I was ten or eleven the year when what I imagined music could be changed. That was the year I discovered the band, or artist that would become not only my favorite all-time entertainer, but an artist and creator of a sound that would shape me as a person, and introduce me to a whole new world. That band is Nine Inch Nails
In the late 80's, no one knew what “Industrial” Music was. At the time the biggest purveyors of the sound consisted of underground bands like Ministry and Skinny Puppy. While both quite good, these bands were on the fringe, and weren't really trying to break out of their niche. That's where Trent Reznor comes in. Reznor, living at the time in one of the worst places I've ever visited, Cleveland, was trying to figure out a way to make music he felt wasn't being fairly represented. Like I mentioned earlier, Ministry is amazing, and has some very good records, but Reznor's approach was more in the form of mixing the world of Industrial as well as bringing more pop sensibilities to the environment.
The result was 1989's “Pretty Hate Machine.” At the time nothing like it had come out. It mixed cold electronic beats with a certain catchy aesthetic. The first track on the album, and one of the band's most popular song's even today, “Head Like a Hole,” found a interesting and wanting crowd of underground music fans who were willing enough to give the band a chance. Much of the album is subdued compared to what would be done later in his career, but you can very much still hear the inspiration and how exacting Reznor was in creating this new sound. Songs like “Terrible Lie,” “Sin” and “Kinda I Want to” have beats unlike anything that were out at this time, and it's based on this foundation that the band would grow and become one of the most influential bands in rock music of the 90's.
The album also gives us a brief glimpse into how well rounded he is as a instrumentalist. The best example of this is the hauntingly dark “Something I Can Never Have.” Having been a piano player from a very early age, by this point Reznor was very proficient at the instrument. This is glaringly obvious here. He builds the tension quietly and deliberately at first with soft but ominous undertones, but the sound gradually progresses to a textural palette that is vibrant in ways that most dark music rarely reaches. One of the best uses of his voice is his ability to convey a certain pain, and even from early on he knew exactly how his voice needed to come across. This song is a early victory in that usage.
Album closer “Ringfinger,” it's one of the best songs they have while at the same time not really being mentioned often as a favorite among fans. It hasn't been played live in at least 15 years, but it still resonates the feelings of a relationship so one sided you want to help the person singing get out.
Like many musicians who are getting into the industry for the first time, Reznor felt unfulfilled by what his current label, TVT was willing to do to get the record out and heard. The band had managed to snag a spot on the inaugural Lollapalooza tour, and alongside Jane's Addiction, the Rollins Band, and Living Colour, the band finally got to know a much deserved bigger audience.
Following his acrimonious departure from TVT, Reznor and company began work on a quick, extremely intense E.P. Titled “Broken.” It's easily the heaviest, most in your face collection of songs ever done under the Nin banner. Songs like lead single “Wish,” “Happiness in Slavery,” have a certain fierceness and fire to it that quite frankly, isn't apparent on the previous album. This very much had to do with the state of mind of the band at the time. They hated being stuck on TVT, even to the point that they made “Broken” under a different band name so it wouldn't get taken by the company. Speaking on the name change though, I can't help but wonder if the choice to go even more heavy and dark on the E.P. was a conscious choice to sound like a different band.
This album is also where the extremely violent content in videos started to appear. “Wish” essentially takes place in a chaotic, strobe lit, prison, and “Pinion” depicts a toilet being flushed into a man's mouth while he wears a lovely BDSM outfit. Even those don't top the list of intensity though. The two biggest examples of the change in tone are “Happiness in Slavery” and an underground video never officially released called “Broken.” “Happiness” sees a man who begins by getting pleasured by a machine, but quickly it turns sadistic as the man is tortured, killed, and eventually put through a meat grinder. You can imagine the curiosity of a 16 year old boy watching this.
The worst though, “Broken” is so insane it's only been known to circulate in unofficial states. What we see here is simple. A man convinces a younger man to come home with him, and various methods of torture ensue. The footage in intercut with the other proper music videos, but the damage is done slowly as you see the killer take his anger out on this poor, poor soul. It's so bad and realistic it was rumored to be investigated by the FBI. During this time the band decided to locate to Los Angeles and record in the house where the Manson family killed Sharon Tate. It's almost as if you can hear the effect it had on the music.
This is when things start to change for the artist known as Nine Inch Nails. The underground success and reputation of the band had gained a noticeable following for the band, and with their second full length album, the band exceeded all previous success and ended up making their best known album.
That album, “The Downward Spiral,” is not only a crowning achievement for forward thinking rock music, but also for Reznor himself. The sounds on this record are beyond anything you had ever heard from this genre before, not just in scope but in the array of sounds and textures conjured up in the studio. The album opens with a sample from “THX 1138,” and “Mr. Self Destruct” tears through in a vicious wave.
