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Incesticide was released in 1992 as a collection of B-sides, demo tracks and songs from Nirvana's back catalogue. It was released to try and compete with the massive amount of bootleg Nirvana CD's on the market and was a brave move coming after the monumental release of Nevermind. For me Incesticide is an album which really shows Nirvana's punk roots in dazzling lo-fi glory. The CD's opener 'Dive' is a moody and angst ridden anthem and is amongst my favourite Nirvana tracks of all time (and that's saying something because I am a huge Nirvana fan).
Apart from 'Dive', other high points of the album are 'Sliver', 'Beeswax' and 'Aneurysm', but to be honest, I love them all. Incesticide feels like an attempt by Kurt to realign Nirvana's image with their punk roots following the main stream success of Nevermind. It was a brave decision and I salute him for it because there are some real rough diamonds on this album, which are made all the sweeter by the rough and ready production.
If you are looking for more B-sides and rare Nirvana tracks I would also recommend their collection of Singles, which includes songs like 'Carmudgegon' and 'M.V.', songs which are not Incesticide but have the same Lo-fi approach to rock and roll. If you liked Bleach, chances are you will also like Incesticide as it see's the Seattle boys return to their early influences for inspiration (also many of Incesticides tracks were cut during the time of Bleach's release).
As I've already said, I am a huge Nirvana fan. They represent everything that is gritty, gutsy and glorious about rock music. If that's the kind of thing you're into then you will definitely find Incesticide to be to your liking.
In 1985 Kurt Cobain met fellow Melvins fan Krist Novoselic in Aberdeen, Washington and formed a band. After a series of name changes they finally settled on 'Nirvana' and released their debut album, 'Bleach' (working title; 'Too many Humans') with Sub Pop in 1989 with Chad Channing as drummer (he would later be replaced by Dave Grohl). Listing their influences from a diverse range of musicians including 'Mudhoney', 'The Pixies', 'Black Sabbath' and 'Led Zeppelin', Kurt Cobain sought to create a mixture of punk and pop music.
After sudden success with their second album ;Nevermind' Cobain's emotional state became increasingly more erratic until his suicide in 1994 Afterwards Krist Novoselic went on to form the less than successful 'Sweet 75' and later 'Set Adrift' with Curt Kirkwood ('Meat Puppets' and Bud Gaugh ('Sublime'). Dave Grohl went to drum for just about everybody including 'Queens of the Stoneage', 'Tenacious D' and 'Nine Inch Nails' and then formed the 'Foo Fighters'.
Released by Geffen in December 1992 'Incesticde' debuted at 51 on the Billboard 100 and then peeked at 39. It is a compilation album of demos, outtakes and radio broadcasts (a list of sources can be seen below) that Cobain only allowed in return for complete control over the album's artwork. If described as any genre it would be pop punk. The tracks are short and sharp. They say what they have to say with no convoluted lyrics and then end as abruptly as they start.
'Been a Son' and 'Aneurysm' were different versions of tracks on the 'Blew' and 'Smells Like Teen spirit' singles.
'Dive' and 'Sliver' were released on the 'Sliver' single.
'Stain' appeared on the 'Blew' EP.
The covers; 'Turnaround' (originally Devo) and 'Molly's Lips' and 'Son of a Gun' (Vaselines originals) all appeared on the 'Haemoaning' EP in 92.
'Mexican Seafood' was taken from the 1989 'Teriyaki Asthma' Compilation.
'Beeswax' appeared on the 91 'Kill Rock Stars' compilation.
And lastly, 'Downer' appears on all 1993 Geffen re-releases of 'Bleach'
All the other tracks were officially unreleased at the time.
DIVE - Cobain, Novoselic
'Hit me, hit me
I'm real good at hating'
With its dirty chords and nihilistic lyrics, this track is an anthem for Generation X. It opens with a bass playing a distinctive riff, followed by a dirty distorted guitar. The percussion is simplistic and sets the churning pace, aided by the vocals. The vocals, themselves are compelling, despite having barely any melody. They sound a little sulky, but the barely discernable chorusing effect used gives them depth. The guitar follows the bass, making the whole track ominous and bleak.
