donjunio

Sfascia, it was just a joke! I wasn't judging your tastes anyway, but rather the statement about the harmfulness of the album on future generations (a context that is definitely less subjective).
Alexander, you should know that Tool reached number one on the charts in America (rightly so, by the way).
I agree with Aristarco about Cobain's lyrics; they are exceptional. Vivid, impressionistic snapshots that are never self-indulgent (regardless of what one might think).

I don't know. I remember that many of those who listened to Nevermind for fashion later moved on to Green Day, Bush, or Silverchair. There are many more who, starting from Nirvana, discovered things much more exciting, like Soundgarden or Tool.

Certainly, Alex, and Cobain always said he was inspired by Mudhoney, the Melvins (of which he even led the bandwagon), and that he loved Soundgarden's "Ultramega OK". The Seattle scene was very incestuous; everyone inspired everyone, and it’s superfluous to recall the countless collaborations among its champions. Kim Thayil and Cornell said in 1989 on Rockerilla that Nirvana was the most creative group in Seattle at the time: if that’s not a testament of esteem, what is! Although they weren't astonishing musicians, their contribution to the scene was evidently considered essential. Then "Badmotorfinger" is a wonderful album, musically light-years ahead of Nevermind. But Kurt's exceedingly rare ability to make you dream with his lyrics, guitar, and voice is equally valid to me.

Alexander77, I have a lot of respect for you; we basically listen to the same music. However, I have to remind you that Nirvana were playing grunge as early as 1988, when Alice in Chains were still putting on makeup like the New York Dolls and imitating Guns N' Roses from "Appetite for Destruction."
Cycociccio, there’s metal and there’s metal: Poison and Whitesnake were awful, while Slayer were legendary.

Sajuro, for me pop is not a dirty word. The Beach Boys' "Pet Sounds" was pop, and I don't think anyone disputes the beauty of that album. Nevermind is a pop album in the sense that the melodies are clear and catchy without being trivial - and they emerge beneath the guitar layer - and its author had the rare ability to encapsulate the sensitivity of a generation within them. Husker Du paved the way for Nirvana if only because they were the first indie band to have a Major label contract: if you think that’s not a big deal.

I absolutely disagree with the idea that "nevermind" was "proto-harmful," as our body shop friend asserts from his alternative pedestal. Undoubtedly, the effect of the clones and Nirvana epigones has been petulant, but I believe that the beneficial effects are more numerous. "Nevermind" brought authentic rock back to the center stage, inspiring countless kids to create sincere music. How many people started listening to truly alternative music thanks to Nirvana?
To Massimo: you talk about cult albums, and elsewhere you boast about Springsteen's sales? Well…

Probably a bland review like this will stimulate the critical spirit of the debaserians, but it also leads to certain excesses. Writing that Nevermind was the most important album for readers of Tutto and TV Sorrisi e Canzoni is a classic example of cunning revisionism, in other words, a colossal lie. Go back and read those newspapers from 1992-1993, and you will see that the covers were for Guns N' Roses or the Queen's Greatest Hits. They were certainly important for MTV in America: but only because Cobain's music captured the attention of the alienated generation described by Coupland and Easton Ellis. For this reason, Nevermind was an album capable of transcending its musical content: it defined an era, thanks to the charisma of its author and his ability to describe the USA as a teenage wasteland. Nevermind is simply a great pop album, in the best sense of the term: something greater than the significant sum of its songs (which, in my opinion, are truly great songs, de gustibus obviously).
Musically, it invents nothing; even the stones of Matera know that. Cobain himself never hid the fact that he had the path paved by the Pixies or Husker Du. Far more substantial musically were the leaden "Bleach" or certain moments of "In Utero" where Albini led the band beyond the confines of grunge.

I Don Caballero were truly among the few in the 90s to go beyond Slint (whose formula bands like Tortoise merely repainted, making it furthermore quite dull). This album is just a notch below "Spiderland." And to think that in 1995 everyone was too busy praising Oasis or the pedantic Smashing Pumpkins of "Mellon Collie"! Aristarco, we all kind of started with Nirvana. If "nevermind" hadn't changed my life when I was 15, I’d probably still be listening to all sorts of crap. Very good open mind, all reviews on debaser should be like this!

Aristarchus, we’re on the same wavelength! Navarro remains one of the best guitarists in the world. On "One Hot Minute," the judgment is very difficult. His guitar parts are gorgeous, and you just want to listen to it for that alone. But objectively, they didn't blend well with what the other Peppers were playing. Tracks like "Aeroplane," "Coffee Shop," and "Walkabout" were really terrible, and Navarro himself admitted that he suffered their inclusion in the album because the RHCP had to do something funky "by contract." The tracks where Dave had free rein in guiding the band's musical direction are excellent: "Warped" and "One Hot Minute" in particular. Regarding "One Hot Minute," I much prefer the one-off project that Dave did with Deconstruction, the band he formed with Eric Avery before joining the RHCP. In fact, I think I’ll even write a review of it one day!

By now, Pete Doherty is only talked about in "Cronaca Vera" or on "NME" (the quality is the same), but evidently there are those who still appreciate him. This album was not to be dismissed; a track like "Begging" is still gritty enough to leave a mark. What came after, however, is of a unique shoddiness.