It has been 15 long years since Soundgarden’s last full length album, Down On The Upside.
Widely acclaimed and often compared to Led Zeppelin III for its diversity and departure from the expectations of fans and critics alike, it ultimately gave rise to an (almost) irreconcilable rift in the band.
Thankfully, time heals all wounds, and in 2010 Soundgarden reformed to begin work on their sixth studio album.
In contrast to previous albums, King Animal was recorded over an extended period of nearly two years, and it shows in the perfection of the recordings, and the production’s quality. Guitarist Kim Thayil reasoned “the more we enjoy it, the more our fans should end up enjoying it.”
Musically, the creativity and musical empathy of the individual members is as strong as it ever was, Chris Cornell’s voice has developed a depth and maturity befitting of his 40+ years and surprisingly, his trademark powerhouse vocal range has hardly diminished with age.
Although the first track and single from the album ‘Been Away Too Long’ may be a watered down version of Cornell’s usual poetic ambiguity, nobody can deny the open truth in his words.
If the opener is a little weak, fans of Soundgarden’s original Seattle-Grunge sound will be quickly appeased by songs like ‘Bones Of Birds’, second single ‘Non State Actor’ and the slow, grinding locomotive of ‘Blood On The Valley Floor’.
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The latter being perhaps the most lyrically and emotively powerful song on the album, with dark imagery and an oily, chugging riff that draws you into the smoke cloud of Cornell’s quintessentially American lyrics.
Later, ‘Black Saturday’ and ‘Halfway There’ are some of the most seamless blends of acoustic balladry and electric grunge to be found anywhere, taking us back to the feel of Down On The Upside with their relaxed vibe and effortless vocals.
Unexpectedly, the album’s closing track ‘Rowing’ begins as a cotton-field blues, a sort of lament for the universal uncertainty of life. Thayil’s feedback and squealing guitars build steadily into a maelstrom of slow-burning outrage, then just as fluidly descend back to the resigned acceptance of Cornell’s repetitive chain-gang chant.
King Animal is simply a must-have, not only for Soundgarden devotees, but for fans of grunge and heavy rock everywhere. Perhaps not as overtly raw and loud as their earlier material, this album still possesses the essence of what Soundgarden was, and has always been.
The inspiring lyrics, interesting time signatures, creative structures and pure talent are as evident in King Animal as they were in Badmotorfinger or Superunknown, and the 15 year hiatus has only served to broaden the band’s inspirations and hone their skills to a superhuman level.
Almost 30 years on, Soundgarden are still the kings of heavy grunge.