SLIVER - Cobain, Novoselic
'Mom and dad went to a show
They dropped me off at Grandpa Joe's
I kicked and screamed said please don't go
Grandma, take me home'
This track was recorded using instruments owned by Tad while they were away from the studio on a lunch break. Simplistic and fun in nature, this has to be one of my favourite Nirvana tracks ever. It opens on a catchy bass riff that takes the lead and forms the basic melody. The chorus features just one repeated vocal line as they drop and become quieter and more bland while the guitar and bass come forward.
STAIN - Cobain, Novoselic
'Well, he never bleeds and he never f**ks
And he never leaves, because he's got bad luck'
Again, this is a simplistic composition and typically Nirvana. The vocals are highly produced for the verses making them appear slightly alien sounding, but they become passion filled for the chorus. The bridge features a distorted and erratic guitar, but the percussion soon comes in to punctuate the ends of the lines, remaining fairly basic and following the bass rhythm. The bass takes over the guitar riff and as a result the guitar is barely audible for the majority of the track.
BEEN A SON - Cobain, Novoselic
'She should have stood out in a crowd
She should have made her mother proud'
This track is characterised by its catchy and simplistic guitar and vocal melody with layers creating harmonies and providing a catchy rhythm, especially during the chorus. The result is a surprisingly upbeat track given the lyrical subject matter. The percussion is fairly basic, even bland for the verses, but comes alive for the chorus.
TURNAROUND - Mark Mothersbaugh, Gerald Casale
'Take a step out of yourself
And turn around
Take a look at who you are
It's pretty scary'
'Turnaround' was originally released by 'Devo' (most famous for their satirical social commentary, new wave sound and as pioneers of music video). The original of this track was typical of their output with a serious message put to electro pop. 'Nirvana's version hurtles at a crazy pace from beginning to end. This unrelenting speed is dictated by the guitar and fits in perfectly with the Nirvana feel. It replaces what was synthesized pop with heavy and distorted guitars. It is more traditional punk than other Nirvana tracks with simple percussion just keeping up with the vocals and guitar. Cobain's lyrics sound odd. I think this is because he is moving towards Devo's slightly comic sounding vocals.
MOLLY'S LIPS - Eugene Kelly, Frances McKee
'She said she'd take me anywhere
She'd take me anywhere
As long as she stays with me'
This Vaseline's cover was originally released by SubPop on a split single with The Fluid's single 'Candy'. After Nirvana became famous, 'Candy' became arguably The Fluid's most famous song. It is jolly and light hearted with harmonising backing vocals during the chorus. With its gentle lyrics, this track has an air of childlike simplicity, despite the rough guitar and stronger punk sound. The percussion is more prominent than usual and dictates an addictive rhythm.
SON OF A GUN - Eugene Kelly, Frances McKee
'The raining always starts
When you go away'
This track, another Vaselines cover, is a simplistic love song made all the more endearing for its innocence. It is light hearted and fun almost to spite the distorted guitars and croaky voice. The vocals for this track are deeper, but still manage to keep the cute simplicity of the last track, added to by the vocals being slightly off key at points. It kicks of with a painful guitar squeal and heads into a catchy vocal melody, though they are often too fast to pick up any lyrics during the verses leaving the chorus open to a sing-a-long.
(NEW WAVE) POLLY - Cobain, Novoselic, Grohl
'Let me take a ride, don't hurt yourself
Want some help, to be myself'
This is a 'plugged in' version of the acoustic track that features on 'Nevermind'. It lacks the cool distance of the acoustic version as is therefore less chilling. Of all the tracks on 'Incesticide' this is the one I tend to skip, though that could be because I have been spoilt with better versions (there are 8 in total). This one feels like they have just bashed it out as quickly as possible. It hurtles at great pace with little thought to melody or mood and has no clear sections and an abrupt ending. On the plus side the bass is more prominent in this version, but that still doesn't do it for me.
BEESWAX - Cobain
'I don't know why
I got a joke too silly to say'
This track is ominous from the start with deep percussion which is joined by a distorted low guitar. The vocals are plain, but desperate, for the verses especially, they sound drawn, inebriated even. During the verses they are a low mumble working itself up to the louder and more energetic chorus where they become more desperate and Cobain's voice starts to crack as the track goes on.
