Page 36 of 46 FirstFirst ... 26 34 35 36 37 38 ... LastLast
Results 1,051 to 1,080 of 1356

Thread: NEW SINGLE: Came Back Haunted

  1. #1051
    Join Date
    Dec 2011
    Location
    Tynemouth, England
    Posts
    1,061
    Mentioned
    11 Post(s)

    NEW SINGLE: Came Back Haunted

    For those disappointed that this doesn't live up to TDS or TF in your estimation: take a minute to let this properly sink in: nothing he will ever do could top TDS or TF (for you). It's all about context. Appreciation of art is tied up with the observer. He won't turn out something that will fit into the same mental bracket as TDS TF for you because it is entirely impossible for him or anyone to do so. What TDS or TF means to you is set in stone. The sooner you realise this the sooner you can move on to appreciate new stuff for what it is, rather than what it isn't.

  2. #1052
    Join Date
    Nov 2011
    Location
    Western New York
    Posts
    363
    Mentioned
    17 Post(s)
    Quote Originally Posted by dzaver View Post
    as long as I care u can eat a bag of dicks. oh wait. you are in one of them. People are just discussing and if u think that on a forum everybody likes the same then u can buy yourself a spaceship because on this planet people disagree and discuss. bye
    Disagreement is fine and I'm all for discussion, but objectivity has to be a part of it. I think @jmtd captured the essence of what I'm feeling with his post.

    Quote Originally Posted by jmtd View Post
    For those disappointed that this doesn't live up to TDS or TF in your estimation: take a minute to let this properly sink in: nothing he will ever do could top TDS or TF (for you). It's all about context. Appreciation of art is tied up with the observer. He won't turn out something that will fit into the same mental bracket as TDS TF for you because it is entirely impossible for him or anyone to do so. What TDS or TF means to you is set in stone. The sooner you realise this the sooner you can move on to appreciate new stuff for what it is, rather than what it isn't.

  3. #1053
    Join Date
    Mar 2013
    Posts
    201
    Mentioned
    2 Post(s)
    nvm. poll about the song doesnt work well
    Last edited by pukkelpop; 06-09-2013 at 07:48 AM.

  4. #1054
    Join Date
    Dec 2011
    Posts
    384
    Mentioned
    6 Post(s)
    ...so not cheering the new single suddenly equals living in the past. that's interesting.

  5. #1055
    Join Date
    Dec 2011
    Location
    Denmark
    Posts
    234
    Mentioned
    3 Post(s)
    No. Making statements like this means you're living in the past:


  6. #1056
    Join Date
    Dec 2011
    Posts
    384
    Mentioned
    6 Post(s)


    Agreed. But tell me, where dzaver, whom itsjustdave felt the need to single out, said those words.

  7. #1057
    Join Date
    Dec 2011
    Location
    Denmark
    Posts
    234
    Mentioned
    3 Post(s)
    I'd say this is pretty close:

    Quote Originally Posted by dzaver
    Someone mentioned Radiohead lyrics or Atoms for Peace. I forgot how you called them. The magic with that kind of lyrics is, that in different moods and feelings u get something else out of them. You can understand them differently and more deep. Like the the TDS and Fragile era [...] Like the first time I listened to The Fragile. It took time to get to know with the songs... You had to take time for music. With CBH you know where is going.
    Close enough to piss me off as well anyway

    In my view, it's batshit insane to compare this one, danceable and catchy song to the most dense and complex NIN album recorded so far. Of course CBH easy on the ears. It's the fucking lead single. Why do you think the incredibly complex and not in the least commercial masterpiece "Starfuckers, Inc." was a single and not, say, "Underneath It All"? Why was "Closer" a single and not "Big Man With A Gun"? The latter could have been the biggest hit of 1994! I swear!

    Most importantly, I fail to comprehend why this just can't stand on its own merits, or at least get to be part of a context, before it gets compared to music of a kind Trent hasn't been making (and probably has not been willing to make) since 1999? Trent is as likely to record something on par with "The Fragile" as The Beatles are to rise from their graves to record a sequel to "Sgt. Pepper's Lonely Hearts Club Band". You don't just churn out albums like these yearly, folks. This is the best we're going to get, and in my opinion, what we're getting is damn good. Certainly better than Trent OD'ing in his hotel room on tour, or blowing his brains out in a cabin.
    Last edited by Fred; 06-09-2013 at 08:27 AM.

