Nevermind by Nirvana dropped on September 24th, 1991, and music was never the same after that. It came out under DGC Records and ended up blowing up way more than anyone expected. This was the album that helped take grunge from an underground scene in Seattle to something that completely flipped the mainstream. Nirvana didn’t just make a popular record, they helped kill off the hair metal scene and made way for a whole new wave of music that felt raw, aggressive, and real. From the now iconic cover to the unforgettable opening of Smells Like Teen Spirit, this thing had a grip on the early 90s and it still holds up today. For me personally, Nevermind was the album that got me into grunge. It was the first record that really made me want to pick up a guitar and figure out how to play. It’s actually the first album I learned all the way through. Whether you’re a diehard fan or just getting into this kind of music, this album is a must listen.
Here’s my take on every track.
Smells Like Teen Spirit 📈 – ⭐⭐⭐⭐⭐
This is the song that changed everything. The second those opening chords hit, you know exactly what you’re in for. It’s loud, it’s messy, and it’s full of that weird energy that made Nirvana feel different from anything else at the time. What’s crazy is how this wasn’t supposed to be the big single, but it blew up. MTV played the video non-stop, and suddenly this band that wasn’t trying to be famous became the biggest thing on the planet. Kurt’s vocals have that perfect balance of mumbled verses and screaming choruses, and the whole thing just feels like a house party.
As a song, it’s super simple. The riff is easy to play, but the emotion behind it is what makes it hit. The lyrics are cryptic, but they don’t need to make total sense. It’s more about how it sounds than what it says. And that chorus? Still one of the most iconic of all time. This song is the reason I even checked out the rest of the album in the first place. It pulls you in and doesn’t let go. Don’t get me started on the drumming by Dave. Absolute classic.
I started to grow tired of this song hearing it being played everywhere all the time. But I couldn’t stay away for long. Fantastic song
In Bloom – ⭐⭐⭐⭐⭐
In Bloom has always felt like the sneaky standout of Nevermind. It’s catchy as hell, and still has that classic Nirvana weirdness baked into it. The guitar work is simple but effective, and Dave’s drums absolutely crush it on this track. It starts off a little slower, with a steady rhythm that almost feels poppy compared to some of the other songs on the album, but that chorus punches right through and keeps it grounded in grunge. There’s something about the dynamic shifts in this one that makes it really satisfying to listen to. That solo is so bad but good if you know what I mean.
The irony of In Bloom is what makes it so interesting. The song is basically calling out people who like Nirvana for the wrong reasons, the people who sing along but don’t actually get it. So the fact that it became a massive hit kind of proves its own point. There’s a real sarcasm running through the lyrics, but it doesn’t take away from how good it sounds. This is one of those tracks that shows just how smart Kurt could be with his songwriting. It’s got the loud-quiet-loud formula down perfectly, and it’s one of the most fun songs to play on guitar. This one was my favorite for the longest time, but it was overtaken by another song further down the track list after repeated plays.
Come As You Are – ⭐⭐⭐⭐⭐
Come As You Are slows things down just a little, but not in a way that kills the energy. That opening riff is one of the most recognizable in rock music. It’s a little eerie, and sets the tone for something more introspective than the tracks before it. Kurt’s vocals have this spooky feel to them that matches the vibe of the song perfectly. The lyrics are vague but emotional, full of contradictions like “Take your time, hurry up.” It’s like he’s saying everything and nothing at the same time, which is part of what makes it hit so hard. The chorus effect on the guitar adds a nice touch to the feeling of it as well.
I like how restrained this song is. Nirvana could go loud and chaotic whenever they wanted, but this one shows that they didn’t always need to. The guitar work is smooth, the drums are tight without being flashy, and the whole song just kind of pulls you into its world. It’s one of those rare tracks that works whether you’re fully paying attention or just letting it play in the background. Come As You Are isn’t just a great song, it’s a vibe, and one of the clearest examples of Nirvana at their best.
Breed ❤️ – ⭐⭐⭐⭐⭐
Breed is hands down my favorite song on Nevermind, and my favorite Nirvana song in general. From the second it kicks in, it’s just raw energy. It has one of my favorite drum intros ever, especially when I see clips of Dave playing it live. The guitar tone is filthy in all the right ways, and the drums feel like they’re trying to punch through the speakers. Kurt’s vocal delivery here is perfect. It’s frantic, messy, and loud, but there’s a weird sort of control in the chaos. The guitar solo is just straight up wild. Every time I hear this song, it gets me hyped, no matter what mood I’m in.