DOWNER - Cobain, Novoselic
'If there's a hope
Please send it faster'
The fast pace for this track is kept by the bass with the vocals following suit and the guitar picking up the bass riff for emphasis. The guitar comes in for the chorus following the melody and pace of the vocals as it powers to the finish. The percussion keeps up the relentless pace; hence this short track burns itself out quickly.
MEXICAN SEAFOOD - Cobain
'Only hurts a night, until I pee
Only hurts a night, until I sleep'
This song keeps the pace of 'Downer' going, only slowing down for the brief chorus and again this is due in a major part to the vocals. The melody is very basic, but surprisingly catchy with the guitar acting as punctuation to the vocals during the verses. The staccato rhythm for the verses is caused by the vocal composition and the guitar playing short sharp chords. The bridge features a more melodic guitar backed by a very feint bass. It slows down for the outro and becomes lost.
HAIRSPRAY QUEEN - Cobain
'At night, wishful goddess
At night, wish the hardest
At night, disco goddess'
This is a little bit of a slow down from the last two tracks for everything other than the vocals. An ominous bass starts the introduction before it is joined by a more erratic guitar, playing out of tune, open chords that only pause to allow squealing vocals through, backed by the bass which extenuates them. The vocals sound demented for the verses, but are calmer and sane for the chorus. The guitar riff uses 5/6 bar phrases to raise the tension into the verses, but then drops as soon as the verse starts. The chorus is spooky with the bass dropping out all together, softly sung vocals and a guitar playing elongated notes, all the time just about holding back. There is a vague vocally lead bridge, introduced by an out of tune guitar, then followed by an erratic guitar leading into quiet vocals, which in turn lead into another chorus and an erratic ending showing a complete lack of self control and full of anger and angst.
AERO ZEPPELIN - Cobain
'Not to know is just the fact, we're a problem nowadays
An idea is what we lack, doesn't matter anyway'
This is one of the more compelling tracks on the album with a nice 70s sounding introduction leading to a dreamy first verse. The chorus takes from the verse and builds quickly into the main body of the chorus which features more heavy and mainstream guitars with wild and unrestrained vocals. It is brilliantly composed, allowing passionate vocals to come through loud and proud punctuated by the guitar. The chorus is also given a darker edge by the bass that introduces it. The next verse sees everything wind down while remaining heavy as the vocals fade. For the outro the guitar goes wild with a more animated percussion (letting Grohl show off his talents which we don't see often enough with Nirvana tracks) settling into a darker riff and slowing down to a stop.
BIG LONG NOW - Cobain, Novoselic
'Shameful as it seems
Can we show our faces now?'
This haunting track has a slow, plodding pace created by the percussion and bass, but added to by the lonely guitar and mournful vocals that appear lost. The bass is relentless and unchanging, allowing the vocals and guitar to take the focus. There is no introduction as it just moves into the first verse. The chorus features stronger, desperate vocals that are actually quite moving and punctuated by the guitar. Despite their strength you get some idea of Cobain's fragility and neediness that would come through on 'In Utero'. Allow yourself to become immersed in this track and it will never leave you.
ANEURYSM - Cobain, Novoselic, Grohl
'Come on over and do the twist, uh-huh
Overdo it and have a fit, uh-huh'
Imagine, you got the Beach Boys and mixed them in with some grit and you have a vague idea of where this track was heading. This version has a slightly different tempo to the original and a wider stereo effect. In a 2000 poll on Radio 1 it was voted the third best Nirvana song after 'Smells Like Teen Spirit' and 'Heart Shaped Box'. It is also of my favourite Nirvana songs - wonderful right from the energetic introduction. It has a long intro (1 minute - a quarter of the whole track) with an irresistible opening guitar riff, and then moves to an ominous and compelling lead bass riff that is eventually joined by the guitar on alternate lines for emphasis during the verses, while the chorus is upbeat and full of good natured rock n' roll. The vocals are strangely intriguing as they put forward familiar lines in a less than familiar rasp of a voice that manages to capture a whole heap of angst. The percussion is compelling and leads the track's tempo. For the outro (again a full quarter of the whole track) the guitar raises in pitch partnered by a scream until it breaks for a disorganised ending including repetitive vocals that wind themselves up to the excited finish.
This is not one of Nirvana's 'main' releases but is rather a collection of b-sides, alternate versions and previously unreleased demo versions.
