Naysayers will have you believe that Cobain’s reputation as a songwriter was overstated. That his legend was a byproduct of the pop culture machine, one obsessed with tortured spirits and self deprivation. For most of us though, the works of Nirvana are one of a kind. They stood alone in the scope of their sound for what seemed like an eternity. Only recently young upstarts have mirrored grunge so effectively, with press kits regularly gracing our desk of projects effectively capturing that sound with new compositions.
What really intrigues us though, when investigating Cobain’s work as a writer, is when other artists adapt his songs in new ways. It’s undeniable how well his songs translate to different mediums in pop. Today’s case study focuses on two recent version we received of Nirvana super hit Come As You Are.
BF/C gives their version of Come As You Are a lofi 80s alt glow. They reimagine it with the swagger of REM and some added new wave influence, dressing the sonic atmosphere with synths and shimmering electric piano to compliment the chorus drenched guitars. They retain an eccentric post punk essence. It’s a parallel form of angst, one we suspect Cobain himself would have admired dearly.
The polar example comes from Seattle Producer and Songwriter Joy Autumn. The songwriter is in the midst of a project dedicated to re-working Nirvana’s catalog as moody contemporary pop arrangements. For context, as if it were written by Sarah McLaughlin or possibly more appropriately Tori Amos. Joy Autumn adapts the song with a new dark romanticism. She truly challenges your entire interpretation of Cobain’s legacy. The affect is cinematic, injecting new imagery and drama into the songs treasured narrative. Already iconic, Come As You Are has almost never felt so impactful.
The Wild Is Calling 