{"id":39680,"date":"2006-03-17T00:00:00","date_gmt":"2006-03-17T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/badmotorfinger-2\/"},"modified":"2006-03-17T00:00:00","modified_gmt":"2006-03-17T00:00:00","slug":"badmotorfinger-2","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/badmotorfinger-2\/","title":{"rendered":"Badmotorfinger"},"content":{"rendered":"

<\/p>\n

\nSoundgarden wallowed in near-fame for years, riding a fervent local
\nfollowing in the Pacific Northwest, gaining a Grammy nomination for
\nan album that barely reached beyond their geographic base, and
\ngaining much airplay on college radio stations across the
\ncountry.<\/p>\n

Their third full-length release,
\nBadmotorfinger<\/i>, brought them to national awareness but
\nemerged amid a flood of releases by Seattle-area bands that
\ncollectively shoved the emerging grunge movement into the faces of
\nthe public. A huge leap in commercial success for the band, it
\nstill was slightly eclipsed by the success of Pearl Jam’s
\nTen<\/i> and Nirvana’s Nevermind<\/i>, both released around the
\nsame time. Despite being somewhat overshadowed by these monumental
\nreleases, it served as an important album of the time.<\/p>\n

Nirvana had their post-punk angst and Pearl Jam
\nofferd bluesy emo-metal, but Soundgarden was the grunge party
\nflag-bearer for the Sabbath-Zep legacy which made it instant fodder
\nfor metalheads tired of the fading big-hair metal bands of the late
\n80s. Soundgarden embraced the rumbling rhythms and big riffs of
\nheavy metal and tempered it with introspective, brainy lyrics that
\nmade it ripe fruit for alt-rock fans hungry for something heavier.
\nUntil Alice In Chains would get their due a year later, Soundgarden
\nwas the heaviest band to come out of the grunge scene at the
\ntime.<\/p>\n

BMF<\/i> was a leap forward from SG’s previous
\nwork; much more controlled without losing any of the bombastic
\npower. Their maturity shows in tighter compositions and lack of the
\nsonic dissonance that pervaded their earlier work. From start to
\nfinish it’s a grinding, rumbling trip that never lets up. Drummer
\nMatt Cameron and bassist Ben Shepard create a thick, dense
\nfoundation for Kim Thayil’s potent guitar work and Chris Cornell’s
\nmanic vocal acrobatics. Case in point is the brilliant opener,
\n“Rusty Cage.” Thayil’s warbling staccato guitar leads the way for
\nthe driving rhythm that carries the tune. Thayil wisely stays in
\nthe background and lets the bass drive the song.<\/p>\n

The best known track off BMF<\/i> was also a shot
\nacross the bow to the listening public. “Outshined” features the
\nclassic line that pretty much sums up the whole slacker mentality
\nthat fueled the grunge movement “I just looked in the mirror \/
\nThings aren’t looking so good \/ I’m looking California \/ And
\nfeeling Minnesota.”<\/p>\n

Soundgarden is obviously best known for their next
\nrelease Superunknown<\/i>, but the slick polish they put on that
\nalbum filters out some of the rawness you’ll find on BMF<\/i>.
\nBadmotorfinger<\/i> retains a lot or the raging power and brutal
\nintensity of their early work, but more controlled songwriting and
\nan emphasis on lyrical quality make it much more listenable and
\ndurable. To date I still feel this is their best work, and time has
\nnot tarnished its place among the critical releases of the grunge
\ngenre.<\/p>\n

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