Nirvana
Nevermind

Teenage Rage

"Nevermind" is the most important rock album of the '90s, many have said so. A revolutionary album capable of combining punk and pop melody, aggression and apathy, frustration and rebellion, discomfort and pain for an adult world incapable of providing stimuli to the new generations. Cobain was able to represent the situation of thousands of young people, acting as a prism for a generation distant from any rational aligned logic and always in search of the "teen spirit," that teenage spirit that catalyzes a youth revolution.

After the concerts to promote "Bleach," Nirvana began to think about the second album with Sub Pop. They decided to rely on Butch Vig, and in the early days of April 1990, they began sessions at Smart Studios in Madison. They spent a week recording the demo, which was then sent to major labels. The versions contained in the demo were almost identical to those that appeared on "Nevermind." However, before starting the album recordings, changes occurred. Cobain and Novoselic were not satisfied with Channing's musical contribution. They decided to replace him first with Dan Peters and then with Dave Grohl, a young drummer from Scream. The demo recorded at Smart Studios created a buzz, and Nirvana became a center of interest for some majors. With a budget of $65,000, the three had a chance to work and have fun in their own way: Novoselic was arrested for drunk driving, and Cobain set heroin aside in exchange for a codeine-based cough syrup and liters of Jack Daniels. The group recorded between May and June 1991 at Sound City Studios on the outskirts of Los Angeles. The idea for the cover came to Curt and Dave while watching a documentary on water births. "Nevermind" was certainly a well-packaged album, breaking down the barriers of distorted guitars and shouted vocals, satisfying both the mainstream and the underground audience, overturning the rules of the record market.

Released on September 24, 1991, in just three months, it sold 400,000 copies, even displacing Michael Jackson. Moreover, this CD is one of the first to have a ghost track, an innovation similar to the incomprehensible phrases inserted by the Beatles in SGT. Pepper. Often we find in the lyrics the distinction between pop songs and art, between angry nihilism and simple vulnerability. This typically happens in "Smells Like Teen Spirit" and "Lithium," where the lyrics overflow with opposites, and where there is an alternation between calm arpeggios and aggressive shouts. There are also relaxed acoustic versions like "Polly" and "Something in the Way." Now judge me, say what you want... a kissded to: violetor88