Bleached: Nirvana again

  

BLEACHED: NIRVANA AGAIN

 

 

 

I bought Bleach (1989) a couple of months before Nevermind (1991)  was released.  “Smells Like Teen Spirit” was already on the radio I really liked it and, having read about Nirvana long before they became famous, and in particular about Bleach, I thought I’d start there because I was a fan of late ‘70s punk and my perception that Nirvana followed in those footsteps.

 

My recollection of my first impression of Bleach was that it was a blast of harsh, unpleasant noise, obviously noting like “Teen Spirit” but also nothing like the kind of punk rock I was used to. At the time I knew nothing about American hardcore punk, at least I’d never heard any of the important records, and wasn’t used to punk that wasn’t melodic, even if subtly so. Nirvana hurt my ears and I hardly played Bleach more than a few times.

 

I bought Nevermind as soon as it was available at Ragtime Records  in Cape Town and was mildly disappointed. “Teen Spirit” was and is the standout track for me and the so-called punk rock of the rest of the album seemed one dimensional, unimaginative and mediocre. I couldn’t fathom why rock writers raved about the record, and I still don’t, and also not why it sold in its millions, other than off the lead single’s pop impact.

 

Truth be told, I’ve probably not listened to Nevermind any more than I’ve listened to Bleach and it’s not a record I listen to much now.

 

In Utero (1994) is, to my mind, superior to Nevermind, because it has better songs and is far tougher in musical approach. This is where Nirvana peaked.

 

I’ve now listened to Bleach again, because it came up as a recommendation on Apple Music and was surprised to find that it’s not the harsh noise I’ve always thought it was. The production is not as good as that of In Utero (the lack of money, I guess) and there is a difference in quality of the song writing too, but there is a seamless transition from the one album to the other, with Nevermind being the aberration, no doubt because of the slick, radio friendly production that was intended to maximise its commercial potential. With Bleach, Nirvana did not concern itself with commercial potential and with In Utero, the band was in a position to make the record it wanted to make and to return to its “roots,” I suppose.

 

Whatever, nevermind, I think Bleach is a bloody good little record, very much what I’d expect from a punk revivalist or proto-grunge pioneer, with pop nous and high energy, and I’ll return it to my collection.