1994 In Review: Soundgarden - "Superunknown"

The Seattle explosion of 1991/92 had a measure of damning effect on major label rock; bands with little to no talent were signed en masse, given blank cheques and reaped the benefits of their owners' marketing machines' full power. With so many bands suddenly bathed in the spotlight, it got a lot more difficult to determine who was worthy of the attention and who was only getting it because some geriatric rich white dudes were using them as pawns in a dick-measuring contest. Though there were some real gems to be unearthed this way, there seemed to be a Candlebox or Sponge for every Primus or Stone Temple Pilots.

However, it also meant greater exposure for the already existing Seattle bands. Alice In Chains hit their stride just as people went looking for more of that Seattle sound; and Soundgarden, who had already been around for about seven years (and signed to A&M for three) by the time Nirvana released Nevermind, had unleashed their gloriously heavy third album Badmotorfinger just two weeks after. After wallowing on the fringes since their inception, the newfound interest in all things Seattle steered many fans (including this one) toward this Soundgarden band that Cobain and Vedder kept bringing up. And it's important to note that, while everyone regards Superunknown as the band's breakthrough, Badmotorfinger did go platinum and receive a Best Metal Grammy nomination.

So, with the critics' ears and the eyes of the world upon them, Soundgarden set out to build on what they'd accomplished. Preceded by the odd, groovy single Spoonman, Superunknown was let loose on an unsuspecting society twenty years ago today (remember, no leaks in 1994). A staggering behemoth of ugly melody and sickening weight, its fifteen tracks play so well as an album that you hardly realize 70 minutes have passed once you reach the end. Consistently interesting and flawlessly executed, it's the sound of a band doing everything they do best just a little better.

So, about those hits: beyond the obviously massive Black Hole Sun, Superunknown's promotional cycle yielded a whopping five singles. Spoonman did well in its lead single role, while Fell On Black Days, The Day I Tried To Live and My Wave still ring out on FM rock stations globally today. What's arguably more impressive is the potential hits that were passed over; the title track, opener Let Me Drown, and even closing stunner Like Suicide could have easily done just as well on the charts while still leaving almost half an album's worth of well-written, brilliantly performed songs to be designated as "deep album cuts".

That "10" up top calls to mind "perfection"; a perfect album doesn't exist, and I don't subscribe to the notion of perfection in the arts. Even the most heavily lauded, universally adored albums can't possibly be considered as truly flawless, and literally nothing is loved by everyone. But Superunknown is the embodiment of what kind of album gets five stars from me: even a passing glance at that stacked tracklist reveals an embarrassment of riches, with even the less desirable songs holding a measure of worth. Each song is a special snowflake that knows its place as part of the whole, and plays its part beautifully. Hard charging rockers, dismal dirges, offbeat artistic expressions and mainstream radio smashes alike acknowledge each other without judgment, shaking hands and recognizing each one as an important member of the family. Which, when you boil those early '90s down to its essence, is what the Seattle scene was really about.

March 8, 1994 • A&M

Highlights Let Me Drown • Fell On Black Days • Like Suicide