“In Utero” by Nirvana

It’s three decades since the release of Nirvana’s raw, relentless follow-up to Nevermind.

Released two years after Nevermind, the groundbreaking grunge crossover that catapulted Nirvana, however reluctantly, to pop music superstardom, In Utero plays like the anti-Nevermind. It deliberately strips away all of the gloss and radio-ready polish that made its predecessor so accessible and, to a degree, easily marketable. It doesn’t just defy expectations—it lights them on fire and, with a contented smile on its face, watches it burn. Kurt Cobain is remarkably matter-of-fact about this in the opening minute of “Serve the Servants,” saying, “Teenage angst has paid off well/Now, I’m bored and old/Self-appointed judges judge/More than they have sold.” From that point on, the album is an openly antagonistic, alienating listen. And yet, despite how hard it tries to push you away, the experience is nothing short of transfixing.

Of course, Cobain’s ghost looms large over every snarl and shriek. The pain he was grappling with is audible, as is his contempt for the various corporate entities trying to capitalize on the band’s (and grunge’s) rising popularity. That said, deep beneath the nihilism, you can still hear the man’s soul shining through too. It’s present in the opening whispers of “Rape Me,” a track that reinforces the singer/songwriter’s feminist leanings. It also bubbles up on “All Apologies,” a devastating confessional dedicated to his wife, Courtney Love, and daughter, Frances Bean. As this October 1993 Spin cover story makes clear, Cobain wasn’t a monster for rejecting the fame and media scrutiny that had been thrust upon him. He wanted to be a musician, to play music and go home afterward and not have to worry about being recognized in the street or photographed by paparazzi. In Utero does its best to get him back to that place with blistering songs that threaten to cut you in two.