  8. #1058
    Join Date
    Nov 2011
    Location
    Western New York
    Posts
    363
    Mentioned
    17 Post(s)
    Quote Originally Posted by r_z View Post


    Agreed. But tell me, where dzaver, whom itsjustdave felt the need to single out, said those words.
    No. You tell me when exactly it was that I singled out dzaver? I singled out billpulsipher.

  9. #1059
    Join Date
    Mar 2013
    Posts
    201
    Mentioned
    2 Post(s)
    Did ETS members always bitch on the lyrics in the past? I find his lyrics refined, and sometimes it seems that he deliberately refuses to add intellectual words, just to add a bit of sarcasm and pure muscle to the number.
    I know a few semi-pro writers, i write some columns and poems aswell, and we all love TR's lyrics.
    He manages to bring attention to a specific point in the song and that adds to the nr's strength. Dreamy songs with great poetry, ok, good for chilling, but not on a NIN beat.
    "the saddest thing i ever saw was a smoking man outside a hospital"-Editors shit, that is really "songwriting" stuff, cause the song is build around the text. And there you can say "well well, is that all you have in your pen?"

  10. #1060
    Join Date
    Nov 2011
    Location
    Chekhov, Russia
    Posts
    1,154
    Mentioned
    22 Post(s)
    Quote Originally Posted by pukkelpop View Post
    I find his lyrics refined, and sometimes it seems that he deliberately refuses to add intellectual words, just to add a bit of sarcasm and pure muscle to the number.
    He thought he used to have a purpose, then again that might've been a dream.

  11. #1061
    Join Date
    Apr 2012
    Posts
    73
    Mentioned
    4 Post(s)
    I haven't listened to it extensive (maybe 10 times since release) - but I find myself humming to the verses and chorus constantly, it's actually pretty catchy. However, it's NOT as progressive as I would have expected. I think Ghosts and YZ REALLY set the bar on that one; a totally new sound, new ideas (breakdowns etc.), and I feel we're a bit spoiled now and expect EVERY release to be groundbreakingly new. It's a good song, catchy, but not challenging. But if you think about it, 'Happiness in Slavery', 'Eraser', 'Just Like You Imagined' etc. are all AMAZING tracks, but would definitely not be released as a single. This is a very competent track, comparable to WITT, Survivalism, and sets a good bar for the rest of the album. The only thing I do hope is that the lyrical content is mature and suitable for someone of Trent's current age and situation, and not a teen 'angsty' type record. That would feel disingenuous.

  12. #1062
    Join Date
    Jun 2013
    Location
    Southern california
    Posts
    561
    Mentioned
    14 Post(s)
    I agree it would be ridiculous to expect him to ever match the quality of PHM/TDS/Fragile/Broken. 1989-1999 era Trent put out some of the most amazing music ever. It's impossible to recreate that, same way it's impossible for Robert Smith to recreate what he did in the 1980's. If Trent kept on the path of self destruction, he would be in a grave right now, or worse, turn into Marilyn Manson, who still falls over himself on a nightly basis in a drunken/drugged out stupor. What we are getting and have been getting post 2005 with Trent is not on par with the 1989-1999 era, but it's still better than what most musicians have to offer.

  13. #1063
    Join Date
    Dec 2011
    Location
    Denmark
    Posts
    234
    Mentioned
    3 Post(s)
    Quote Originally Posted by laz001 View Post
    I haven't listened to it extensive (maybe 10 times since release) - but I find myself humming to the verses and chorus constantly, it's actually pretty catchy. However, it's NOT as progressive as I would have expected. I think Ghosts and YZ REALLY set the bar on that one; a totally new sound, new ideas (breakdowns etc.), and I feel we're a bit spoiled now and expect EVERY release to be groundbreakingly new. It's a good song, catchy, but not challenging. But if you think about it, 'Happiness in Slavery', 'Eraser', 'Just Like You Imagined' etc. are all AMAZING tracks, but would definitely not be released as a single. This is a very competent track, comparable to WITT, Survivalism, and sets a good bar for the rest of the album. The only thing I do hope is that the lyrical content is mature and suitable for someone of Trent's current age and situation, and not a teen 'angsty' type record. That would feel disingenuous.
    I can imagine the rest of the album will be more progressive. This may not be a very complex song, but it is more complex and layered than pretty much all of "The Slip" was.

