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Rock - Verschenen op 8 maart 1994 | A&M

Hi-Res Onderscheidingen The Qobuz Ideal Discography
Soundgarden's finest hour, Superunknown is a sprawling, 70-minute magnum opus that pushes beyond any previous boundaries. 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. Their earlier punk influences are rarely detectable, replaced by surprisingly effective appropriations of pop and psychedelia. 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. 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. 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. Soundgarden had always been a little mind-bending, but the full-on experiments with psychedelia give them a much wider sonic palette, paving the way for less metallic sounds and instruments, more detailed arrangements, and a bridge into pop (which made the eerie ballad "Black Hole Sun" an inescapable hit). That blossoming melodic skill is apparent on most of the record, not just the poppier songs and Cornell-penned hits; though a couple of drummer Matt Cameron's contributions are pretty undistinguished, they're easy to overlook, given the overall consistency. The focused songwriting allows the band to stretch material out for grander effect, without sinking into the pointlessly drawn-out muck that cluttered their early records. The dissonance and odd time signatures are still in force, though not as jarring or immediately obvious, which means that the album reveals more subtleties with each listen. It's obvious that Superunknown was consciously styled as a masterwork, and it fulfills every ambition. © Steve Huey /TiVo
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CD€ 14,99

Rock - Verschenen op 8 maart 1994 | A&M

Onderscheidingen The Qobuz Ideal Discography
Soundgarden's finest hour, Superunknown is a sprawling, 70-minute magnum opus that pushes beyond any previous boundaries. 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. Their earlier punk influences are rarely detectable, replaced by surprisingly effective appropriations of pop and psychedelia. 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. 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. 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. Soundgarden had always been a little mind-bending, but the full-on experiments with psychedelia give them a much wider sonic palette, paving the way for less metallic sounds and instruments, more detailed arrangements, and a bridge into pop (which made the eerie ballad "Black Hole Sun" an inescapable hit). That blossoming melodic skill is apparent on most of the record, not just the poppier songs and Cornell-penned hits; though a couple of drummer Matt Cameron's contributions are pretty undistinguished, they're easy to overlook, given the overall consistency. The focused songwriting allows the band to stretch material out for grander effect, without sinking into the pointlessly drawn-out muck that cluttered their early records. The dissonance and odd time signatures are still in force, though not as jarring or immediately obvious, which means that the album reveals more subtleties with each listen. It's obvious that Superunknown was consciously styled as a masterwork, and it fulfills every ambition. © Steve Huey /TiVo
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Rock - Verschenen op 1 januari 2014 | Geffen

Onderscheidingen The Qobuz Ideal Discography
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Alternative en Indie - Verschenen op 1 januari 1990 | Sub Pop Records

Hi-Res Onderscheidingen Hi-Res Audio
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Rock - Verschenen op 21 mei 1996 | A&M

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Superunknown was a breakthrough in many ways. Not only did the album bring Soundgarden a new audience, it dramatically expanded their vision, as well as their accomplishments. If Down on the Upside initially seems a retreat from the grand, layered textures of Superunknown, let it sink in. The sound of Down on the Upside is certainly more immediate, but the band hasn't returned to the monstrous, unfocused wailing of Louder Than Love. Instead, they've retained their ambitious song structures, neo-psychedelic guitar textures, and winding melodies but haven't dressed them up with detailed production. Consequently, Down on the Upside is visceral as well as cerebral -- "Rhinosaur" goes for the gut, while "Pretty Noose" is updated, muscular prog rock. Down on the Upside is a deceptive album -- it might seem like nothing more than heavy metal, but a closer listen reveals that Soundgarden haven't tempered their ambitions at all. © Stephen Thomas Erlewine /TiVo
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Rock - Verschenen op 8 oktober 1991 | A&M

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Rock - Verschenen op 1 januari 1990 | A&M

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Signing to a major label, Soundgarden take a step toward the metal mainstream with Louder Than Love, a slow, grinding, detuned mountain of Sabbath/Zeppelin riffs and Chris Cornell wailing. The production is quite murky, as the rest of the band tries to poke its way through Kim Thayil's guitar squall. There are some essential Soundgarden items mixed in, among them the haunting "Hands All Over," the punky "Full on Kevin's Mom," and the stereotypically macho metal stupidity of "Big Dumb Sex," whose ironic intent is often misconstrued. It's certainly worthwhile to sift through Louder Than Love, but don't expect consistency. © Steve Huey /TiVo
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Rock - Verschenen op 13 november 2012 | UMC (Universal Music Catalogue)

De Amerikaanse grunge groep Soundgarden keert terug met zijn zesde album King Animal na een bijna twaalfjarige hiaat. Werk aan het album begon in 2011 samen met producer Adam Kasper (Foo Fighters, Queens of the Stone Age), stilistisch gezien pakken ze de draad weer op waar ze die in 1996 met het uitbrengen van Down on the Upside hadden achtergelaten. Het mixen van uptempo beats met zware gitaar riffs is een vaste waarde voor hun geluid geworden. De beukende single “Been Away Too Long” geeft hier een goede illustratie van. © TiVo
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HI-RES€ 21,49
CD€ 14,99

