By Geoff Topley
I can still recall the very day I went to purchase my cassette copy of In Utero by Nirvana, way back in September 1993. An impressionable student, I was completely fixated with Kurt Cobain and Nirvana's mesmerising music. I can also vividly recall the moment John Peel solemnly announced that Kurt had joined Jim Morrison, Janis Joplin and Jimi Hendrix in rock music's tragic collective of gone-too-soons. That was the night I was due to attend a show in Dublin that had been postponed due to Kurt's ongoing fight with the bad stuff. I had my final University exam the next day, a fitting tribute was duly written on the last page. I even started to smoke tribute menthol cigarettes, twenty years later and I've fortunately managed to finally kick that habit. Twenty years later and we have this re-issue to remind us of what was for me, Nirvana's finest hour.
This was very much an album of necessity for Kurt Cobain, the much publicised disillusionment of success that Nevermind had brought the band meant they turned to Steve Albini to capture the raw energy of their performance. This was a perfect combination, Albini was producer of The Jesus Lizard, a band I had forced upon myself via the split 7" they put out with Nirvana (Puss/Oh, the Guilt). The primal thud and dry untouched-by-effects brutality of Albini's drum recording brilliantly complimented by the animal ability of a drummer like Grohl. Cobain's scuzzy distorted guitar assault even more vicious in the hands of Albini. Those expecting another glossy production job like Nevermind would be left feeling violated. In Utero still had the brilliant melodies but the songs were buried under a mix that would petrify and disgust, in equal measure, the bandwagon jumpers who had usurped the intentions of Nevermind and hijacked a band who had no desire to be revered in the way they were. Job done. Not really, the ultimate fuck you was to follow seven months later.
So to this re-issue, as is the case these days, we get a plethora of additional tracks, consisting of b-sides, demos and remixes. As has been well documented, the final mixes that were proposed didn't please DGC ensuring that some tinkering was required in an attempt to placate the masses who would be rushing out to purchase In Utero. Albini gets a chance to remix the album again now that the record company are safe in the knowledge that this re-issue is going to appeal to fans alone.
Disc One is a remastered version of the album, perversely, it's this version that I find myself enjoying more. For a fan as determined as I was to have every track officially released, the additions to Disc One will be familiar territory. The b-sides 'Marigold' and 'Moist Vagina' are resurrected, neither track is particularly worthy of recall or in the case of the latter, a remix. 'Sappy' is included, one of their best songs not to make it to an album proper. In Utero highlights 'Penny Royaltea', 'Heart Shaped Box' and 'All Apologies' are featured in remix form, but lifted away from the running order of the album, don't appear discerningly different to my ears.
Disc Two features Albini's 2013 mix of the album and a selection of instrumental demos of album tracks. Without Kurt's pained vocals and Albini's production these tracks have a very limited replay value and seem to have sole purpose of filling out Deluxe Version capacity more than anything else. 'Marigold' appears again, this time in acoustic format, it's actually very affecting and unlike the acoustic band heard on MTV Unplugged. Similar treatment is given to 'All Apologies' but when you're so familiar with the MTV version, this take just sounds half baked. Final unreleased tracks 'Forgotten Tune' is very aptly named and 'Jam' is one of those excruciating noise freakouts that would have once enthralled me.
Obviously there's a great deal of intrigue as to what Albini would deliver given the opportunity to mix the album again. As I've mentioned already, the remastered version of the album really accentuates every pained howl and shriek. Every dragged out guitar note and squeal of feedback appears to strike you with such venomous force. When you know an album inside out these subtle little details tend to jump out at you more. I found the 2013 Albini mix sounding closer to the original, maybe the Nirvana overload this re-issue has muddied my ability to detect the nuances of mixing and mastering. At least the deluxe version gives you the option to decide for yourself.
I was hugely excited to hear about this re-issue when it was announced and as an all encompassing Nirvana fanatic, it's an absolute necessity to have. As with the box set With the Lights Out, you wonder how much the unreleased tracks and demos are actually needed. But that's the beauty of being an uber-fan, you forego the quality control because you have that hunger for more. Despite the obvious sadness of leaving a young daughter and wife behind, the biggest tragedy for us fans is that there won't be new music from one of the modern era's greatest songwriters and one of the most entertaining and utterly unique bands. I was lucky enough to see Nirvana perform in the King's Hall Belfast in 1992, an unforgettable night, Dublin would probably have been even better with songs from In Utero in the setlist. Unforgettable albums, extraordinary gigs, thanks for the memories Dave, Krist and Kurt. This re-release certainly reminds us of how this rock 'n' roll thing should be done.