In terms of quality it's a bit of a mixed bag - there are some great songs on here such as 'Sliver' and 'Big Long Now' as well as '(New Wave) Polly' which is a more electric version of the song 'Polly' that was on Nevermind album.
A few of the songs are more 'filler' and are less polished than the songs on the main Nirvana albums.
There's also some good cover versions such as 'Turnaround' and 'Molly's Lips' which are quite catchy and even poppy.
Some of the songs were played live at gigs although they did not make it onto the main albums and as mentioned above tracks such as 'Sliver' are easily up to the standard of the rest of Nirvana's material and in fact Sliver itself is one of my top 3 nirvana songs from any of the official albums!
Since it's a collection of various sessions and b-sides etc it does not necessarily hang together as well as a normal album and in places it seems slightly bitty.
Overall a good album to buy if you are interested in all of Nirvana's catalogue and development as a band, available quite cheaply on CD as it is a relatively old release, but you will probably find you listen to certain tracks more than others.
Bands come and go, but albums remain. So become timeless, sell millions and are talked about for generations. Some are forgotten about in an instance. And there are albums by bands who became so big from just one album that their other albums pale into insignificance, regardless of how good they were or could have been. This ladies and gentlemen, is Incesticide by the great grunge-rock band Nirvana.
The story of Nirvana for those completely unaware can be defined in just a few short sentences. Three guys start up a band in Seattle. They release an album. They then release another album with a song so infectious and anthemic it inspires a generation. That song was Smells Like Teen Spirit and it still sounds as good today as it would have then. They then release a couple more albums before the lead singer commits suicide at the tender age of 27. Fin.
The album that Smells Like Teen Spirit resonates from is of course Nevermind - one of the greatest rock albums of all time, as many music polls will back me up on. After it's release in 1991 in catapulted Nirvana into super-human status. But in between this release and their 1993 album In Utero, they released an often forgotten album containing rare completed demos, B-sides and BBC sessions - this was Incesticide.
It's a 15-track medley of songs that sound more familiar to fans of their debut album Bleach. It's raw, rocky yet surprisingly polished for what is predominantly a non-studio recorded album. Tracks 'Turnaround', 'Molly's Lips' and 'Son of a Gun' were recorded during a John Peel session for BBC Radio, so where done live and in one take. 'Been a Son', '(New Wave) Polly' and 'Aneurysm' were also taken from another live session at the BBC on a Mark Goodier show. The middle one of those three tracks may be familiar to fans of Nevermind as 'Polly' is an acoustic track on the album - a simple guitar riff talking about a dark, sinister subject of a prostitute being held hostage. Going further through the tracks listings fans will also note that 'Downer' can be found as the last track on their debut album Bleach.
But what does Nirvana sound like? Many fans and admirers will say they invented the 'Grunge' movement and sound. Of course, the band vehemently denied this and said they took inspiration from lesser-known bands such as Mudhoney and Tad. From the opening heavy riff of the album's first track; 'Dive' this album produces a sound similar to their debut album of 'dirty' sounding guitar tracks, heavy on the bass pick-up with Kurt Cobain's gravel-like vocals.
Fans purely of Nevermind and little else from the Nirvana back-catalogue will struggle to connect with this album as it may be too heavy or not commercial enough to appeal to as many of the masses as possible, but lets try and get you into it anyway. 'Sliver' has a catchy opening baseline while Cobain sings about a simple subject of a weekend at the grandparents. The distorted guitar does kick in, but this is clearly one of their more recent studio recordings, as the guitar sound is more akin to that of Nevermind than Bleach, and was the only track off the album to be released as a fully available single. Ironically as the album goes on, the tracks swing from one style of album to the other - 'Dive' belongs to Bleach, 'Sliver' to Nevermind, 'Stain' to Bleach, 'Been a Son' is a song that would have happily sat in the later tracks of Nevermind and not sounded out of place. Turnaround uses feedback and big banging drums as tracks in the middle of Bleach do regularly. Molly's Lips is a quick two-minute guitar rock-cum-punk track that could be easily imaginable to replace Cobain's vocals with someone such as Billie Joe Armstrong's of Green Day and fit on an album of theirs such as Dookie or Nimrod. In essence then, this is very much an album trying to appeal to both camps of fans - the die-hard and the ones who jumped on the Nevermind bandwagon, to try and see if the two can work in harmony.
