Superunknown
Black Hole Sun is an odd song to become a huge hit. The tune is inviting, the mood is deeply wrong, and Chris Cornell sounds perfectly at home in the middle of it. That combination explains much of what makes Superunknown work. Soundgarden can give you a chorus to remember while still making the floor feel slightly uneven.
This is a long album, and it earns most of that space. Spoonman puts a heavy riff and a restless rhythm right up front. Fell on Black Days pulls back, giving Cornell's voice more room and making its sadness feel almost matter-of-fact. Neither song needs to be complicated for the sake of it. The unusual details serve the song, which is a useful skill for a band with this much musical ability.
The less obvious tracks are just as rewarding. Head Down moves into hazy, almost folk-like territory, with softer vocals and a much less direct attack. Then 4th of July brings a thick, slow weight that makes the brighter moments elsewhere feel very far away. It is seriously heavy music, but its strength is in the atmosphere as much as the volume. Kim Thayil's guitar playing helps keep the record unpredictable without turning every song into a demonstration.
Cornell is the centre of it all. He has the power for the biggest passages, but the quieter delivery matters just as much. There is a difference between having an impressive voice and knowing how to use it. This album offers plenty of evidence for both.
The running time does demand attention. A few shorter detours interrupt the flow, and it is easy to imagine a tighter version. But trimming too much would also remove some of the strange character. Superunknown covers heavy metal, psychedelia and surprisingly approachable rock without sounding like several different bands taking turns. Start with the singles if you need an introduction. The real pleasure is finding how much is still happening around them.