To put it mildly, this album was a severe game changer for the band, and for Reznor himself. In a matter of months, and on the back of a legendary performance at Woodstock 94, Nin found themselves filling arena's instead of halls and theaters, and were the ire of concerned parents everywhere. They became the “edgy” bands lame television shows like the “Nanny” name dropped to make the kids seem rebellious.
The album itself, which tells the story of a man slowly descending into utter madness, is full of amazingly intricate beats, soundscapes and sheer madness for the duration. Unorthodox beats perfectly build the tension in songs like “Piggy” and “Ruiner,” while also managing to make beautiful and eye opening creations in a track like “A Warm Place.” Technically speaking, there really isn't a bad song on the album. “March of the Pigs” is still an insanely brutal track, and one of the best to see in a live performance setting. Literally I remember seeing the band in Shreveport where the crowd got so intense during the track that I realized my feet were off the ground and I was just going with the flow of bodies for a good 15 seconds. When you hear Reznor scream “March!” there's this undeniable urge to be apart of a frenzy, and it's one of the best experiences during a concert I can ever recall. Like I said, intense.
If you had to pick out one song that played the biggest role inNIN's transformation to giant band though, the song you mention more than likely is “Closer,” The chorus of “I wanna fuck you like an animal” is a little bit played out these days, but that's only because the song is so absurdly well known. In truth though, it's a fucking great song, and the overwhelming beat throughout is classic. Even the video itself is a classic. The way the images are able to stay with you and haunt you is a great ploy by Mark Romanek to create a video creepy enough to compliment the song. If you live under a rock and haven't seen it, check it out. One of the classic video's from the decade. The song was at the right place at the right time, and for better and worse, it changed the whole trajectory of Reznor's career.
By the time Downward Spiral's two year tour was over, Reznor was a mess. Slowly but surely, drugs and alcohol had taken over his life, and one top of that, people were greatly anticipating his return to the studio to create new music. Five years passed before we would hear anything new.
“The Fragile” years proved to be both amazing and horrible for Reznor. His grandmother, who had raised him, passed away, and on top of all that, his long time dog also passed away. Now I've dealt with my grandparents all dying, but I can't imagine the difficulty of losing both a grandparent and my animal in a small amount of time. As you can imagine, this didn't help the addiction situation much, and it just got worse.
Thankfully, after years of waiting, and years of Reznor working on the project, word slowly got out that the album was actually completed, and would be arriving very soon. While “The Downward Spiral” is the best known album, “The Fragile” remains the best record of his career. It's a monument to sadness, difficulties, and the emotional core of the record touches on things that still strike a chord. Most of the hardcore fans I know instantly recognize the album as a masterstroke, and it's been mentioned by Reznor more than once that it's his favorite album in the NIN cannon. To listen to it it isn't hard to understand why. At over twenty songs, and two hours of music, song after song delivers in ways that the previous song didn't. “The Day the World Went Away” bellows with an ethereal chamber quality, while others like the catchy “Into the Void” make you wonder what's coming next.
While not a direct sequel to “The Downward Spiral,” it has many of the same themes that are prevalent in “TDS.” It reeks of isolation, fear, contempt for the world, and most importantly, the continuation of exacting beats and thoughtfully concise movements that evolve at times over multiple songs.
The album's diversity is pretty astounding, even today. During his career, Reznor had been known to toss in instrumental tracks on releases, and “The Fragile” is no exception. Some of these are among the best songs on the whole record. “Pilgrimage” hits you toward the end of the Left Disc, and the imagery painted makes you instantly think of a Nazi march. The best though, comes in the way of “Just Like You Imagined.” To put it bluntly, it's a killer intense song, and it's probably the best instrumental track they ever made.
Now I use instrumental somewhat loosely. Some of the songs do contain voices, but often times it's impossible to make out if any words are used. I think it just helps with the overall tone he was trying to convey. Above all else, Reznor is an amazing producer and composer, and in the pursuit of his ultimate vision, he never missteps.
A big aspect of the album, obviously has to do with the loss of grandmother Clara. The song, “I'm Looking Forward to Joining you, Finally” always rang a chord within me, even long before the death of my own grandparents. This song is one of the most darkly honest on the whole album, and also gives a peek into the type of mindset he was in during that album.
As you've likely read my earlier piece about my favorite albums of all time, I can talk and discuss this album for a long time, but yeah, it's my favorite NIN record, and it deserves to be hailed every chance it gets.
There are quite a few amazing things about “The Fragile,” to be more precise. For one, it's rare that a piece of music containing so much can at the same time be so effective and good, with little to no filler. Certain songs clearly aren't the strongest, but more or less the songs do an escellent job of showcasing various aspects of Reznor's unique sound. You have tracks like “The Wretched” or “Somewhat Damaged” that have the vibe from other records, filled with negativity, great beats, and some of the best usages of imagery on the entire album. As a composer, TR has always been able to make you feel part of the world, and on tracks like the two mentioned, you're instantly pulled into the world.