Tracks such as 'Beeswax' and 'Mexican Seafood' are unfortunately inferir tracks when compared to the band's back catalogue and with all respect are instantly forgettable - they're rough and take the kind of listening ear that I don't have. The final two tracks from the album however, 'Big Long Now' and 'Aneurysm' do finish the album off well. The former of these is a slow-burning, progressive grunge track that was mastered more by the likes of Soundgarden than Nirvana in later years, but shows Cobain and co doing an excellent attempt at it. The latter track could be arguably the best track on the album along with 'Sliver' - it's got the anthemic rock guitar riff, the catchy vocals in the chorus, the quiet verses against the loud chorus. The ideal rock song you could say. Arguably a shame they saved it until last then...
In the grand scheme of Nirvana and their life as one of the world's biggest rock bands in the early 90's, this album will never reach the scales that Nevermind and latterly In Utero did. However, for any fan insistent on completing the back catalogue of the band, this is a necessity - and as long as you like their earlier, rawer material then this'll find a place in your record collection for a while to come.
This without a doubt one of the best B-sides album ever made. Second in my opinion only to Oasis's 'The Masterplan'. It is baffling that songs like 'Dive', 'Mexican Seafood' and 'Aneurysm' weren't A-sides. Only the talented of badns can produce songs of that calibre and have them as B-sides. 'Incesticide' was the biggest selling B-saides album of its time and its not surprising. I go back to this album quite a lot and am always struck by a different song. Most recently it is 'Aero Zeppelin'. The way this song builds up is simply brilliant. My only qualms is why Nirvana felt the need to replicate Downer on this album (More acute Nirvana fans will probably have the explanation). It had its place on Bleach. Although not my favourite album it is still sensational. tge production is a bit of a let down but the songwriting quality is just as good as the album efforts.
Incesticide, released in 1992, is a compilation album from the band nirvana which contains demos, bsides and other recordings that didn't make the albums. Of course then you would think that its not going to be as good ad their studio albums, and yes, I guess you would be right however its not a studio album and when you listen to it for what it is, this is actually still a really good album with some really good songs.
The first song dive kicks the album off to a perfect start, it's a really rocky song with great guitar and drums, the only thing letting down I think is the lyrics that are pretty similar throughout and get a bit dull, however it's a pretty good song still because of the instruments.
Been a son is one of my favourite off the album, its almost like listening to a different nirvana, it seems such a different style to their other work, its almost an upbeat happy song sung really well with fantastic lyrics and backed up by brilliant guitar chords and drums this is a song that deserves a listen.
My absolute favourite song off the album though must be son of a gun. Its track number 7 on the album and its just a really great fast rock, almost punk like song, yet again another almost upbeat song and after hearing songs like this I'm unsure why this isn't more the direction the band took as they pull it off well.
4. Been a Son
6. Molly's Lips
7. Son of a Gun
8. Polly, (New Wave)
11. Mexican Seafood
12. Hairspray Queen
13. Aero Zeppelin
14. Big Long Now
This album is a must have for any nirvana fan, its got a lot of little tracks to listen to that you wont have heard before, some are great, some are not so great but in total its worth it just for the few songs on there that are really good.
