In Utero (1993) Nirvana

Written by Meenakshi Nirmalan

It’s such a cliché for young teenagers to go through a Nirvana phase but mine hit me hard. I remember being fourteen or fifteen, ardently trawling through YouTube, watching everything I could find on the band, ranging from snippets of interviews, live performances and retrospective documentaries. Moreover, Dave Grohl was amongst the first drummers I really respected, taking the time to analyse his drumming style. Although I would no longer cite Grohl as one of my favourite drummers, it is undeniable that he influenced my playing, growing up. Interestingly though, none of the first Nirvana songs I listened to were from In Utero; my introduction to the band was Nevermind. Although sometimes overshadowed by Nevermind, In Utero is by no means unpopular. The two albums feel very different and distinct. There’s something poignant about the title. In Utero: a return to the womb, a return to home but as a changed person. It’s reflected musically too. In Utero is Nirvana’s final studio album and feels dark and detached, yet comforting. It has the rawness of their first album, Bleach, showing a return to their roots. Simultaneously, it also feels more emotionally mature in comparison to their earlier albums, showing the band’s progression and innovation, whilst retaining their essence. I can only wonder where the band would have progressed musically, if they had more time together.

My favourite track from In Utero is undoubtedly Heart-Shaped Box. All the strings on the guitar are tuned down a semitone, just in between standard tuning and Drop D tuning, adding to the liminal feel of its sound. The opening riff is moody, melancholic. When Kurt Cobain starts singing in the verses, his voice is wonderfully gravelly, yet retaining a softness, until the chorus. I love how In Utero plays with volume, not just in terms of vocals but across all instruments, which can be seen in this track. This creates dynamic contrast, akin to the ebb and flow of waves. Cobain only uses the distortion pedals during the choruses and the guitar solo; the guitar tone during the verses are crisp. Similarly, Grohl plays a gentle cross-stick pattern on the snare for the verses. This changes in the choruses, where he hits the drums with full force. Cobain felt the production quality of Nevermind was too polished so specifically wanted Steve Albini to produce In Utero. He liked the sound of Pixies’ Surfer Rosa, which Albini also produced. Surfer Rosa has the ‘loud quiet loud’ feel that In Utero is influenced by. Albini set up numerous mics across the room, often setting up more than one mic for specific parts of the drum kit, as he wanted to capture the band’s natural sound. Many at Geffen Records were sceptical of Nirvana and Albini working together on In Utero but evidently, it worked out well. The lyrics across Heart-Shaped Box are absolutely beautiful, especially when Cobain sings 'Broken hymen of Your Highness, I’m left black / Throw down your umbilical noose so I can climb right back'. The image of an 'umbilical noose' is striking. Cobain employs two images that are visually alike but opposite in meaning; the juxtaposition of birth and death. Moreover, ‘box’ is a nebulous word with a variety of different meanings and connotations; the song’s title has always felt elusive to me. Heart-Shaped Box’s music video is trippy, featuring crucifixions, crows and poppy fields, bordered by a deep red sky. You can’t tell if Nirvana are being playful, dealing with the profound or existing somewhere in between the two states, which is typical of the band.

What I love about In Utero is the variety of influences, ranging from David Bowie, Melvins, Pixies, all melted together to create this album. This hybridity of sound is characteristic of the genre. Grunge is often said to be a cross between punk rock and metal, particularly Nirvana’s sound. Even though this is an oversimplified definition, it still holds truth. The punk influence is particularly strong towards the end of the album, on high tempo, high energy tracks such as Tourette’s and Radio Friendly Unit Shifter. We see the punk influence brought out by Grohl’s loud, energetic drumming, with quick fills. His playing has just the right amount of complexity; he never overdoes it, keeping the rhythm tight. I also enjoy the harsh sound of feedback on Radio Friendly Unit Shifter; the album is bursting with life. The metal influence can also be seen throughout the album, particularly on Very Ape. The main riff is simple, yet powerful. The drums, bass and guitar all gel nicely together. When the guitar riff is played at a higher octave towards the middle of the song, it feels absolutely electric. For a 3-man outfit, they sure make a lot of noise. Milk It also exhibits these influences, whilst being much slower in tempo. Cobain softly murmurs in the verses, whilst bellowing during the chorus. Similarly, the track strips itself back to just drums and bass, with light guitar during the verses. It feels ominously sparse, contrasting the thick, sludgy feel of the choruses.

You can’t talk about Nirvana’s final studio album without also talking about their MTV Unplugged performance. It features three tracks from In Utero, reimagined acoustically, my favourite being Pennyroyal Tea. As always, Cobain is difficult to read. His performance is highly emotive but simultaneously has a blasé air about it. There’s a soft harshness to his vocals but in any case, it feels raw and vulnerable, yet ultimately impenetrable. At the same time, Cobain’s lyrics are intriguingly cryptic. We’re often left to wonder what his songs are about, if anything. Scentless Apprentice is said to be based on Patrick Süskind’s novel, Perfume, which Cobain cited as his favourite book in an interview. The song starts 'Like most babies smell like butter / His smell smelled like no other', describing the book’s protagonist, Jean-Baptiste Grenouille. However, by the chorus, Cobain ends up repeating 'go away, go away’. It’s simple and raw but as meaningless as it is meaningful. I also enjoy the lyrics of Frances Farmer Will Have Her Revenge On Seattle. Cobain sings ‘I miss the comfort in being sad’ during the chorus. The unembellished language adds to the primal feel of the album. During the verses, he sings 'It’s so relieving to know that you’re leaving' and also 'It’s so soothing to know that you’ll sue me'. The internal rhymes are fun; they highlight how lyrics can be sonically playful, not meaning anything specific but still communicating an idea. A walking contradiction, very much in line with Nirvana’s image. In Utero isn’t Nirvana’s most famous album but it is our lasting impression, leaving behind a powerful legacy.