Nevermind

There's a nice little guitar strum courtesy of Kurt Cobain, then David Grohl hits home with the sticks. Chris Novoselic's bass grinds in and before you know it you're powerless against the euphoria of one of the year's truly excellent songs, 'Smells Like Teen Spirit'.

Nirvana's second album is a world beater. There's a purity to Nevermind that all but defies description - it washes over every tune, every note even. These are songs stripped to their basics and then adorned with beautifully hooked melodies and harmonies. Take 'Come', for instance a metronomic beat, a bobbing bass-line, and a vocal inviting you to *come as a friend*. No more, but then it needs nothing else.

Of course there are songs like 'Territorial Pissings' and 'Stay Away', which burn like drag-racers and would need a parachute to bring them to a halt, but you expect that. More importantly, this collection is about aspiring to a perfection of form, the inherent rush that comes from the simple juxtaposition of notes.

So there is the string-soaked 'Something In The Way' and the drumless 'Polly', which relies almost entirely on Kurt's full and husky voice. And for the most part it is the vocals which supply the important shades of light and dark on Nevermind, winding their way in and out of the psyched guitar and flowing backline.

What we have here is the untarnished pop of Pet Shop Boys mixed with the stylish swish of Pixies and the expertise of REM all rounded off with the insane power of a contemporary Wagner.

Not bad for a mulatto, an albino and a mosquito.