NIRVANA - IN UTERO
Released: 1993 on DGC
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It's an easy observation to make, but Nirvana's third and final album is one that given its place in the bands mythical history, is today is hard to listen to as anything other than Kurt Cobain's suicide note; with many of its lyrics sounding more akin to eerie epitaphs and a haunting diary of Cobain's inner turmoil. In this sense, it's difficult to judge to the album on it's own merits; but make no mistake, this is a record more-than equal to its iconic predecessor 'Nevermind', and one that marks the fulfillment of Cobain's artistic vision. It's an unarguably immersive but draining listen, and not the sort of album written for casual, background enjoyment - but you'd imagine, that's exactly as Cobain intended it. If Nevermind catapulted Nirvana into the mainstream, In Utero is Cobain turning the slingshot back on his audience; testing and rewarding their most ardent fans, and alienating the parasites of their success simultaneously.
Released: 1993 on DGC
It's an easy observation to make, but Nirvana's third and final album is one that given its place in the bands mythical history, is today is hard to listen to as anything other than Kurt Cobain's suicide note; with many of its lyrics sounding more akin to eerie epitaphs and a haunting diary of Cobain's inner turmoil. In this sense, it's difficult to judge to the album on it's own merits; but make no mistake, this is a record more-than equal to its iconic predecessor 'Nevermind', and one that marks the fulfillment of Cobain's artistic vision. It's an unarguably immersive but draining listen, and not the sort of album written for casual, background enjoyment - but you'd imagine, that's exactly as Cobain intended it. If Nevermind catapulted Nirvana into the mainstream, In Utero is Cobain turning the slingshot back on his audience; testing and rewarding their most ardent fans, and alienating the parasites of their success simultaneously.
With all that said, In Utero is not the 48 minutes of unlistenable, left-field grunge its reputation may suggest - and if anything, Cobain occasionally overplays his hand, such as the effective middle-finger-to-the-mainstream but bordering on parody 'Radio Friendly Unied Shifter'. But through 'Heart-Shaped Box', 'Dumb', 'Serve The Servants' and 'Rape Me', sprinkled across the album are the familiar distortion-heavy pop-hooks Cobain was unashamedly fond of, of which the band perfected on Nevermind. Instead, I like to think this is the sound of Nirvana both going back to basics and the culmination of Cobain's influences and vision for the band's sound (if such a statement makes sense), and this rebirth philosophy stems right down from the album's title ('In Utero') through to its more stripped back, organic production. Indeed, immediately noticeable as a stark contrast to Nevermind's glossier, polished sound, cult anti-hero Steve Albini's production is substantially rawer, uncompromising and minimalistic for a substantially rawer, uncompromising and savage record, and really encapsulates the intense spirit of the album.
And intense it is; whether it's the melancholic longing of 'Frances Farmer', twisted stream-of-consciousness lyrics and colossal riff in 'Milk It', 'Heart-Shaped Box's hypnotic lure and sucker-punch chorus or the ferocious punk-rocker 'Tourettes', In Utero is frequently turbulent, often eerie, occasionally mesmerising - but consistently, utterly uncompromising. Special mention should go to Dave Grohl here - while Cobain was rumoured to be dissatisfied with Grohl's work on the album, his mercilessly fierce, pounding style forms the savage heartbeat of In Utero, demonstrated no better than on the heartbreaking closer 'No Apologies', and whose paying is complimented as ever by Krist Novaselic's understated but effective bass.
And as mentioned previously, it is the brilliant but ultimately soul-destroying finale 'All Apologies' on which Nirvana and In Utero truly, tragically and finally peak. Whether it was Cobain's intended 'artistic suicide note', it is hard to listen to it as anything but given its broken, haunting melody and disturbing, emotionally brutal lyrics.While its place as the album's finale no doubt has a part to play, it just sounds like the final effort of a crushed man with its melancholic string section, defeated melody and eerie lyrics and refrains; 'All in all is all we are', 'Married, buried' 'Everything's my fault' 'What else should I be? All apologies' that as both a fan and a listener, leaves you with an aching pit in your stomach.
And it is on that melancholic note that you inevitably come to remember the record; and to leave with such a devastating impact, is surely the mark of a truly brilliant album. It's debatable which of Nevermind and In Utero reigns superior, but I like to think of it like this: it was Nevermind that made the band and subsequently defined the era - but for better or worse, it was In Utero that defined the band and ultimately, defied the era.
James Gale
IN UTERO: 9/10
And intense it is; whether it's the melancholic longing of 'Frances Farmer', twisted stream-of-consciousness lyrics and colossal riff in 'Milk It', 'Heart-Shaped Box's hypnotic lure and sucker-punch chorus or the ferocious punk-rocker 'Tourettes', In Utero is frequently turbulent, often eerie, occasionally mesmerising - but consistently, utterly uncompromising. Special mention should go to Dave Grohl here - while Cobain was rumoured to be dissatisfied with Grohl's work on the album, his mercilessly fierce, pounding style forms the savage heartbeat of In Utero, demonstrated no better than on the heartbreaking closer 'No Apologies', and whose paying is complimented as ever by Krist Novaselic's understated but effective bass.
And as mentioned previously, it is the brilliant but ultimately soul-destroying finale 'All Apologies' on which Nirvana and In Utero truly, tragically and finally peak. Whether it was Cobain's intended 'artistic suicide note', it is hard to listen to it as anything but given its broken, haunting melody and disturbing, emotionally brutal lyrics.While its place as the album's finale no doubt has a part to play, it just sounds like the final effort of a crushed man with its melancholic string section, defeated melody and eerie lyrics and refrains; 'All in all is all we are', 'Married, buried' 'Everything's my fault' 'What else should I be? All apologies' that as both a fan and a listener, leaves you with an aching pit in your stomach.
And it is on that melancholic note that you inevitably come to remember the record; and to leave with such a devastating impact, is surely the mark of a truly brilliant album. It's debatable which of Nevermind and In Utero reigns superior, but I like to think of it like this: it was Nevermind that made the band and subsequently defined the era - but for better or worse, it was In Utero that defined the band and ultimately, defied the era.
James Gale
IN UTERO: 9/10
TRACK LISTING
(BOLD AND * INDICATES ALBUM HIGHLIGHTS)
- "Serve the Servants" – 3:36
- "Scentless Apprentice" (Cobain, Dave Grohl, Krist Novoselic) – 3:48
- "Heart-Shaped Box" – 4:41 *
- "Rape Me" – 2:50
- "Frances Farmer Will Have Her Revenge on Seattle" – 4:09
- "Dumb" – 2:32 *
- "Very Ape" – 1:56
- "Milk It" – 3:55 *
- "Pennyroyal Tea" – 3:37
- "Radio Friendly Unit Shifter" – 4:51
- "tourette's" – 1:35
- "All Apologies" – 3:51 *
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