Chris Cornell - Scream

From the initial flare of the fan fare that opens Scream, the third solo offering from Chris Cornell; it immediately makes one wonder if somehow they are listening to the newest artist produced by Timbaland. They are. The producer responsible for works by Aaliyah, Brandy, and Jay-Z has been entrusted with shaping the latest offering from one of the marquee vocalists in rock. The result of the collaboration is an eclectic mix of smart electronic beats and brooding, smokey rock n’ soul which seems more primed for the clubs than the mosh pits. What makes Scream a shock however isn’t necessary this new directional choice of form for the former Soundgarden singer, but the departure in genre on making a contemporary pop album.

Cornell has a long history and diversity as a collaborator. From the grunge era Temple of the Dog and Screaming Trees to his post Soundgarden super group Audioslave, which featured the musical core of the politically minded Rage Against the Machine. On his two previous solo outings, Euphoria Mourning and Carry On, Cornell has flirted with styles outside his hard rocking roots that have included folk ballads and rhythm and blues. Therefore the prospect of what magic could come from merging the historical big guitar sounds and trademark yowling of Cornell with the superlative programmed arrangements of Timbaland is a tantalizing concept to fathom. Even could be viewed and considered a progression for both.

However the partnership is less than equal as the guitars are diminished and the programmed percussion reign and overwhelm; form fitting the jagged and crude into a more pristine and synthetic mold. While Cornell’s connection to the material grabs attention, the polished barrage of chorus’ and attentively careful structures of each verse come off with a fine packaging cleanliness that seem to emotionally curtail the ache and visceral weight of this proven soul rocker’s potential. Having said that, the methodology of programming is sharp, dynamic and crisp with a vast array of beautiful, melodic, and aggressive songs that, given they find their audience, will be dutifully received.

The album leads with the aptly titled “Part of Me.” A break-beat blues lament on denying temptation that features Cornell’s signature croon. As his choice of illustrative form may be new, the themes visited are familiar: regret (the complex “Time”), loss (the breezy Top 40 R&B ballad ‘Long Gone” and the heavily lamented “Other Side of Town”) and empowerment (the bass pumping “Get Up”). Just because the guitars are stowed doesn’t mean there are an absence of, er, rockers (the self destructive “Enemy,” the infectious “Take Me Alive,” and the excellent “Never Far Away”). The most telling track however is “Climbing Up The Walls.” It is the albums closest thing to a traditional rock song and ironically comes across the most pop.

As a piece, the album moves cohesively, peppered with interesting outtros and intermittent bridge work that sonically perk the listener only to change gears dramatically after. Like in life, transitions should just happen. Arguably the album could be trimmed back by a few ideas.

The metaphoric cover art is a never truer assertion of fair warning and a statement of Cornell’s boldness for this departure. On principle, the rock n’ roll faithful could easily dismiss this effort as heresy (a la 1980’s Peter Cetera from 1970’s Chicago). Has he joined the rhythm nation? Or could this be his Kid A? From the swell of the organ and harmonica on the traditional blues laden hidden track, it could be evident of yet another endeavor.

Regardless, when an artist tries to say something in a new way, the medium shouldn’t over shadow the message. This is exactly what this inventive pop album is up against. The challenge of this collaboration will be if Timbaland and Cornell can find a cross section of their audiences that will embrace the album. For all its daring complexity, Scream is simply a demonstrative success of Cornell in exceeding boundaries.

Aaron Simms

http://www.chriscornell.com