King Animal Review
One of the Big 4 of Grunge, Soundgarden was a prominent figure in the 90s Seattle music explosion that launched the alternative into the mainstream.
Their impressive discography remains a cornerstone in the alternative scene, with highlights such as Badmotorfinger (1991), Superunknown (1994), and Down on the Upside (1996).
Frontman Chris Cornell is often listed as one of the greatest rock vocalists of all time, usually in contention for the number 1 spot, and journeying through Soundgarden’s discography it is easy to see why. Even on the band’s worst track Chris’ vocal expertise shines through, and is undoubtedly a large part of what makes this band so compelling.
Chris’ lyrics and performances are immensely personal, emotional, and visceral. This is typically underlayed by Kim Thayil’s weirdly beautiful guitar melodies, and Ben Shephard and Matt Cameron’s complex, driving rhythms.
After Soundgarden’s reunion in the 2010s they decided to record and release the album King Animal (2012) which was altogether disappointing.
The album has a lot of production faults, including feeling too compressed, a grating vocal sound on most tracks, and a lack of punch in the bass. The guitar sound which is constant on the majority of the album is also poor, with too many mid-range frequencies. The album’s arrangements are often too busy, confusing the listener and causing one to become overwhelmed in what feels like a very cramped and compressed soundscape.
To start the album is the fun Been Away Too Long, a very fitting opener which unfortunately proves to set the listener up for disappointment. The groovy, tight rhythm of this track and Cornell’s vocals are something the rest of the tracklist strives towards but ultimately fails in achieving.
Non-State Actor running length is too long, but is faithfully carried by Chris’ amazing vocal performance, with visceral screams.
Skipping a few songs, up next is Blood On The Valley Floor. Once again taking too long, and not saying much that hasn’t already been said, this song feels like it is wading through mud, with a chugging rhythm that instead of conveying hypnosis evokes boredom.
Taree is a great song. Expertly composed musically, it suffers from the poor production, and is altogether not worth listening to again.
On to the second half of the LP, we have Attrition, a groovy track like the opener which shows what the group is capable of on this project, but unfortunately could not accomplish on the other songs. Near the end of the song, however, there is some weird background vocal (I think that’s what it is, at least), which frankly sounds silly and discordant, almost ruining it.
Halfway There is a phenomenal song with great lyrics, production, and melody. It stands out clearly as the best amongst the other songs. I love this song and think it is one of the group’s best.
The beginning of Worse Dreams is a welcome change of pace with a great bassline driving the track. It is, however, let down by the chorus and introduction of the guitar, which has the same sound as the rest of the LP, proving to drag the track down, and making it not worth coming back to.
Eyelid’s Mouth is another good track, drawing together themes the rest of the album hints and strives towards, but this time executed well and effectively, hypnotising the listener with a thumping drum beat and bassline. Kim Thayil’s solo is not the greatest on this track, which is rather disappointing, but overall, the song is worth revisiting.
To summarise this project, it is a solid attempt at a more hypnotic, rhythmic focused Soundgarden, which ultimately falls short. I would not recommend listening to this album, but rather picking out the few good songs and giving them a listen, like the masterpiece Halfway There.
5/10.
Least Favourite Tracks: Non-State Actor, Worse Dreams, Blood On The Valley Floor
Favourite Tracks: Halfway There, Been Away Too Long, By Crooked Steps
Interested in those behind the music? Here are a couple select interviews with members of Soundgarden:
Also check out our review of Lateralus by TOOL