  14. #1064
    Join Date
    Nov 2011
    Location
    Chekhov, Russia
    Posts
    1,154
    Mentioned
    22 Post(s)
    Quote Originally Posted by Fred View Post
    I can imagine the rest of the album will be more progressive...
    Well, according to itunes, it'll be the 3rd track and so far 3rd numbers were: Down in it, Last, Heresy, The frail(+wretched), Where is everybody, The collector, Survivalism and Letting you.
    Not pulling conclusions out of those, just taking note that Pop and Rock songs pretty much get equally featured. And looking at their respective neighbours, this one is bound to get good company as well.

  15. #1065
    Join Date
    Dec 2011
    Location
    NYC
    Posts
    905
    Mentioned
    11 Post(s)
    Quote Originally Posted by Fred View Post
    I can imagine the rest of the album will be more progressive. This may not be a very complex song, but it is more complex and layered than pretty much all of "The Slip" was.
    for purposes of discussion, what would you consider a "complex" song -- both from TR's oeuvre and not-TR

  16. #1066
    Join Date
    Nov 2011
    Location
    Bucharest, Romania
    Posts
    407
    Mentioned
    14 Post(s)
    Guys. Nincamp releases the crappy songs first. I got used to it. Look at The Slip or the HTDA albums. I would be surprised if this wasn't the case.

    I like the new song, I can't say I'm OMGWTFBBQDOGONFIRE over it. Actually, I only listened to it on the 6th. The start of the song is cringy, much like Letting You.

  17. #1067
    Join Date
    Jun 2013
    Location
    Cambridge, MA
    Posts
    238
    Mentioned
    4 Post(s)
    Quote Originally Posted by screwdriver View Post
    for purposes of discussion, what would you consider a "complex" song -- both from TR's oeuvre and not-TR
    If you listen on a good system you'll find that this song is easily as complex as anything from the Fragile era, or anything he has done, at least in terms of layering.

  18. #1068
    Join Date
    Dec 2011
    Location
    Vermont
    Posts
    706
    Mentioned
    16 Post(s)
    Loving the drones behind the chorus.

  19. #1069
    Join Date
    Jan 2013
    Location
    Edinburgh, Scotland
    Posts
    488
    Mentioned
    10 Post(s)
    I'm usually pretty good (or at least I think I am) at envisioning videos for songs but on this occasion I just can't imagine a video! Does anyone have any thoughts?

  20. #1070
    Join Date
    Dec 2011
    Location
    NYC
    Posts
    905
    Mentioned
    11 Post(s)
    Quote Originally Posted by HurtinMinorKey View Post
    If you listen on a good system you'll find that this song is easily as complex as anything from the Fragile era, or anything he has done, at least in terms of layering.
    I agree
    that's why I'm interested in what "Fred" finds to be "complex" music

  21. #1071
    Join Date
    May 2012
    Posts
    104
    Mentioned
    0 Post(s)
    Quote Originally Posted by screwdriver View Post
    I agree
    that's why I'm interested in what "Fred" finds to be "complex" music
    Lol there is nothing complex about CBH. I've stated a few times already ITT that this song is about as simple/complex as furlined.

    The synth bass line is the same in the verses and chorus and outro. The guitar just come in over it in the chorus. This works for a song like me I'm not but not this or fur lined.

    the beat doesn't change except for some hi hat work in the chorus. It's just a hella lazy song.

  22. #1072
    Join Date
    Dec 2011
    Location
    Gothenburg, Sweden
    Posts
    550
    Mentioned
    2 Post(s)
    Just cause something is "layered" doesn't make it interesting or great by default as "complex" as it might be. If I was interested in a technical experience I'd just spend my cash on top of the line HIFI equipment and listen to THX demos with sound effects and elevator music. That's just technical masturbation.
    But where's the song? If I can't enjoy the actual music through shitty car speakers or a lofi sound system I'm not interested in the "hit single".
    I'm finding more musical integrity in less respected pop acts than this single.

