NIRVANA - ‘NEVERMIND’ (1991)
I remember listening to Nevermind when I was seven or eight-years-old on my father’s Creative Zen MP3 Player and instantly wanting to buy the album.
It has stuck with me my whole life since and is the reason I started writing music. I felt it was the satisfactory blend of pop and rage that I was looking for.
Musically, the way Kurt Cobain would somehow create dissonant riffs along with pop vocals, while Dave Grohl would use drums in atypical patterns has been the reason it resonated most with me. kinds of programmes that featured in the 2016 festival, Composing the Island. The 2022 focus is very vague, with the first programme having English composer Vaughan Williams’s 1910 Fantasia on a theme of Tallis jostling with AJ Potter’s 1968 Sinfonia “de Profundis”, which was first performed in 1969. The latest
Dissonance, the push and pull, soft and loud dynamics, are something I strive to utilise in my own offering also seems to have been conceived with a very loose connection to 2022. David Brophy conducts Stanford’s 1903 Irish Rhapsody No 2 (Lament for the Son of Ossian), John Buckley’s 1992 Organ Concerto with Fergal Caulfield as soloist, and Ina Boyle’s 1927 Symphony No 1 (Glencree). music. Lyrically the f*cked-up subject matter of songs like Polly and the surrealism of songs like
Drain You just sucked me right in.
The album taught me that pop music doesn’t necessarily have to be what’s in the charts at the moment.
It can be anger, passion, love and everything in between with distortion and all. This album means everything to me.
Whenever I doubt myself or if I feel myself slipping in to the conforms of normality this album brings me back to being myself and helps me remember to be me. NIALL BYRNE