The lyrics are classic Kurt, weird and full of lines that somehow stick in your head even if you don’t totally know what they mean. Breed captures everything I love about Nirvana. It’s aggressive without being overly heavy, and it’s simple without being boring. This was one of the first Nirvana tracks I really got hooked on, and it’s still the one I always come back to first.
Lithium – ⭐⭐⭐⭐⭐
Lithium keeps up the pattern of straight bangers. It’s one of the most balanced songs on Nevermind. It starts off quiet, almost gentle, with that steady guitar riff and laid-back vibe. Then out of nowhere, it explodes into these loud choruses that feel like a complete emotional breakdown. That back and forth between calm and chaos is what makes the song so good. It’s got a hypnotic quality in the verses, like it’s lulling you into this weird comfort, and then suddenly it’s yelling in your face.
Lyrically, this one has always stood out to me. It’s about loneliness, religion, depression, and maybe even denial, but it’s written in that Kurt Cobain way where it feels raw without being on the nose. The repetition of the line “I’m so happy” hits harder every time you hear it, especially when it’s clear that he wasn’t. Lithium captures that emotional numbness that a lot of people can relate to but don’t always talk about. I know I’ve felt that way before. As a song it’s one of the best examples of how Nirvana could take simple structures and turn them into something unforgettable.
Polly – ⭐⭐⭐⭐
Polly is one of the more stripped down songs on Nevermind, and that’s part of what makes it so unsettling. It’s just Kurt, an acoustic guitar, and minimal background sound, but the subject matter is anything but calm. The lyrics tell the story of a kidnapping from the perspective of the abuser, which makes the whole thing feel pretty dark and uncomfortable. And that’s the point. Kurt was intentionally making something that would force people to pay attention, and the way he delivers it is haunting. There’s no yelling or heavy distortion, just a steady, eerie calm that makes it hit even harder.
It’s definitely not the kind of track you throw on for fun, but it plays an important role in the album. It breaks up the chaos with something more serious, and even though it’s softer, it still feels heavy. You can feel the tension in every line, and the fact that it’s played so simply makes the message even clearer. Polly isn’t a song I go back to as much as some of the others, but when I do hear it, it always leaves an impact. It’s the kind of song that sticks with you, even if you’re not totally sure you want it to.
Territorial Pissings – ⭐⭐⭐⭐
Territorial Pissings is easily one of the most chaotic songs on Nevermind, and it wastes no time getting there. It starts off with a sarcastic, off-key intro, with Krist Novoselic singing a few lines from a 60s tune, and then it absolutely explodes into mayhem. It’s noisy, and completely unhinged in a way that feels like it’s about to fall apart at any second. The distortion is maxed, the vocals are pure rage, and the drums are going a hundred miles an hour. It’s not polished at all, with the guitar part being only 3 power chords, but that’s what makes it so good.
The thing I like most about this track is how energetic it is. It’s like the band just decided to cut loose and scream into a mic for two minutes straight. There’s some underlying commentary in the lyrics if you really want to dig into it, but honestly, this one’s more about the energy than the message. It’s a song that punches you in the face and then disappears before you can really react. Territorial Pissings isn’t trying to be pretty or accessible, and that’s exactly what a record like this needs.
Drain You – ⭐⭐⭐⭐⭐
Drain You is also up there as one of my favorites. It hits that perfect middle ground between weird and catchy. The opening riff grabs you right away, and then it drops into this rhythm that just keeps moving forward without ever losing momentum. Kurt’s vocals are some of the best on the album here. He’s aggressive and passionate, but there’s also this weird tenderness under the noise. The lyrics are kind of gross and oddly sweet all at once.
What really makes Drain You stand out is the breakdown in the middle. It turns into this weird noise jam full of feedback and little squeals, and yet, it somehow all fits. It feels like you’re watching the song melt before it pulls itself back together for one more go around. The energy in the final stretch is massive. This is the kind of song that shows how Nirvana could take a basic structure and twist it into something way more interesting than it had any right to be.
Lounge Act – ⭐⭐⭐
Lounge Act is one of the more mediocre tracks on Nevermind. It’s not bad by any means, but compared to the rest of the album, it doesn’t hit quite as hard. The bassline in the intro is catchy, and the song has a decent groove to it, but it doesn’t really stand out in the same way as the tracks before it. The energy is there, and the structure is tight, but something about it stops me from loving it as much as I love the others.
