SOUNDGARDEN — Down On The Upside (review)

SOUNDGARDEN — Down On The Upside album cover

Album · 1996 · Heavy Alternative Rock

4/5 · 2017-05-19
siLLy puPPy

It goes without saying that no matter how hard a band tries to pretend that success doesn’t change the equation in their methodology of creating music, the pressures that exert themselves from every possible vector take their toll even on the most dedicated stalwart lovers of indie music blossoming from the grassroots movements of the underground scene. SOUNDGARDEN found this out rather quickly after their phenomenally successfully “Superunknown” album that made them one of the most successful bands of the entire 90s. After several years of touring they finally released their followup DOWN ON THE UPSIDE two years later. Due to the success that led to the freedom of the band exploring their own inclinations, they decided to self-produce the album and delve into ever more experimental realms with most tracks having been written by Chris Cornell and bassist Ben Shepherd rather than a full-on collaborative effort. Because of this musical domination leaving guitarist Kim Thayil out of the mix, this imbalance of creative power led to a less heavy album that focused on Cornell’s vocal range rather than the heavy grungy riffs that dominated “Superunknown.” As most fans of the band agree, this was a mixed blessing with some tracks shining like a diamond in the middle of the sun and others sucking so bad that they in effect become a musical blackhole sun that unfortunately lacked the musical mojo to wash the rain away.

Despite it all, SOUNDGARDEN created a unique followup to their huge success and although it would have been easy to simply create a “Superunknown Part 2”, they sallied forth undeterred to take the bull by the horns and simply crank out music that they were interested in with decidedly mixed results. The album starts off with a fiery blast as “Pretty Noose” starts things off with a catchy echoey riff that bursts into a classic SOUNDGARDEN heavy riffage that not only delivers their expect one two punch of heavy grunge guitar and catchy vocalized melodies by swooner-in-chief Chris Cornell but also offers a sophisticated song structure that sounds like the band is well on their way to progressive pastures (had they stuck it out.) But then as the second track “Rhinosaur” kicks in it becomes apparent that the band was aiming for a more diverse range on the musical spectrum as it pumps out an easily digestible stair step guitar riff in a dropped-D tuning. The most authentic grunge track on the album in fact. “Zero Chance” changes it up completely with an angular slow arpeggiated guitar riff that delivers a very Pearl Jam on acid type of vibe. “Dusty” jumps back into familiar “Superunknown” sound but with less conviction and in a more laid back fashion. Still though quite an addictive song structure showcasing Cornell’s ability to leap vocal octaves with ease.

The ball busting rocker “Ty Cobb” about the powerhouse baseball star (nicknamed The Georgia Peach and was one of the hugest plays of the early 20th century), misleads with a completely folky beginning but quickly blows the house down with a punk metal riff accompanied by a mandola and mandolin folk a section. This is one of my faves followed by the best track on the album: “Blow Up The Outside World.” This is the “Black Hole Sun” of DOWN ON THE UPSIDE with sophisticated chord progressions, multi-octave vocal leaps and dynamics that begin with an echoey depressive beginning that alternates with a more familiar hard rockin’ chorus. Next up is the outstanding “Burden In My Hand,” a hotly debated track (in actually meaning) about a man who (supposedly) murders his girlfriend and leaves her in the desert to rot. Yeah, you thought it was about masturbation, didn’t you? LOL. The open C tuning allows the chord progressions to flow unthinkably perfect and allow Cornell’s vocals to modulate in uncanny perfection. One of the top melodies on the album and completely written by Cornell.

While none of the other tracks can compete with the first seven, “Never Named” and the only track snuck in by Thayil “Never The Machine Forever” display more of the classic heaviness of previous SOUNDGARDEN releases. “Applebite” is strange hypnotic bass oriented groovy piece that could be mistaken for post-rock actually. The rest of the tracks are, ho hum, and fairly weak. The division of musical quality is abundantly clear and after many, many listens to DOWN ON THE UPSIDE, one thing has remained constant. That being that i always listen to the first 10 tracks and then try to go on further and then by the 12th or 13th always switch it off. Afterwards, the ear worms for the first seven resonate for days while any others never stick with me and while some are worth listening to, the last six are complete musical mediocrity in my world.

THE DOWNSIDE

A perfect album these ain’t. No doubts. So if i could wave a magic wand of sorts there are several things i could do to make this a much better album. First of all tracks 11 - 16 should just be scrapped entirely. Not that they are horrible or anything but because they sound like generic SOUNDGARDEN by the numbers and remind me of those innocuous sort of tracks that you would hear at a small music venue from the house stereo system before the bands start to play. You know, the grunge version of library music that is perfectly suitable for background noise but never something that makes you stop the conversation to focus upon. Secondly, shift around some other tracks so that the album ends with a catchy crunchy rocker instead of the dreamy drifters like “Applebite.” “Ty Cobb” would be perfect since it has the perfect hard rock attitude with all that business of “fucking ya up” an all. Thirdly they should have really added a couple more really, really strong tracks that connected this one to their previous output. This album is a victim of getting too experimental for the fanbase’s comfort zone. DOWN ON THE UPSIDE really feels like it was partially constructed during the fertile heyday sessions of “Superunknown” with the remaining tracks being squeezed out of the band by record company pressures. The album begins brilliantly and fizzles out at the end and in retrospect perfectly illuminates the state of affairs that the band was experiencing as tensions were quickly putting an end to any possible future.

THE UPSIDE

Taken as it is i still have to give this album 4 stars but with an explanation, of course! since this isn’t my “normal” type of four star album. That means it’s excellent but in a lopsided way. I simply find the first seven tracks to be some of the best tracks of SOUNDGARDEN’s career equal to the high quality of “Superunknown.” So they are all five stars. Many of the other tracks like “Never Named,” “Applebite” and “Never The Machine Forever” are actually really good tracks but should have been placed in more flattering places between tracks. The rest are OK but unassuming generic tracks that if they had been released as demos wouldn’t have even gotten them a recording contract and more likely thrown in the rubbish bin. Luckily you can simply listen up to track 10 or so and push stop. That’s what i’ve always done and this easy to replicate technique has helped me enjoy this album immensely. DOWN ON THE UPSIDE will surely never be SOUNDGARDEN’s swan song magnum opus but it really does deserve the time of day to delve into deeper. While grunge was mostly catering to instant gratification, there are a few exceptions that require a slightly more rigorous musical appreciation ritual. This being near the top of the list.

CONCLUSION

This album has some of the BEST songs that SOUNDGARDEN ever wrote!

This album has some of the WORST songs that SOUNDGARDEN ever wrote!

This album proves why having a producer can be a good thing since a diplomat at a power struggle table can only help steer the band in the right direction!

This album proves that NOT having a producer can be a good thing as it allows the band to unfurl every whimsy they can think up letting the brilliant coincide with the festering fecal matter!

This album is one of the classic examples of a mixed bag but i deem it essential for the brilliant strong tracks that totally eclipse any of the crap that ends it!

Therefore i deem this one a very unorthodox 4 star album and one that should NOT be skipped although experienced with an open mind with no expectations of a repeat of past offerings :)