Soundgarden
A-Sides

THE REVIEW

In the second half of the eighties, from the ashes of a defunct group named Shemps, Soundgarden was born. The rest of the story we know. After reaching the peak of success with "Superunknown" in 1994, their decline begins, as it does for everyone, and the breakup inevitably follows. And in 1997, "A-Sides" is released: their anthology, which presents itself not just as a simple compilation but as a testimony to the journey the group has followed, of their evolution.

The first five tracks belong to the still "raw" period of Soundgarden, when Hiro Yamamoto was still on bass. "Nothing To Say", from the "Screaming Life" EP, is dark, martial, a clear example of Sabbath influences. "Flower" is instead taken from the album "Ultramega OK", the band's first, from 1988. Violent and rhythmic, it's definitely the pinnacle of the first period of their career, along with "Loud Love" (from the album "Louder Than Love"), characterized by a stunning musical component and a great vocal performance from Cornell: a masterpiece. From "Louder Than Love" come also "Hands All Over", similar in structure to "Loud Love", with a spectacular guitar riff, and "Get On The Snake", unique for its unusual timing (9/4).

The next three songs are the three singles from "Badmotorfinger", from 1991; we are still tied to typical heavy metal sounds. "Jesus Christ Pose", heavy and psychedelic, is characterized by Cornell's incredible high notes; "Rusty Cage", which opens with a riff achieved using a wah-wah pedal as a filter, is frantic and overwhelming from beginning to end; "Outshined" is a track with slightly more "doom" sounds, only to then indulge in a lighter and more catchy chorus.

In 1994, "Superunknown" is released: their masterpiece, according to many, one of the best rock albums of the '90s. Soundgarden's style, moving away from metal and enriched with a good dose of psychedelia, becomes the unique style that will then be remembered over time. "Spoonman", played in collaboration with Artist the Spoonman, a street artist famous for playing spoons (particularly heard in the interlude), is a badass hard-rock piece with a spot-on riff; "The Day I Tried To Live" is a ballad filled with psychedelia, with frightening high notes from Cornell (one of his best performances) and a wonderful bass foundation. Very melodic and more "pop" are "Fell On Black Days" and "Black Hole Sun"; the latter labeled by many as the most representative song of Soundgarden, even though, while it's a beautiful song, it remains in my view too commercial and saccharine.

From the last album, "Down On The Upside", the album of decline, four singles have been selected: "Pretty Noose", sung entirely in falsetto by Cornell; "Burden In My Hand", a very beautiful ballad particularly for the splendid drum base; "Blow Up The Outside World", a track with a rather dark and psychedelic verse, ending up angry in the chorus, and "Ty Cobb" (the first single entirely written by bassist Ben Shepherd, who proved to be an excellent songwriter starting from "Superunknown"), a completely crazy song, yet not for this reason any less genius. Closing this compilation is "Bleed Together", an unreleased track, nice but nothing spectacular, perhaps a better piece would have been needed to close their glorious career.

And with this, "A-Sides" closes, a record that in my opinion is more than just a compilation. With a masterfully chosen tracklist, it's the best way to retrace Soundgarden's entire career, perhaps getting caught up in a strong melancholy: did they really have nothing more to say in the world of music? Recommended to everyone (except those who have the other Soundgarden albums): a wonderful psychedelic journey into the rock music that once was.