Chris Cornell: Scream

Scream if you hate Scream!

Yes: I’ve reviewed it again.

Let’s not beat around the bush here. What we have in Chris Cornell’s Scream is possibly the most misguided, counterintuitive, magnificently awful record Cornell, and producer Timbaland, will ever make. It’s suffers from both hideously outdated production – it sounds like what Cornell, in 1996, might have imagined r’n’b would sound like in 2009 – and a lack of cohesion between artist and material. Cornell’s voice clashes with the sterilised, tame beats backing him up like the oil and water he cites in Long Gone. It’s a hideous, malnourished approximation of the ideal mix of rock and hip-hop Cornell was aiming for, his voice sounding clipped and controlled, rather than set free by the new setting it finds itself in.

The segues between songs, heralded as a groundbreaking, mindblowing component of Scream, sound as out of place as Cornell himself, sometimes introducing completely random riffs, unconnected to either song; other times dragging out the first song, then stopping dead in their tracks to let the next track start clean. Or, most commonly, featuring the whole first verse of the next song as a segue. It’s clear that someone ran out of imagination very quickly during the making of this album, and just tried to get it out and released in whatever state it ended up in. It’s an unmitigated disaster, and should – nay, must – be forgotten about as soon as possible. Worst offenders: Ground Zero, Sweet Revenge, Watch Out, Part Of Me.

God, it was tempting to list the entire record there.

It gets a little more positive after that. I promise.

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