Rock - Verschenen op 8 maart 1994 | A&M

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Soundgarden's finest hour, Superunknown is a sprawling, 70-minute magnum opus that pushes beyond any previous boundaries. 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. Their earlier punk influences are rarely detectable, replaced by surprisingly effective appropriations of pop and psychedelia. 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. 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. 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. Soundgarden had always been a little mind-bending, but the full-on experiments with psychedelia give them a much wider sonic palette, paving the way for less metallic sounds and instruments, more detailed arrangements, and a bridge into pop (which made the eerie ballad "Black Hole Sun" an inescapable hit). That blossoming melodic skill is apparent on most of the record, not just the poppier songs and Cornell-penned hits; though a couple of drummer Matt Cameron's contributions are pretty undistinguished, they're easy to overlook, given the overall consistency. The focused songwriting allows the band to stretch material out for grander effect, without sinking into the pointlessly drawn-out muck that cluttered their early records. The dissonance and odd time signatures are still in force, though not as jarring or immediately obvious, which means that the album reveals more subtleties with each listen. It's obvious that Superunknown was consciously styled as a masterwork, and it fulfills every ambition. © Steve Huey /TiVo
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Rock - Verschenen op 18 november 2016 | Geffen

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Rock - Verschenen op 1 januari 1990 | A&M

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Signing to a major label, Soundgarden take a step toward the metal mainstream with Louder Than Love, a slow, grinding, detuned mountain of Sabbath/Zeppelin riffs and Chris Cornell wailing. The production is quite murky, as the rest of the band tries to poke its way through Kim Thayil's guitar squall. There are some essential Soundgarden items mixed in, among them the haunting "Hands All Over," the punky "Full on Kevin's Mom," and the stereotypically macho metal stupidity of "Big Dumb Sex," whose ironic intent is often misconstrued. It's certainly worthwhile to sift through Louder Than Love, but don't expect consistency. © Steve Huey /TiVo
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Rock - Verschenen op 3 juni 2014 | Geffen

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Alternative en Indie - Verschenen op 10 maart 2017 | Sub Pop Records

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Alternative en Indie - Verschenen op 26 juli 2019 | Soundgarden - Artists Den

Soundgarden as if you were in the front row. That's the promise for this 2013 live performance, recorded at the Wiltern, L.A for the TV show "Live From The Artist's Den". Over two hours of music during which Chris Cornell and his band played the best of their three-decade discoraphy: from Ultramega OK, their first record from October 1988, to King Animal, which would be their last before Cornell's tragic suicide in 2017. The singer/rhythm guitarist from Seattle threw in a few jokes and anecdotes between songs, most notably for the first live performance of Blind Dogs in the history of the band. Live at the Artist's den sees him at the top of his vocal form, navigating his extensive four-octave range with ease. On Incessant Mace, the dark and foreboding opener, he is mercurial and detached, and on other tracks such as the elephantesque sludge of Slaves & Bulldozers he lets rip some of the most impressive high notes in the history of rock. A five star performance from one end to the other, this record is without a doubt Soundgarden's best live performance to have been captured on tape. It's a mythical performance, and a mythical band as well. © Alexis Renaudat/Qobuz
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Rock - Verschenen op 24 november 2014 | Geffen

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Rock - Verschenen op 1 januari 1997 | A&M

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Rock - Verschenen op 1 januari 2010 | Geffen

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Rock - Verschenen op 21 mei 1996 | A&M

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Superunknown was a breakthrough in many ways. Not only did the album bring Soundgarden a new audience, it dramatically expanded their vision, as well as their accomplishments. If Down on the Upside initially seems a retreat from the grand, layered textures of Superunknown, let it sink in. The sound of Down on the Upside is certainly more immediate, but the band hasn't returned to the monstrous, unfocused wailing of Louder Than Love. Instead, they've retained their ambitious song structures, neo-psychedelic guitar textures, and winding melodies but haven't dressed them up with detailed production. Consequently, Down on the Upside is visceral as well as cerebral -- "Rhinosaur" goes for the gut, while "Pretty Noose" is updated, muscular prog rock. Down on the Upside is a deceptive album -- it might seem like nothing more than heavy metal, but a closer listen reveals that Soundgarden haven't tempered their ambitions at all. © Stephen Thomas Erlewine /TiVo
From
CD€ 14,99

Rock - Verschenen op 13 november 2012 | UMC (Universal Music Catalogue)

De Amerikaanse grunge groep Soundgarden keert terug met zijn zesde album King Animal na een bijna twaalfjarige hiaat. Werk aan het album begon in 2011 samen met producer Adam Kasper (Foo Fighters, Queens of the Stone Age), stilistisch gezien pakken ze de draad weer op waar ze die in 1996 met het uitbrengen van Down on the Upside hadden achtergelaten. Het mixen van uptempo beats met zware gitaar riffs is een vaste waarde voor hun geluid geworden. De beukende single “Been Away Too Long” geeft hier een goede illustratie van. © TiVo
From
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Rock - Verschenen op 1 januari 2010 | Geffen