As many other reviewers here have mentioned, this is not a 'proper' album, rather, it is a compilation of B sides, live sessions and rare tracks, compiled after Cobain's death. This might put you off, but I heartily recommend it. It starts off sounding something vaguely like Nevermind, although the second half of the album is more grungy, resembling "Bleach" closer. A lot of people knock the first track, Dive. OK, so lyrically it's very simple: it's largely Kurt repeating the line "Dive, dive, dive, dive with me", but it still works. The guitar work is awesome, and I think it is like a second Smells Like Teen Spirit at times. I think it's safe to guess that it's intentionally sung to sound like "die with me", incidentally. It's well sung, and it works, so could everyone just shaddap about this track and leave it alone? Next up is Sliver, which is just plain awesome in my everso 'umble opinion. It's about someone complaining about being brought to their grandparent's house. It seems almost cute and innocent until you notice the lyric about him shooting the dog. The tune works well here. It's not a metally as Dive, but that's not necessarily a bad thing. Stain is track 3, and it's also got quite a bit of flack which it doesn't deserve. It's a grungy track with the central lyric "I'm a stain". The rest of the lyrics are a little repetitive, but hell, it's a fantastic track. Definitely one of the album's best. I absolutely love Been a Son, which follows. It's about how a girl could have got more attention by being a son. It's a strange satire, but the important thing is that the tune itself is great, and it hangs together really well. Unfortunately, as with a lot of tracks on the album, it's too short. Turnaround is a variable commodity. Parts of the track sound great, some don't. The lyrics are
essentially one big insult, and it's pretty funny for it. It's got a... dodgy lyric about not letting people get behind you, as a bonus. A good track, but not great, with moments of brilliance. Molly's Lips is a solid track, albeit a little too repetitive both lyrically and in tune terms. It's along the same lines as Sliver in tone. Not one of the best here, but still very good. Son of a Gun is a little too happy for my liking, with some horribly nice lyrics: "sun shines in the bedroom when we play/the rain always starts when you go away". I suppose it's a nice change to hear Kurt being a little upbeat for a change... it works, and continues a tone pretty consistent through the album. I wasn't ever too keen on Polly, despite the dodgy rape-related lyrics, but this version, entitled (New Wave) Polly works better, I think. It's played far faster, which is how I think it sounds best. Beeswax is possibly the album's worst track. Here's a simple equation to sum it up: Kurt Cobain + a truckful of every mind enhancing drug on planet Earth + a guitar = not too wonderful. The guitar isn't too bad, but Kurt is. The lyrics - "I got my duties paid", over, and over, and over, and over again, piss me off a little. Downer is a little better, although hardly a highlight on the album. It's tone is as the track name suggests, but it seems like old Kurty layed off the smack a little for this one. Some of the lyrics are incomprehensible, annoyingly. It's still a pretty good tune. Mexican Seafood marks a return to Smackville for Cobain. Totally mashed up and half-comprehendable lyrics accompany an average tune to make an OK track, but like a lot of this end of the album, it's not up to Nirvana's best by a long shot. Hairspray Queen is just so screwed up it's funny. This time, Kurt's decided to let Novoselic and Grohl at his supplies as well,
and there's plainly plenty to go 'round. There is a small section of the track, lasting about 15 seconds, about 1:50 in and again a bit later, which sounds good, but then it collapses. By the end of the track, the mushrooms are kicking in too, and I really can't see even the most fanatical fan of Nirvana getting much from this track. Aero Zeppelin is far better than the last few tracks. It's really mellow, and works really well for it. There's a rather good bit which picks up the pace significantly without wrecking the track as a whole. Far from Nirvana's best, but pretty good. This is definitely on the "Bleach" end of things. Big Long Now is another very mellow track, seemingly produced by a very big come down indeed. Very depressing, good lyrics when you can make them out, and a great tune to back it all. One of the album's highlights. The final track, Aneurysm, is one which divides opinions. I'm just about on the side of the fence which likes it. It starts off with a pretty good instrumental part, which then goes pretty mellow and even better. The lyrics are average. Not bad singing, and at least he's not too drunk, stoned and high. A fairly good track. Overall, this is a good album, not as good as In Utero or Nevermind, but not as far off at times as people make out, but better than "Bleach". Certainly worth getting.
Incesticide was Nirvana's third album, although I don't consider it a proper album. It was pieced together from BBC session recordings done for John Peel's and Mark Goodier's radio shows, and "B-sides, demo recordings and stuff never before available", as the sticker says. I'm not sure which of the tracks are B-sides and demos, but a couple of them sound like outtakes from the "Bleach" recordings. The highlights on this record are: Dive, Sliver, Stain, Aero Zeppelin, Big Long Now and Aneurysm. The track "Downer" was also featured on some copies of Nirvana's first album, "Bleach". I think it was probably reissued at some point with this addition. Due to the way this record was put together, the production is very varied. Molly's Lips and Son Of A Gun sound like they were recorded in a garage, but the sleevenotes say these two were part of the John Peel session. Aneurysm has a much more slick production, and would not have sounded out of place on "In Utero". Overall, this album certainly isn't Nirvana's best, but it is worth a listen. I wouldn't recommend it to someone who's new to Nirvana.
