Soundgarden
Louder Than Love

THE REVIEW

At almost thirty years old, Bruce Pavitt (collaborator of the local music magazine "Rocker") and Jonathan Poneman (concert organizer and collaborator of the KCMU radio station) decided—after thoughtful reflections regarding their discographic projects—to leave their previous jobs, dedicating physical and mental energy (and economic resources) to the creation of an unusual independent record label named Sub Pop. Two words for six letters that are nothing more than the contraction of Subterranean Pop Magazine, a magazine initially niche-focused that would soon attach cassette compilations.

Probably without Sub Pop today there wouldn't be talk of grunge or much less of Soundgarden. The first core of the group forms around the lively voice of Chris Cornell (also a drummer when needed!), the meditative Hiro Yamammoto (bass), the shrewd Matt Dentino (guitar), and the willing Scott Sundquist who would soon free the singer from the role of drummer. These last two (although Sundquist would play on "Heretic" and "All Your Lies" included in the historic compilation "Deep Six" of 1986) would soon be replaced respectively by the capable Kim Thayil and the professional and creative Matt Cameron from Skin Yard.

The band immediately had opportunities to rehearse a lot and perform locally, thus releasing a perfect sonic blend where anguish, psychedelia, and powerful riffs converge, taking due distance from stereotypical and crudely derivative sounds. The inclinations of the four tend toward a sound honorably descended from the best British rock produced between the late '60s and the '70s, incorporating an indispensable punk attitude and new wave reminiscences.

The band's first single for Sub Pop is "Hunted Down" (June 1987), and its limited edition of 500 copies quickly sells out, motivating with determination the recording of what would be the modest "Screaming Life" (October 1987) and the successful and even more convincing "Fopp" (August 1988), also released as an extended play like the previous one.

With "Louder Than Love" the baptism by fire occurs with "Ugly Truth", introduced by Cameron's drumsticks that open to a fresh rhythmic compactness where Thayil's stinging notes prepare a layered sonic pavement perfectly suited for Cornell's impetuous yet balanced vocals. The chaotic introduction of "Hands All Over" lets an apparent base dissonance flow perfectly in line with the opening track, creating a vortex of sound with an unequivocally suggestive appeal. The oscillating rage of "Gun" allows the altered states of consciousness in "Power Trip" to stay on beat, while "Get On The Snake" and "Full On Kevin's Mom" equally corrosive, can show the album's less engaged side without sacrificing quality. It is probably with "Loud Love" that Cornell (seven tracks are entirely his) shows a regularly and qualitatively prolific pen, conceiving a fluidly heavy track, leaving the dark progression of "I Awake" (Yamamoto) and "No Wrong No Right" (musically composed four-handedly with the creative bassist) to balance with a greater atmospheric refinement. Blues and hard rock meet and merge in the compelling "Uncovered" laying the groundwork for the epidermal "Big Dumb Sex" which seems to mock the contemporary and more popular glam metal, thus pretending the application of the Parental Advisory sticker on the album cover.

With the release of the surprising "Ultramega OK" (November 1988) Cornell & Co. had already confirmed their commitment to continue the arduous path started at the beginning. The transition to A & M Records did not destabilize the internal balance at all, instead resulting in an injection of positivity into their compositional vein, which was well optimized by the skillful hands on the console of the promising Terry Date, later also with Pantera, Overkill, and Limp Bizkit. "....Love" is a marble and edgy album enough, where any further artificial polishing would have risked losing the polish that still distinguishes it today, proudly bordering perfection.