Music

Are You into Guilt?: Nirvana’s Great Lost Single

Prior to the single’s February 1993 release, Nirvanamania was still riding high, as evidenced by the Christmastime arrival of the rarities collection Incesticide to satiate fans eagerly awaiting a new studio album. So what did the group follow that with? A rarity!

Today marks the 17th anniversary of the suicide of Nirvana’s Kurt Cobain, so in tribute to Mr. Unwilling Voice of a Generation I’d like to briefly draw attention to one of his group’s underappreciated gems. Specifically, I’m talking about the first brand-new release the grunge trio unleashed upon the world after conquering the mainstream with its blockbuster second album Nevermind--a song the group elected to issue on indie label Touch & Go as a split single with Texas noise rockers the Jesus Lizard.

It’s wonderfully perverse that Nirvana put out “Oh, the Guilt” in such a manner. Prior to the single’s February 1993 release, Nirvanamania was still riding high, as evidenced by the Christmastime arrival of the rarities collection Incesticide to satiate fans eagerly awaiting a new studio album. So what did the group follow that with? A rarity! The single had a worldwide pressing of 200,000 copies (only a fraction of the million-plus sales “Smells Like Teen Spirit” racked up in the United States alone), with many of them issued as vinyl records, then considered a dead format by all but the tiniest of labels. It’s now widely available due to its inclusion on the 2004 box set With the Lights Out, but in case you haven’t had the opportunity or drive to scour through three dense discs of odds-and-ends to uncover it, it’s high time you learned that “Oh, the Guilt” is one ripping piece of scuzz-filled rock

Recorded by Barrett Jones in an April 1992 session, the painfully raw production on “Oh, the Guilt” points the way towards the obstinate abrasion of Nirvana’s third album, In Utero (1993). The other day when I wasn’t even listening to the track, out of nowhere I though to myself, “The guitar tone in that song sounds plain gross”. When coupled with the sound of the guitar pick scrapping across the strings during the verse section fits and stops, the whole sensation makes my skin scrawl. And I like that. But it isn’t just the rough-and-ready rawness that stimulates the ears and plagues the body. “Oh, the Guilt” adheres to Cobain’s winning songwriting formula, which ensures that the heavy riffs are balanced out with catchy sing-song melodies and classic pop arrangement techniques, with everything pulled together by one intense studio performance. This means that the transition from the stop-start verses to the tension-building prechoruses to Cobain screaming his head off in those one-word choruses as if he’s being operated on without anesthetic will have you banging your head like any one of Nirvana’s recognizable radio hits would. If you can stomach the sonic sickness, “Oh, the Guilt” is worth wrecking your eardrums for today.

So far J. J. Abrams and Rian Johnson resemble children at play, remaking the films they fell in love with. As an audience, however, we desire a fuller experience.

As recently as the lackluster episodes I-III of the Star Wars saga, the embossed gold logo followed by scrolling prologue text was cause for excitement. In the approach to the release of any of the then new prequel installments, the Twentieth Century Fox fanfare, followed by the Lucas Film logo, teased one's impulsive excitement at a glimpse into the next installment's narrative. Then sat in the movie theatre on the anticipated day of release, the sight and sound of the Twentieth Century Fox fanfare signalled the end of fevered anticipation. Whatever happened to those times? For some of us, is it a product of youth in which age now denies us the ability to lose ourselves within such adolescent pleasure? There's no answer to this question -- only the realisation that this sensation is missing and it has been since the summer of 2005. Star Wars is now a movie to tick off your to-watch list, no longer a spark in the dreary reality of the everyday. The magic has disappeared… Star Wars is spiritually dead.

Keep reading... Show less
6

This has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it.

It hardly needs to be said that the last 12 months haven't been everyone's favorite, but it does deserve to be noted that 2017 has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it. Other longtime dreamers either reappeared or kept up their recent hot streaks, and a number of relative newcomers established their place in what has become one of the more robust rock subgenre subcultures out there.

Keep reading... Show less
Theatre

​'The Ferryman': Ephemeral Ideas, Eternal Tragedies

The current cast of The Ferryman in London's West End. Photo by Johan Persson. (Courtesy of The Corner Shop)

Staggeringly multi-layered, dangerously fast-paced and rich in characterizations, dialogue and context, Jez Butterworth's new hit about a family during the time of Ireland's the Troubles leaves the audience breathless, sweaty and tearful, in a nightmarish, dry-heaving haze.

"Vanishing. It's a powerful word, that"

Northern Ireland, Rural Derry, 1981, nighttime. The local ringleader of the Irish Republican Army gun-toting comrades ambushes a priest and tells him that the body of one Seamus Carney has been recovered. It is said that the man had spent a full ten years rotting in a bog. The IRA gunslinger, Muldoon, orders the priest to arrange for the Carney family not to utter a word of what had happened to the wretched man.

Keep reading... Show less
10

Aaron Sorkin's real-life twister about Molly Bloom, an Olympic skier turned high-stakes poker wrangler, is scorchingly fun but never takes its heroine as seriously as the men.

Chances are, we will never see a heartwarming Aaron Sorkin movie about somebody with a learning disability or severe handicap they had to overcome. This is for the best. The most caffeinated major American screenwriter, Sorkin only seems to find his voice when inhabiting a frantically energetic persona whose thoughts outrun their ability to verbalize and emote them. The start of his latest movie, Molly's Game, is so resolutely Sorkin-esque that it's almost a self-parody. Only this time, like most of his better work, it's based on a true story.

Keep reading... Show less
7

There's something characteristically English about the Royal Society, whereby strangers gather under the aegis of some shared interest to read, study, and form friendships and in which they are implicitly agreed to exist insulated and apart from political differences.

There is an amusing detail in The Curious World of Samuel Pepys and John Evelyn that is emblematic of the kind of intellectual passions that animated the educated elite of late 17th-century England. We learn that Henry Oldenburg, the first secretary of the Royal Society, had for many years carried on a bitter dispute with Robert Hooke, one of the great polymaths of the era whose name still appears to students of physics and biology. Was the root of their quarrel a personality clash, was it over money or property, over love, ego, values? Something simple and recognizable? The precise source of their conflict was none of the above exactly but is nevertheless revealing of a specific early modern English context: They were in dispute, Margaret Willes writes, "over the development of the balance-spring regulator watch mechanism."

Keep reading... Show less
8
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image