Leading on from the considerations given to his own sexual orientation, perhaps Kurt was alluding to such teenage anxieties, where the complexities of discovering one’s self are further complicated by the pressures of society, making it harder to actually be yourself. The song is set in spring – the season of awakenings – and “reproductive glands” are as such being aroused in those of “tender age” the soft fruit easily bruised. There is one other abiding idea about “In Bloom.” While the choruses may immediately seem to fit the outsider theory, the verses in particular lend themselves to the notion that the song is one about sexual identity and the confusions therein that present themselves during adolescence. Nevertheless, despite their having attained mainstream status, by the time Nirvana released “In Bloom,” it was clear they still saw themselves on the outside looking in and laughing at all those too short-sighted to know the song is about them. The irony, of course, is that the song that Kurt wrote to denounce these parochial types is a readily infectious, melodic earworm that just begs to be echoed by whoever is listening to it. I didn’t hang out with anyone else because I couldn’t handle their stupidity.” “For ages I thought I might be homosexual,” he said, “because I didn’t like the cheerleader type of girl or want to hang out with the jock boys. This was not a new condition to Kurt – growing up in Aberdeen, Washington, he’d never had tolerance for any narrow-mindedness or bigotry. From his position on stage, Kurt thought he could see Nirvana’s audiences swelling with the “rednecks, macho men, and abusive people” he’d despised all his life, singing along with their catchy tunes and yet completely failing to perceive their messages – their ignorance ultimately forcing Kurt to feel further isolated.
The first, put forward by Nirvana biographer Charles Cross, was that Kurt’s friend and roommate Dylan Carlson was the gun-shooting man who “likes all our pretty songs” but “knows not what it means,” though without any corroboration from either Cobain or Carlson, this remains speculation.Ī more pervading argument made for the meaning of “In Bloom” is that it’s a direct condemnation of the fair-weather fans that had begun to appear at their shows as word spread in the US between Bleach and Nevermind.
With Kurt’s lyrics here being typically veiled – his use of jumbling language drew heavily from William Burroughs’ cut-up technique and Surrealist art – the precise message of “In Bloom” is deliberately vague, but there are three dominant theories that endure. I think back now and go, ‘Yeah, maybe that was an influence.’” That tape was always getting played, turned over and over again. “On one side was (New Jersey alt-rock group) The Smithereens, and on the other side was this heavy metal band, Celtic Frost. “We had one tape we listened to in the van,” Krist Novoselic said of the group’s contradictory listening habits. Once complete, “In Bloom” set a sonic template for what would follow on Nevermind, utilizing a compelling quiet/loud dynamic that was at once disconcerting yet propulsive, and in which the blistering noise was countered by an irrepressible melody. Despite the passion he clearly injected into his singing, his vocals could be erratic, something the producer had to manage and correct that first day on “In Bloom.” (Kurt wasn’t the only one to blame for the many takes of the song drummer Dave Grohl’s first attempts at backing vocals required a lot of coaxing and patience.) He had to contend with an inherent dichotomy that pitted achieving musical perfection against his punk rock credentials. Such outbursts could often be attributed to Kurt’s assessment of his own performance.
“That was the thing, was to figure out when he was going to be focused, or when he was going to disappear into himself.” “Kurt was awesome to work with, but he was incredibly moody,” Vig would say. Harnessing Kurt in the studio could often be problematic. Putting “In Bloom” to tape was, however, not without its troubles. “I thought it would be good to start with a song where I was familiar with the arrangements,” he said. When they began in May 1991 at Sound City Studios in Van Nuys, California, Vig – returning as producer – suggested they warm up on the first day with something relatively unchallenging. But a year later, upon signing to Geffen Records (based on the strength of the Vig-produced demos), the still-unreleased “In Bloom” was set to be re-recorded in more formal sessions intended for the album. Listen to Nirvana’s “In Bloom” as part of the 30th anniversary editions of Nevermind here.Ĭlearly satisfied with this version, Nirvana had planned to release “In Bloom” as an EP for Sub Pop, the indie label they were signed to – even going so far as to film a video for it.