{"id":9824,"date":"2026-07-08T10:00:00","date_gmt":"2026-07-08T08:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/nevermind-nirvana-2\/"},"modified":"2026-07-08T10:00:00","modified_gmt":"2026-07-08T08:00:00","slug":"nevermind-nirvana-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/nevermind-nirvana-2\/","title":{"rendered":"Nevermind – Nirvana"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

Una canci\u00f3n pop que movi\u00f3 los muebles<\/h3>\n

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En septiembre de 1991, un tr\u00edo de Aberdeen pone un beb\u00e9 y un billete de un d\u00f3lar en la portada y, dentro, un pu\u00f1ado de canciones que suenan a una habitaci\u00f3n reordenada por la fuerza. Nevermind<\/em> no entra de puntillas. Smells Like Teen Spirit<\/em> empieza con una figura de guitarra que se puede tararear tras una sola pasada, y luego el estribillo llega como muebles empujados contra una puerta. Suave, luego fuerte, luego suave otra vez: el truco es viejo, y aqu\u00ed se toca como si acabara de descubrirse en un garaje. Publicado el 24 de septiembre de 1991, en DGC, el \u00e1lbum parece, durante unas semanas, un disco m\u00e1s a la izquierda del dial. Luego es simplemente el dial.<\/p>\n

Butch Vig lo produce en Sound City, en Van Nuys, en mayo de 1991. Dave Grohl se hab\u00eda unido el a\u00f1o anterior, y su bater\u00eda es la raz\u00f3n de que los estribillos se sientan como un tiempo atmosf\u00e9rico y no como una decisi\u00f3n. Mezcla Andy Wallace. El beb\u00e9 famoso, Spencer Elden, fue fotografiado bajo el agua por Kirk Weddle, alcanzando un d\u00f3lar en un anzuelo, una imagen que Kurt Cobain quer\u00eda porque era directa. Las canciones no son todas directas. Polly<\/em> ya se hab\u00eda capturado, m\u00e1s quieta, en sesiones anteriores, una historia contada casi sin alzar la voz. Something in the Way<\/em> se canta tan cerca, Cobain en un sof\u00e1 de la sala de control, que el grupo tiene que tocar alrededor de un susurro. Entre esas dos piezas en voz baja, Lithium<\/em>, In Bloom<\/em>, Come as You Are<\/em> y Drain You<\/em> hacen el trabajo de toda una escena: la melod\u00eda primero, la abrasi\u00f3n despu\u00e9s, nunca al rev\u00e9s.<\/p>\n

De lo que la gente discuti\u00f3, m\u00e1s tarde, fue de si un instinto pop hab\u00eda traicionado a un instinto punk. El disco mismo no discute. Pone el gancho donde podr\u00eda haber ido un eslogan, y luego deja que el bajo de Krist Novoselic arrastre el suelo mientras el gancho sonr\u00ede. La voz de Cobain se quiebra en los sitios que un cantante m\u00e1s cuidadoso habr\u00eda corregido. Esas grietas son la autor\u00eda. Se oye a un hombre que quer\u00eda que la canci\u00f3n fuera innegable y que tambi\u00e9n quer\u00eda escapar de la gente para quien lo ser\u00eda. Las dos ganas est\u00e1n en la mezcla. El brillo de Wallace no las borr\u00f3. Las hizo viajar.<\/p>\n

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\n

I was trying to write the ultimate pop song. I was basically trying to rip off the Pixies. I have to admit it.<\/p>\n<\/blockquote>\n

(Kurt Cobain, entrevista con David Fricke, Rolling Stone, 27 de enero de 1994)<\/em><\/p>\n

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En enero de 1992 el \u00e1lbum es n\u00famero uno en Am\u00e9rica, desplazando a Dangerous<\/em> de Michael Jackson. El s\u00edmbolo era demasiado limpio, y tambi\u00e9n era verdad. Un grupo que esperaba girar por clubes se vuelve de pronto un hecho p\u00fablico, y el hecho no le cabe a la vida. Las canciones, o\u00eddas lejos de esa historia, siguen siendo un juego de m\u00e1quinas peque\u00f1as: estrofa, estribillo, un puente que parece una respiraci\u00f3n contenida, una vuelta que pega m\u00e1s fuerte porque sab\u00edas que iba a llegar. Eso no es una traici\u00f3n. Eso es escritura. El argumento de la traici\u00f3n era una forma de no admitir cu\u00e1nto oficio hab\u00eda en el ruido.<\/p>\n

Pon Teen Spirit<\/em> una vez por el estribillo, luego pon Something in the Way<\/em> y qu\u00e9date por lo quieto. El rango del \u00e1lbum es el punto que olvid\u00f3 el p\u00f3ster. Una canci\u00f3n patea la puerta. Otra se sienta en el suelo y no te mira. Las dos son de las mismas tres personas, el mismo a\u00f1o, en la misma portada que un beb\u00e9 al que todav\u00eda no le han preguntado para qu\u00e9 era el d\u00f3lar. La pregunta sobrevivi\u00f3 a la lista. Las canciones tambi\u00e9n.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"

En septiembre de 1991, un tr\u00edo de Aberdeen pone un beb\u00e9 y un billete de un d\u00f3lar en la portada y, dentro, un pu\u00f1ado de canciones que suenan a una habitaci\u00f3n reordenada por la fuerza.<\/p>\n","protected":false},"author":1,"featured_media":9819,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[300,299],"tags":[313,460],"class_list":["post-9824","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-albumes","category-criticas","tag-alternative-indie-punk-es","tag-nirvana-es","post_format-post-format-video"],"yoast_head":"\nNevermind - Nirvana - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/es\/criticas\/nevermind-nirvana-2\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Nevermind - 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