This piece came to me via a gentleman called Shane Tutmarc – great-grandson of a gentleman who is both a significant part of music history AND of Seattle music history simultaneously, Paul Tutmarc (http://en.wikipedia.org/wiki/Paul_Tutmarc). It’s a quite dramatic reworking of Aneurysm on which he plays all the instruments. I think it’s a brilliant move the way the song commences with what sounds like an old school blues rhythm, the kinda thing Jessica Rabbit might croon over only to open it up rapidly to a far tenser and uncomfortable build made up first of just an omninous bass, then the minor key strings before eventually roaring into the Aneurysm chorus which, despite the lighter tone of the backing, is impossible to detach from the surrounding creepy elements. Stabbing piano keys and the rising strings give that sense that a climax is being reached, it’s the point where the axe might come through the door or the shadow is traced on the shower curtain.
The treated vocals continue this uncanniness. I wondered at first if it was a remix of Cobain’s own vocals but recognise now it isn’t. The uncanny, a core horror concept (http://en.wikipedia.org/wiki/Uncanny) is centred on the idea of things that are simultaneously familiar and unfamiliar which is why the subtle deviation from the original vocals is such an effective touch.
Aneurysm was built on rock and roll cliches (“come on over and do the twist,” “love you so much,” etc.) but the cleverest touch was the way it then warped each one (“…overdo it and have a fit,” “…it makes me sick…”) turning it into a joke, a refusal, a sardonic parody. The song’s other great strength (I think it’s one of Cobain’s finest lyrical efforts) is the way it turns every emotional statement into a physical symptom – whether love meaning he brings up his guts, keeps his heart pumping – and each act into a biological concept – dancing leads to a epileptic episode, even the use of the cliche “shoot the shit” looks deliberate given it ends with the human physical output – shit. For such a short, mantra like and repetitious song, it was clogged with cleverness. As has been pointed out a million times, yes, the ‘she’ of the song and an awful lot of the phrasing could be considered as heroin references. This kinda multi-layered composition, conducted in a song with really only six different lines to it, is a great case for Cobain was an astronomically good writer.
This revision of the song is remarkably true to the original in these respects. Stripping it even further to a smaller cluster of repetitions is effective. Altering the voice remains true to the sense of human physicality derailed. Also, while Cobain’s lyrics walked a careful line between rock n’ roll cliche and impassioned believer statements – this song does it musically. The musical choices shift between night club tunes and modern ecstasy while soundtracking an uncomfortable tale of heroin, physical collapse, love and discomfort. The video is crucial here, this isn’t just a film soundtrack, but the film and the interpretation are so well integrated – the film brings the physical concept to the fore, it brings the ‘horror’ element to the fore, it has a physicality that a cartoon or modern CGI effort couldn’t match – the jerky quality of this work benefits the overall unsettled emotion and bodies.
I think musically it’s managed the impressive feat of taking the song in an apparently fundamentally different direction while remaining surprisingly true to the original warping of potentially traditional themes; visually it’s hammered in the crucial kinetic element of the original; and Shane’s managed – overall – to combine the elements present in a remarkably strong way where each reinforces and is mutually dependent on the others to create the overall effect. Impressive.
Anyways, enough of my prattling. Shane kindly gave me some time to describe a little more of his work and what was done here so I’ll let him speak for himself:
“I come from a very musical family going back to my great-grandfather, Paul Tutmarc, who has been credited with inventing the electric guitar. His son, my grandfather Bud Tutmarc, was a well-known Hawaiian Steel Guitar player, and both my parents played music around the house growing up. My favorite movie in kindergarten was Amadeus, so music was always a big part of my life. I remember singing melodies to my mom around that age to have her notate on sheet music so she could play it back to me. I don’t remember a time when I wasn’t making some sort of music. After discovering Kurt Cobain and Nirvana, I immediately started a band. There was something about Kurt’s music and attitude that made me feel I could do it too. Looking back, I feel so lucky that I was able to grow up in Seattle during that pivotal time in music.
I’ve explored so many different avenues over the years, and each release becomes the “highlight” of each era. From 2001 – 2005, I released five experimental pop records under the moniker Dolour. After a short sabbatical from music, I dug into American roots, country and blues, with Shane Tutmarc & the Traveling Mercies, releasing two albums back-to-back. I went even further down that path with my first solo album, Shouting At A Silent Sky in 2009. Since moving to Nashville in 2010 I’ve worked on a number of projects, including last year’s trio of covers, which includes Aneurysm. I wanted to choose a song that was slightly off the beaten path. I’ve always loved the tongue-in-cheek humor in the lyrics, “Come on over and do the twist,” and the very-Cobain line, “I love you so much it makes me sick.” I started messing around with the arrangement using only midi sounds. There are no real instruments on the recording. The intro has a very Twin Peaks vibe. I was re-watching the show at the time, and the soundtrack definitely crept into the arrangement. And I went with a sort of Michael Jackson Thriller groove on the verses. I made the connection with the background vocals being “beat it, beat it.” Growing up in Seattle, people rarely covered Nirvana songs, it felt too sacred, or it carried too much baggage. But with this cover, it was a joy to take the song completely out of its original context, and reintroduce it in a fresh way.
I don’t remember how I first saw the short film, I used to work at a record store and was always taking home weird art DVDs, and that’s probably where I first came across it. In any case, I remembered it once I had the song finished, and I tracked it down again, and it was a perfect fit. It reminded me a lot of Kurt’s style of art, like the Incestiside album cover.
I sent the video to my brother, with extensive notes of where to make the cuts, and I’m really happy with what we ended up with. My brother Brandon and I have always collaborated. He’s been involved with my web and design projects since my early days with Dolour. He did the artwork for Dolour’s 3rd album, New Old Friends, and has had a hand in every project I’ve done since then. He’s just so fast and easy to work with. I’m sure it helps that we know each other so well, and know the same references. You can see more of his work at his website:
Living in such an active music city as Nashville, I’ve been able to get involved in so many different areas of music – from playing shows, co-writing, producing other artists, playing with other artists, etc. Currently I’m finishing up producing a record for Tanya Montana Coe, which should be released later this year. And I plan to start recording a new album of my own in the next month.
To keep up with me, check: