods to Led Zeppelin and a heavier, more metal take with the trading of Chris and Kim Thayil's penetrating, agitated, churning lines. Bassist Ben Sheperd is even showcased in the lead on "Half", and receives writing and lyrical credits for "Head High". The inclusion of his voice adds a quirky, welcomed flavor to the record. "Spoonman" has an infectious swing, and I'd tout it as being one of their funkiest tracks to this point in their career, a full spoon-percussion solo at the tail end of its off-time bounce.
Matt's drumming here is amazing; the rhythm section of Soundgarden as a whole are one of the standout elements of the band's general demeanor--where a lot of bands from this time basically ignored the low end, Ben Sheperd's bass is very present, and doesn't always live or die by the root note. The vocal performances of 'Superunknown' are some of the best of Cornell's career, making one of the most exciting pieces of history from an enormously talented life, departed far too soon. Excellent songwriting, excellent record, top notch. I give it a "Classic" (5).
Favorite tracks: "Mailman", "Limo Wreck", "Like Suicide", "4th of July", "Fresh Tendrils"
