But the most important reason Superunknown is such a rich listen is twofold: the band’s embrace of psychedelia, and their rapidly progressing mastery of songcraft. The rest of the production is just as crisp, with the band achieving a huge, robust sound that makes even the heaviest songs sound deceptively bright.
Badmotorfinger boasted more than its fair share of indelible riffs, but here the main hooks reside mostly in Chris Cornell’s vocals accordingly, he’s mixed right up front, floating over the band instead of cutting through it. Their earlier punk influences are rarely detectable, replaced by surprisingly effective appropriations of pop and psychedelia. Soundgarden had always loved replicating Led Zeppelin and Black Sabbath riffs, but Superunknown’s debt is more to mid-period Zep’s layered arrangements and sweeping epics. Soundgarden’s finest hour, Superunknown is a sprawling, 70-minute magnum opus that pushes beyond any previous boundaries.
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