In Utero

by

Nirvana

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"I miss the comfort in being sad," Kurt Cobain grovels harshly on the excellent mid-tempo rocker, "Frances Farmer Will Have Her Revenge on Seattle," a sparse and raw tune that typifies the overall sound of "In Utero." Cobain and company establish a rougher-edged sound right away on "In Utero," rawer than the previous Nevermind album, though not as raw as the band's debut, Bleach, perhaps somewhere in between. The chorus to "Serve the Servants," the opening song, is as catchy as any previous Nirvana tune, just somewhat more plodding and low key. Inescapable from this great disc is the slower, thicker, even woodsy sound that may not grab a hold of listeners like the previous album so overwhelmingly did.

Future Foo Fighter Dave Grohl contributes the over-the-top Sabbath-like riff to "Scentless Apprentice," as Cobain howls the chorus meant to scare all his fans away. Needless to say, this is not a happy album. The lyrics are cynical, isolated and sad, though there are tiny moments of inspiration. The dark feel to "In Utero" was likely created in response to "Nevermind's" sparkling, rip-roaring introduction into the 1990s that sounds highly fan-friendly in comparison. The slow-paced "Dumb" from "In Utero" perhaps could have been a radio hit, but the lyrics are simply too depressing, probably best left for true Nirvana fans; the same holds true for the Pollyesque "PennyRoyal Tea."

On the faster side of things, "Very Ape" is a catchy and vibrant rocker that reveals Cobain's belief in reincarnation. "Milk It" possesses the incomparable formula that Cobain made famous and classic -- start soft and then knock listeners over later with a huge screaming chorus. No one else could properly replicate or match that formula, though too many bands tried. For my money, "Radio Friendly Unit Shifter" is the album's top song; listening to Cobain grovel "What is wrong with me?" over and over seems to fit the tone of "In Utero." "Tourette's" is as quick and punk as it gets, a properly named ditty that comes and goes before you know what hit you.

Kurt Cobain was simply incapable of writing bad songs or screwing around with fluffy music. He left this world a winner, making "In Utero" on his own terms. It's truly a guitar, bass and drums rock album -- no extra frills like backup singers, keyboards, overly used strings or an extra rhythm guitar to mix with Cobain's lead. There are no trappings of the rich and famous rock band overdoing things in the studio. As far as the recording, Steve Albini did a great job getting the raw sound Cobain requested, with no extra juice to the vocals. Additionally, Dave Grohl's drums throughout the record are thumping and fantastic.

No disrespect meant, but Cobain was far from a man at peace with himself and the world. "In Utero" is not for the faint of heart or for people who want Nirvana spoon fed to them. Yet, if you want to hear truly genuine, no-nonsense music that is more riveting each time you sink your teeth into it, give "In Utero" a try.

"Find your place/speak the truth." -- Kurt Cobain on "Radio Friendly Unit Shifter"

You know, listening to this album is depressing in a way: First to think that Kurt Cobain (or anyone for that matter) could be so unhappy with life as he was a year after this release, and Second, for the potential Nirvana had, even beyond this album. But Depression, isolation, self-reflection were all big subject matters for Kurt, and this album was no exception. Critics tactlessly called In Utero "a mere commercial follow-up to 'Nevermind,'" due to the album's deficiency of mega-successful singles and relatively low sales. But once again, who gives a damn what the media thinks? Cobain's message included self-efficiency and the irony of commmercial accomplishment. This album is a far better record biographically for Cobain and more audacious than "Nevermind." It contained Kurt's memoirs, basic social truths, and even a few "secrets of life." "In Utero's" opener, "Serve the Servants," finds the band in it's familiar position; sitting like kings on top of the alternative tidal wave. Cobain speaks flippantly of "self appointed judges" and teen angst "paying off." He compares his position with the press as being yet another victim of the Salem Witch Trials. He principally shoves a long, ominous finger in the media's face. More of the same is found in "Scentless Apprentice," though his subject matter could change due to both his esoteric style and his general talent for writing. Fans willingly praise Kurt for several things, but tend to overlook that the man had a definite way with words, and was his gloomy but honest lyrics that hit the right ears at the right time to change rock forever.

"Heart-Shaped Box" is one of those defining musical moments. It summed up exactly what was happening in music at the time, and if ever there was made a time capsule for the grunge era, this single would fit in nicely with the flannel and "Singles" Soundtrack. "Rape Me" showcases more sarcasm, as does "Dumb," "Very Ape," and "Pennyroyal Tea (Penny Royalty)." The murky lyrics and string of gloomy songs tend to lean toward monotony, but they were what occupied Cobain's mind at the time. Nothing else mattered in his art, and that's what defines a great writer. "Francis Farmer..." was yet another stab at Pearl Jam and other bands that they vocally criticised for riding the bandwagon after Nirvana had paved the way, though accuracy to those assertions lay more in the eye of the beholder. Blotchy fragments of "Milk It"'s verses, "Radio Friendly Unit Shifter," "Tourette's" inaccessable lyrics (though purposefully done), and the akward chorus of "Scentless Apprentice" hint at an urgency to get out new material. Though they also hint at an artistic undertaking. Venturing to new plains will either leave the art inconsistant or make it bold and daring. These and other parts of "In Utero" fall into both of these catagories, which is why it lack's the solidity of "Nevermind," but is much more rewarding. The album closes with "All Appologies." With its light mood and non-controversial lyrics, it is perhaps the most radio friendly song in the Nirvana catalouge, but not quite up to par with some of their more daring work. Though the album suffers from musical oddities, self-pity, gloom, and a few other minor things, it is nontheless essential. While "Nevermind" is far more commercial, Nirvana die-hards will probably reach for "In Utero" before the former. And while "Nevermind," in the wake of it's groundbreaking sound, popularity, flawless production, and classic songs rises it to a class of its own (9 or 10/10), it is not as artistic or emotional of the 7/10 "In Utero." A classic moment in gruge/punk/alternative/rock history.