The next thing that stands out about this album is the how thought process that went into it. By this point the man behind the Nine Inch Nails brand was heavily into assorted substances, and that's part of the reason the completion of the album took so long. Having said that though, to hear the finished product and to be aware of the giant mountain he was climbing during this makes “The Fragile” even more of a once in a lifetime, landmark album. The sounds emanating from the speakers when you press play are light years ahead of the previous albums, and the way it was produced by the great Alan Moulder really lays a underscored tension to the overall feel of the record.
In the end though, the album and the tour were big successes, although it nearly drove Reznor over the edge. He sank all of his money into the tour, and had been pushed to the edge of sanity. Much like the character he had portrayed for two albums, he had become a man who was on the verge of becoming “Ripe, With Decay.”
Again, a significant amount of time(five years), passed. What emerged was a completely different person. As news began to trickle out regarding the newly “reunited” and energized Nine Inch Nails, we found out a few things. One, he had been hiding the whole time, getting sober and getting his head right to make sure he still felt as though he had something to contribute to the world of music. Secondly, we found out that indeed, he did have something to give to us, and third, that album “With Teeth,” would be out soon.
The album itself, while good, is often cited as one of their weaker records to date. Certain parts feel like NIN, but it's more rooted in rock then the industrial tinged, electronic effects of the past. Since the release of the album, Reznor has stated that the album was a little bit more forced, and also the result of him trying to make sure he could still write music.
Having said that, some of the songs are quintessential NIN. Our first introduction to the album, “The Hand that Feeds,” has a certain ability to be steeped in rock, but also embraces slight tinges of their beat driven past. Honestly, it's one of the better singles they've ever released, and one of the best songs on “With Teeth.”
One of the best tracks on the album, for my money, is “The Line Begins to Blur.” The thump driven quality of the beat, and the lyrics are utterly reminiscent of something you might have heard on earlier records. Again, this is a winner among some good but not great songs.
One thing that Reznor has always been great at, for lack of a better word, would be slower songs, or “Ballads.” The term itself makes me think of horrible 80's rock ballads from Poison, or Bon Jovi, but the types of slow pieces TR composes are in a league to themselves, and demonstrate his high ability to compose thought provoking music. Often times it's these songs that are the most honest, self aware, and poignant on the albums. This is very much true in the case of album closer “Right Where it Belongs.” It follows in the footsteps of awesome but slow album closers like “Hurt,” and “The Great Below,” and is haunting to both see and hear displayed in a live setting. The imagery he sets up with the line “You keep looking but you can't find the woods, While you're hiding in the trees” shows a world where the person is trying to fight for what he believes is right, but he's so engrossed in the bullshit that change is impossible. Major, major changes must be made, and with this record, Reznor took the first step in changing many of the things that troubled him over the years.
As a brief aside, one of the things that has always stood out about Reznor's output has been his multiple re-mix albums, soundtrack selections, and b sides. “Burn” off the Natural Born Killers soundtrack (which Reznor oversaw, and produced) is one of the best tracks in the whole canon, while the “Things Falling Apart” album is just as good as anything that he's released as a proper solo album. He's released four remix albums, contributed to at least three soundtracks, and even completed an album of slower versions of many previously released songs titled “Still.” And then there's the live albums, live concert DVD's, remixed albums where other bands take their shot at NIN tracks, and last but not least, various B Sides that have never been officially released. One of the best of those, “Non-Entity” was only released at part of the second disc of the live concert DVD “ Beside You in Time.”The song, along with the “With Teeth” b-side “Home” are two of the best tracks not easily available on proper albums.
After the success and tour of “With Teeth.” I was among the people that expected Reznor to take years to release a new album. Thankfully, I was very mistaken. It all began with hidden portable hard-drives being discovered at various venues over the lands of Europe. A new world was being unraveled piece by piece, and this new world, this “Year Zero” was eventually announced. Among all the years I've been a fan of this band, this time period was easily the most refreshing, and exciting time to be a NIN fan. The websites, part of a brilliant and wide sweeping ARG campaign depicted a country ruled with an iron fist, where a mythological hand known at the “Presence” “came down from the sky” and horrified citizens of this country. Trying to find the sites was super fun too. Every time a new billboard, or website was unearthed, I'd run to it, finding new clues, and wondering what it all meant.
The resulting album, “Year Zero” is one of their best albums period. It tells the story from various view points of the resistance. Songs like “Survivalism” are both oppressive and inventive, and have the trademark sound not entirely heard in quite a long time from the band. The opposing forces in this universe unveil themselves in many songs, across many lives and perspectives. Songs like “Capitol G” come from the view point of a corrupt yet still hungry for power politician, while the uprising takes form in early track “The Beginning of the End.”