Although Incesticide is basically a collection of (supposedly) below album standard songs and live sessions, it is surprisingly good, and well worth buying. Track one ("Dive") is a Nirvana B-side (unreleased song), and isn't fantastic. It's basically a slow song in which Kurt repeatedly sings "Dive With Me." Not a particularly good album opener. Track two ("Sliver") is actually quite a good song, and isn't as depressing as some of the more well-known Nirvana songs. In my opinion it's better than a lot of Nirvana "A-sides" (if such a phrase exists). "Stain", track three, sounds once again quite below standards, but it isn't a bad song. It's about a man who believes he is only a stain. Track four, "Been a Son", is a BBC radio recording live on the Mark Goodier session, and is a very good son, talking about a woman who should have been male so she would receive more attention. "Turnaround" is another live session on BBC radio, although this time from the John Peel session. It's got a good beat, and sounds quite strange, although it's quite a good song. (N.B.: Tracks five to seven, all of the John Peel session songs, were not actuslly written by Nirvana, although some happen to be up to Nirvana standard.) Continuing the John Peel session, "Molly's Lips" is a fantastic song (in my opinion). ("She said she'd take me anywhere, she'd take me anywhere as long as she stayed with me"/ "She said she'd take me anywhere, she'd take me anywhere as long as I'd stay clean.") It is definitely one of the highlights of the album, if a little short. The final John Peel session recording, "Son of a Gun", is another of my favourite songs, and Kurt's vocals sound amazing. It's also pleasantly long, unlike some tracks on the album. Track eight may s
ound a little familiar in both title and sound ("(New Wave) Polly"), and that's because it is a faster recording of the popular "Nevermind" song, "Polly." It ends up sounding a lot better when played more furiously and quickly, and the track is another from the Mark Goodier session. Another of the album's highlights. Track nine ends the live sessions for now, and returns to the B-sides. "Beeswax" is not a fantastic song, but it's not bad. It sounds more true to the Nirvana style than some of the previous tracks. "Downer" features peculiar sessions of Kurt rhyming quietly and quickly, and the song sounds very good. Maybe not up to album standards, and maybe a little strange, but I like it. "Mexican Seafood" is another below average song, although I quite like it. There is a melodic chorus sung by Kurt which is the highlight of the song. Track twelve, "Hairspray Queen", takes a while to get started, and features an insane-sounding Kurt Cobain. It is one of the poorest songs on the album, in my view, as it never seems to begin properly. "Aero Zeppelin" is a slow song, although I'm not sure what it is about. The song is sad and dull, and not great to listen to. The final B-side ("Big Long Now") sounds very slow paced, more than the norm, and doesn't have any loud riffs to make it more exciting. The song also lasts for far too long in this form. The album ends on quite a high note with another BBC recording, "Aneurysm", which sounds great. It has a good riff, and is very long, which isn't a bad thing in this case. Another high point of the album. Overall, the songs are obviously not as good as those on most of the aother albums, but it is well worth looking at. It doesn't come in too short either, with fifteen tracks and a length of 44:44 (spooky). I think it was a good idea
to release such an album to celebrate Nirvana rather than produce countless live CDs of existing songs. Nirvana were a fantastic band who were sorely missed, but by listening to these CDs we can keep the memory, even if the songs aren't amazing. Definitely worth adding to any collection. (It has a nicely freakish painting on the cover as well, which was drawn by Kurt Cobain).
For a compilation album, (which it is). Incesticide still gives the feel of a proper LP. Each song is experienced in its roughest form, giving it a certain appeal of its own. The album's first three tracks are classic nirvana - starting with 'Dive', a mixture of pounding bass riff and heavy guitar harmony. This is probably my second favourite track from the album. "Dive", the opening track, is a great tune. The best part of this track is the drums. "Sliver" is one of the best Nirvana songs. The music is fun, and the lyrics are sad. "Been A Son" is a great look into Cobain's hatred of rednecks. "Molly's Lips" is another cover tune that is pure punk joy (alot like "Love Buzz"). "Aneurysm" is the most popular out of all the songs on 'Incesticide'. My favourite track on this album though is "Big Long Now", It is also the most complex.Its kind of like a bad acid trip that eventually leads to insanity. It is incredible - Kurt's weary vocals are supported by the crude guitar line, whilst the bass line mainly keeps the song together. It is a superior track from the band, taking a closer look into the more indie aspect of their music.Also you should check out "Aero Zepplin" and "Hairspray Queen". 'Incesticide' is what it is: A great album of B-sides but not a truly great album. I love this album, don't get me wrong. I love Nirvana, and if you love Nirvana then you will love this. A great album, well worth the buy!
