Nirvana revolutionized the rock music scene with its unique sound that came to be known as grunge. They blended punk and heavy metal music, creating a raw and powerful sound that resonated with the youth of the 90s. Nirvana’s lyrics were introspective and often touched on themes of alienation and despair, which struck a chord with many young people at the time.
The success of Nirvana’s album “Nevermind” in 1991 propelled grunge into the mainstream and influenced a generation of musicians. Grunge became a cultural movement, with Seattle serving as its epicenter. Other notable grunge bands that emerged during this time include Pearl Jam, Soundgarden, and Alice in Chains.
They had a successful career with so many great songs in their discography. However, that cannot be said for all the songs up their pocket. Here are some of their songs that didn’t feel like them.
While some argue that the song is a critique of the media’s sensationalism of sexual violence, others find it insensitive and offensive.
Guitar chugging that is both light and strong, a tune that is nearly pop, and upsetting, provocative lyrics. From a melodic perspective, it is totally appropriate. Kurt Cobain’s displeasure with the predicament Nirvana had put themselves in by unintentionally becoming the most popular losers in America is summed up in the song, in which he also played guitar.
The title itself is provocative and can be seen as minimizing the severity of the sexual assault. Overall, the song’s content and title are likely to be upsetting for many listeners and can perpetuate harmful attitudes toward sexual violence.
It has the same vibe as the pouting adolescent musically. The music is really insane, but it kind of enjoys its own agony and doesn’t want you to listen to it in order to assist it.
As Krist Novoselic tunes his bass down 28 semitones into Hell, you can hear Kurt Cobain stubbing his toe and bursting into flames. Don’t get us wrong; this isn’t a bad song, but it doesn’t work in the context of one of the most influential albums of the decade, if not the century.
Some would contend that the song is less appealing than other Nirvana successes because it doesn’t have a catchy tune or memorable lyrics. “Scoff’s” production value is not as high-end as some of Nirvana’s other songs, which might also be a factor in why it is less well-liked. The song moves on an odd axis between post-punk dissonance, sludge rock riffs, and the kind of straightforward chord changes that Cobain would have recognized from early Kiss songs.
It’s more of an early illustration of Cobain’s desire to strike a balance between the thrashing swagger of hard rock and punk’s twisted concept of catharsis. Its words explore the meaning of music fandom, a key concern of Cobain’s, while the music reimagines Seventies swagger in new, harder ways. A track from Incesticide with an overly optimistic title.
Cobain cranks out scratchy vocals and indistinct funk licks, then crashes them into Krist Novoselic’s obtuse bass-walking. This is the sound of a band trying to be purposefully tough. May be enjoyable to play, but not enjoyable to hear.