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Track List
01) Serve the Servants
02) Scentless Apprentice
03) Heart-Shaped Box
04) Rape Me
05) Frances Farmer Will Have Her Revenge on Seat
06) Dumb
07) Very Ape
08) Milk It
09) Pennyroyal Tea
10) Radio Friendly Unit Shifter
11) tourette's
12) All Apologies
01) Serve the Servants
02) Scentless Apprentice
03) Heart-Shaped Box
04) Rape Me
05) Frances Farmer Will Have Her Revenge on Seat
06) Dumb
07) Very Ape
08) Milk It
09) Pennyroyal Tea
10) Radio Friendly Unit Shifter
11) tourette's
12) All Apologies
3:36
3:47
4:41
2:49
4:09
2:32
1:55
3:54
3:37
4:51
1:35
3:49
Data Complete
80%
Total Rating
80%Total Rating
(3 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1993
Grunge
Sad
Rock/Pop
---
Medium
Album
5,400,000 copies
Album Description
Available in:
In Utero is the third and final studio album by the American grunge band Nirvana, released on September 13, 1993, on DGC Records. Nirvana intended the record to diverge significantly from the polished production of its previous album, Nevermind (1991). To capture a more abrasive and natural sound, the group hired producer Steve Albini to record In Utero during a two-week period in February 1993 at Pachyderm Studio in Cannon Falls, Minnesota. The music was recorded quickly with few studio embellishments, and the song lyrics and album packaging incorporated medical imagery that conveyed frontman Kurt Cobain's outlook on his publicized personal life and his band's newfound fame.
Soon after recording was completed, rumors circulated in the press that DGC might not release the album in its original state, as the record label felt that the result was not commercially viable. Although Nirvana publicly denied the statements, the group was not fully satisfied with the sound Albini had captured. Albini declined to alter the album further, and ultimately the band hired Scott Litt to make minor changes to the album's sound and remix the singles "Heart-Shaped Box" and "All Apologies".
Upon release, In Utero entered the Billboard 200 chart at number one and received critical acclaim as a drastic departure from Nevermind. The record has been certified five times platinum by the Recording Industry Association of America, and has sold 3.58 million copies in the United States alone.
User Album Review
In Utero was released September 1993, the follow-up to the phenomenally successful Nevermind from 1991. This was Nirvana getting back to their rawer roots. It was as if once Cobain had achieved the success he would never publicly admit he craved, Nirvana could shed all pretence and be themselves once again.
They dispensed with Butch Vig’s smooth, chart-topping touch, in exchange for indie-veteran Steve Albini's workman-like punk and indie anti-hero kudos.
It seems odd that a record something so unexpectedly successful could spawn something that so apparently attempts to be the opposite, but such was the staggering level of expectation post-Nevermind that Nirvana brilliantly seek to upset and confound absolutely everyone.
This is Kurt letting us under his drug addled, membrane-thin skin, into the recesses of his fragile mind, to play air-drums and head-bang with his demons, of which there are many.
It’s a diary of the damage wrought by having an extraordinary dream come true but not coping well with the consequences. Cobain is tapping the listener into the competing urges behind the obsessive, manically-depressive, contradictory, bleak, vulnerable and lonely voices in his head.
In Utero noisily hops between feedback-drenched, searing barrages of emotion to complex and catchy, credible and clever pop-punk dissertations; underneath the sharper edges Nirvana’s talent for melody and memorable songwriting are still alive and kicking.
Albini’s production revels in the fact that the instruments aren’t so much being played as being kicked around while having their necks wrung, he also captures a more charming, human aspect to Cobain’s vocals and the painful persistence and desperation of his trademark screams.
It's powerful, personal, psychological, physiological, scatological, paranoid, frenzied and exhausting, beautifully frank and funny and poetic and infectious and disarming and saddening and upsetting and willfully uncomfortable. And great.
External Album Reviews
None...
User Comments
Available in:
In Utero is the third and final studio album by the American grunge band Nirvana, released on September 13, 1993, on DGC Records. Nirvana intended the record to diverge significantly from the polished production of its previous album, Nevermind (1991). To capture a more abrasive and natural sound, the group hired producer Steve Albini to record In Utero during a two-week period in February 1993 at Pachyderm Studio in Cannon Falls, Minnesota. The music was recorded quickly with few studio embellishments, and the song lyrics and album packaging incorporated medical imagery that conveyed frontman Kurt Cobain's outlook on his publicized personal life and his band's newfound fame.
Soon after recording was completed, rumors circulated in the press that DGC might not release the album in its original state, as the record label felt that the result was not commercially viable. Although Nirvana publicly denied the statements, the group was not fully satisfied with the sound Albini had captured. Albini declined to alter the album further, and ultimately the band hired Scott Litt to make minor changes to the album's sound and remix the singles "Heart-Shaped Box" and "All Apologies".
Upon release, In Utero entered the Billboard 200 chart at number one and received critical acclaim as a drastic departure from Nevermind. The record has been certified five times platinum by the Recording Industry Association of America, and has sold 3.58 million copies in the United States alone.
User Album Review
In Utero was released September 1993, the follow-up to the phenomenally successful Nevermind from 1991. This was Nirvana getting back to their rawer roots. It was as if once Cobain had achieved the success he would never publicly admit he craved, Nirvana could shed all pretence and be themselves once again.
They dispensed with Butch Vig’s smooth, chart-topping touch, in exchange for indie-veteran Steve Albini's workman-like punk and indie anti-hero kudos.
It seems odd that a record something so unexpectedly successful could spawn something that so apparently attempts to be the opposite, but such was the staggering level of expectation post-Nevermind that Nirvana brilliantly seek to upset and confound absolutely everyone.
This is Kurt letting us under his drug addled, membrane-thin skin, into the recesses of his fragile mind, to play air-drums and head-bang with his demons, of which there are many.
It’s a diary of the damage wrought by having an extraordinary dream come true but not coping well with the consequences. Cobain is tapping the listener into the competing urges behind the obsessive, manically-depressive, contradictory, bleak, vulnerable and lonely voices in his head.
In Utero noisily hops between feedback-drenched, searing barrages of emotion to complex and catchy, credible and clever pop-punk dissertations; underneath the sharper edges Nirvana’s talent for melody and memorable songwriting are still alive and kicking.
Albini’s production revels in the fact that the instruments aren’t so much being played as being kicked around while having their necks wrung, he also captures a more charming, human aspect to Cobain’s vocals and the painful persistence and desperation of his trademark screams.
It's powerful, personal, psychological, physiological, scatological, paranoid, frenzied and exhausting, beautifully frank and funny and poetic and infectious and disarming and saddening and upsetting and willfully uncomfortable. And great.
External Album Reviews
None...
User Comments
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