Incesticide is not a proper studio Nirvana album, but I have to say that it is probably one of my favourites. The songs are session tracks gathered together somehow. The first few songs are the typical Nirvana fun catchy grungy songs that you can sing along to. ‘Sliver’ (Or Grandpa Joe as I call it) just makes me laugh and conjures up images of Kurt as a little boy! I never really liked ‘Polly’ on Nevermind, but here we have a remix called ‘(New Wave) Polly’ which is speeded up to about a hundred times the original speed and this time they have actually remembered to plug in their amps. The last song on this album is called ‘Aneurysm’, and is probably my favourite ever Nirvana song. It goes loud and then quiet in the kewl Nirvana way.
This has got to be one of my favourite ‘albums’ by the band that is no longer. However, this is not actually an ‘album’. Incesticide is made up of rare tracks by Nirvana, and b-sides. “Inside Incesticide: rare B-sides, BBC sessions, original demo recordings, out-takes, stuff never before available” as it states on the sticker on the c.d.-case. From this you may be able to tell that you get your moneys worth, even if you are not a manic Nirvana fan, and it is the same price as a normal album today. It was released in 1997 and has the maddest album cover that I think that Nirvana ever had…and, yes, that does include a swimming baby chasing after money. The picture was drawn and painted by the man himself, ‘Kurdt Kobain’, and this shows you that he had more talent than just a fantastic voice, playing guitar like a God and thinking up the deepest lyrics. The ‘album’ includes a fantastic version of Polly like you have never heard before. It is called ‘new wave Polly’ and is played faster than the original, which makes it sound even better, AND you can still make out the lyrics! Also on the album is: Dive, Sliver, Stain, Been a son, Turnaround, Molly’s lips, Son of a gun, Beeswax, Downer, Mexican Seafood, Hairspray Queen, Big Long Now and Aneurysm. I love Son of a gun, which is also fast and mental, and there are a couple of songs that you just can’t work out the lyrics to, however hard you try. Also, if you are looking for a song to chill to, just turn on Molly’s lips. I find this song really ‘pretty’ and love it to bits. Although this is not officially an album it is fantastic, and gives you everything you need in one. It’s up beat, but mellow. You can sing along, you can chill and you can go mental with it. Definitely not a ‘downer’.
you'd think that since this album's a collection of b sides, demos and live sessions etc that it wouldn't measure up to nirvana's proper studio albums but just listen to it and you'll see that it's as good as any other nirvana album. It's somehow catchier yet it still has that edge. I love it. Brilliant songs like Sliver and Molly's Lips will have you jumping on your bad and shaking your butt like a maniac, its brilliant nirvana
Incesticide is a collection of demos, B-sides, BBC sessions, and basically not so good Nirvana tracks. Some are great however, such as ‘Sliver’, ‘Dive’ and ‘Aneurysm’, and are classic Nirvana. The album is less poppy and easy to listen to than ‘Nevermind’, which is good or bad depending on who you ask. However, most of the 16 songs are not that great and some really bad. Proof that Cobain, although talented was not a flawless song writer, and definitely not up there with Billy Corgan (Smashing Pumpkins). Interesting listening anyway.
Well what can I say, Nirvana, well that says it all. Nirvarna, a way to escape from life after being a good person, to Nirvana, a place better than heavan, and Nirvana's music is defenately is better than heavan. How do they do it, they produce Nevermind, the finest album of all time, and then they manage to make a B-side album (scraps they worked on) which also became a classic album. I love you man! You really know how to kick ass.
Disc #1 Tracklisting
4 Been A Son
6 Molly's Lips
7 Son Of A Gun
8 (New Wave) Polly
11 Mexican Seafood
12 Hairspray Queen
13 Aero Zeppelin
14 Big Long Now