The album as a whole though, re-establishes Reznor proclivity for stories and cohesiveness in albums,and it's one of the best, yet most unappreciated concept albums of the last fifteen years. Many of the songs here are simply amazing. There's a reason this album stayed, playing over and over again in my car for well over a year. It had been years since I had been so excited to be a fan and to part of something that rarely happens in the music industry. The whole album is very much made to make to listener contemplate the world we're living in and what we're allowing our “leaders” to get away with. Sadly, I foresee the lesson of the album being lost on most everyone. We simply care too much about the next iPhone launch, or what a reality TV star might be doing. The closing track of the album, the underscored and honest “Zero- Sum” finds us vulnerable, having been through a battle and having potentially lost it. The song is the defeated battle cry as both sides realized they were being made to fight against the other side by an enemy so intelligent and diligent, that we didn't find out if was for nothing until it was too late. Like the track says, “All we ever were, just zero's and one's”
From there, the next year was a crazy time to be a fan. In the year following “Year Zero,” not one, but two albums came straight out of nowhere. The firsts “Ghost I-IV,” is by far the most interesting and left of center album(s) Reznor ever released under the Nine Inch Nails moniker. Consisting of over thirty purely instrumental pieces, it's really impressive and eye-opening. Every song more or less, has elements that really hadn't been done by TR up until that point.
In all honesty, it's likely the album I go back to the least. I am though, extremely grateful for it. One of the reasons it's so well put together, for me, is because I think this was the stepping stone for Reznor starting to branch out into film. Seriously, those scores are probably better than anything on the “Ghosts” records, and they may have not been possible if he hadn't attempted it.
Following that, “The Slip” arrived with only a little bit more warning. More in line with the rest of his discography, “The Slip” has really amazing tracks. From the moment of the second track, “1,000,000” you feel right back inserted to world the band fans have grown to love. It's not the best regarded album per se, but the tour that came with it was one of the best productions I've ever seen. Multi- layered screens filled the “Lights in the Sky Tour,” along with two full hours of chaos, and tracks from every album. It encompassed all of what Reznor wanted the band to be on the road. Honestly, seeing it the three times I was fortunate to was something I've never forget, and I'm willing to bet a lot of other people feel the same way about that stage production.
Following the tour, it was announced that the band would be putting up their touring boots, and a very brief final run was announced. Over a few weeks of shows the band hit New York, Chicago and Los Angeles. The performances were among the longest, and most historical in the bands history. On two separate occasions, the band played the breakout album, “The Downward Spiral” in full.
Moving along, it would be another few years before Reznor showed his face as the creator of the band. Having done some great score work on a few David Fincher films, it had been four years since the world has witnessed Nine Inch Nails. Around that time, new music started to be recorded, under the pretense that would be part of a greatest hits collection, but eventually the songs morphed into a full length album. The result, “Hesitation Marks, would come out just in time for a round after summer festivals, and a full fall tour was planned.
The album itself is another exercise in TR pushing his limits and and the limitless potential of the band and the sound they helped to shape. Quite a few of the tracks are instant classics & among the bands best songs. “Copy of A” opens the album and is purely electronically driven, while “Came Back Haunted” and the subsequent David Lynch directed video is literally a sight for sore eyes.
The two best songs on the album though, are the full on funky and out of character “All Time Low,” which at once seems distant and familiar to fans of the previous works, and the slow, methodical “Various Methods of Escape.” “VMOE” especially is a stand out track, and upon hearing it was instantly thrust into the list of some of my favorite works ever created by Reznor.
The album's music, and even the artwork, were thought of largely as a companion piece to Spiral. In interviews, Reznor mentions that he came to view the album as a kind of witnessing what the character from that album might have been like if he went back to him. Long time fans were very much able to see the connections.
The band, of course, set out to tour for over a year, and saw many great stages and shared them with some awesome bands. Perhaps the best portion of the tour, was the Soundgarden tour from this past summer. That was without a question one of the single best shows I've ever seen in my life. I wished more show's like that happened.
Which brings us to the now. What is Reznor currently working on? Who actually knows, but whether it's new NIN record, or a new How to Destroy Angels album, I'm sure it will be worth the wait. Over the course of twenty plus years he's made interesting, thought provoking music that no one dared to before he was unleashed on the scene. Personally I can't wait, and anticipate whatever it is with optimism. Hope you enjoyed this. Thanks for reading! See you Friday.
Landon Murray is a New Orleans native, who thrives on painting the world he interprets through the useful forms of all types of art he feels connected to. He's seen over 1000 bands, and had loved mostly every minute of it. He has an amazing 10 year old dog, and is loving life.
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