That said, there are still some solid moments here. Kurt’s vocal delivery in the final stretch of the song has this nice build-up of frustration that finally explodes by the end, and it gives the track some much needed punch. The lyrics hint at themes of jealousy and self control, and there’s a little more emotional weight under the surface if you’re really listening. Lounge Act might not be one of my top tracks, but it still plays its part in the album’s flow and has enough personality to keep it from being a total throwaway.
Stay Away – ⭐⭐⭐⭐
Stay Away is pure chaos from the jump. It’s aggressive, fast, and noisy in the best possible way. The riff is simple but driving, and the whole thing feels like it’s being held together with duct tape and frustration. Kurt’s vocals are sharp and unfiltered here. He’s not trying to sound good, he’s trying to sound real. The chorus is just him shouting “Stay away” over and over again like he’s losing his mind, and that repetition gives it more punch. The lyrics don’t follow a clean narrative, but that adds to the charm.
What makes this one work so well is the attitude. The absolute beating Dave is giving the drums, and the screaming and wailing of Kurt really makes an impact. The line “God is gay” thrown in toward the end always stood out too. It’s not just provocative for shock value, it’s calling out hypocrisy and pushing buttons like punk always should. Stay Away isn’t trying to win anyone over, and that’s what makes it such a strong track. It’s in your face, and I love that Nirvana included songs like this right alongside the hits.
On a Plain – ⭐⭐⭐
On a Plain is one of those tracks that feels like it’s caught between being catchy and being cryptic. The melody is really solid, and the vocal harmonies actually stand out a bit more than usual. It’s got that laid back, almost cheerful rhythm to it, which is funny considering how strange and disconnected the lyrics are. Lines like “I love myself better than you” and “My mother died every night” hit hard, but they’re delivered in this casual, upbeat way that makes the whole thing feel off in a weirdly enjoyable way.
Even though it’s a little more polished and radio-friendly than some of the other songs, it still keeps that Nirvana grit. The fuzzy guitars, the rough edges in Kurt’s voice, and the randomness of the lyrics all help it feel like it belongs on the record. But compared to the heavier hitters on Nevermind, it just doesn’t leave the same kind of impression. It’s a solid track, and I never skip it, but it’s one of those songs that I enjoy while it’s on, then kind of forget about afterward.
Something in the Way – ⭐⭐⭐
The Batman song. Something in the Way is definitely the most bare bones and haunting track on Nevermind. It doesn’t feel like a rock song. The guitar is muted and feels like it’s being played underwater. Kurt’s vocals are soft, barely more than a whisper. There’s this heavy stillness to it that really sticks out, especially after so many loud, aggressive songs. The mood here is bleak. It sounds like someone who’s given up, like a moment of complete surrender, and it ends the album on a really somber note.
The lyrics are sparse but impactful. It’s not a track I go back to often, but when I do, it always kind of hits the same. Something in the Way closes the album on a dark, almost ghost-like note, and while it’s not one of my favorites, I get why it’s there. It adds a different kind of weight to the end of the record.
Endless, Nameless 💀 – ⭐
Endless, Nameless is technically a hidden track, but once you hear it, there’s no forgetting it. It’s basically six minutes of pure noise and chaos. There’s no real structure, no clear melody, and definitely no hook. It just erupts out of nowhere after a long silence at the end of Something in the Way and feels like an explosion of bottled-up frustration. The guitars are out of tune, the drums are completely unhinged, and Kurt sounds like he’s lost his voice.
I get that some fans love the chaos and see it as this visceral, artistic statement, and that’s cool, but for me, it’s just too much. I’m all for weird, aggressive noise, but this one doesn’t do it for me. It feels like it goes on forever without ever going anywhere. It’s barely even a song, and it kind of derails the mood the rest of the album built up. I respect the choice to include something this wild, but it’s a track I always skip. This track should have remained hidden.
🧠Final Thoughts🧠
Nevermind obviously still holds up. I’ve heard these songs so many times at this point, but they never really lose their edge. What makes the album special isn’t that every song is perfect. It’s that the whole thing feels raw. Nothing about it is trying too hard. It’s just a band doing their thing and somehow starting a movement without even meaning to. Some songs hit harder than others, but they all have a reason to be here. Even the weird or rough ones add something to the overall feel. For me, this was the album that got me into grunge. It made me want to pick up a guitar and actually learn how to play. It’s the first album I learned front to back. This wasn’t just some random record I liked. It meant something to me. Even now, years later, I still come back to it all the time. That says a lot. And yeah, there are a few tracks I skip now and then, but when you look at what this album did for music and how much it meant to so many people, it’s pretty clear where it belongs. I love this album, that’s why it gets an easy:
S 🏆 Instant Classic