  23. #1073
    Join Date
    May 2012
    Posts
    104
    Mentioned
    0 Post(s)
    Quote Originally Posted by hobochic View Post
    Just cause something is "layered" doesn't make it interesting or great by default as "complex" as it might be. If I was interested in a technical experience I'd just spend my cash on top of the line HIFI equipment and listen to THX demos with sound effects and elevator music. That's just technical masturbation.
    But where's the song? If I can't enjoy the actual music through shitty car speakers or a lofi sound system I'm not interested in the "hit single".
    I'm finding more musical integrity in less respected pop acts than this single.
    This, somebody else gets it. The lyrics are hardly even the problem with this song and a lot of other work coming from Trent and CO. lately. You have some songs like Meet Your Master and ITT that are amazing and then songs like Fur-Lined and BBB which can be fun to listen to but lack polish composition wise.

  24. #1074
    Join Date
    Dec 2011
    Location
    NYC
    Posts
    905
    Mentioned
    11 Post(s)
    Quote Originally Posted by hobochic View Post
    Just cause something is "layered" doesn't make it interesting or great by default as "complex" as it might be. If I was interested in a technical experience I'd just spend my cash on top of the line HIFI equipment and listen to THX demos with sound effects and elevator music. That's just technical masturbation.
    But where's the song? If I can't enjoy the actual music through shitty car speakers or a lofi sound system I'm not interested in the "hit single".
    I'm finding more musical integrity in less respected pop acts than this single.
    I'm not saying otherwise (and I'm not sure anyone else is). Your enjoyment of the song is yours and yours alone to decide.

    Some of us enjoy technical masturbation. Some of us enjoy good pop songs. Some enjoy both in moderation.

    Quote Originally Posted by Fragile Teeth View Post
    Lol there is nothing complex about CBH. I've stated a few times already ITT that this song is about as simple/complex as furlined.

    The synth bass line is the same in the verses and chorus and outro. The guitar just come in over it in the chorus. This works for a song like me I'm not but not this or fur lined.

    the beat doesn't change except for some hi hat work in the chorus. It's just a hella lazy song.
    lol indeed
    have you ever noticed that, e.g., the synth bass in "heresy" doesn't change from verse to chorus? or, for example, that the synth bass doesn't change between the verse and chorus in "into the void"? in both songs, the guitar just comes in over it?

    I would argue that, rhythmically, Came Back Haunted is *way* more complicated than either of those songs, which I think are (rightfully) classics in the NIN canon. There's a lot of interesting layers going on; even the synth bass between the verse and the chorus changes timbres quite a bit. NIN's songs have frequently relied on just one bassline throughout the song; I would guess its one of the hip-hop influences on the music but even take a song like "Billie Jean," which has essentially the same bassline the whole song with a few minor breakdowns -- that's not far off from this song.

    I guess I'm just interested in the conversation of "what is complicated"? That's why I asked for examples of both TR's catalog and not-TR's catalog that you do find complicated. I guess, to kick it off: I would say that "Eraser" is a structurally more 'interesting' song, but I'm not sure I would say it is more 'complicated' -- a drummer would find it a lot easier to play "Eraser" than "Came Back Haunted."

    I'm not being combative, just interested. Obviously, if you don't like the song, you just don't like the song and I have no interest in trying to change your mind.


    One last thing: that breakdown that starts at around 2:45 is just *insane* in terms of how much stuff is going on.
    Last edited by screwdriver; 06-09-2013 at 05:39 PM.

  25. #1075
    Join Date
    Nov 2011
    Location
    Florida
    Posts
    1,345
    Mentioned
    7 Post(s)
    Were you guys like this when Discipline came out? Because this is kind of ridiculous.

  26. #1076
    Join Date
    Dec 2011
    Location
    Los Angeles
    Posts
    2,368
    Mentioned
    65 Post(s)
    Quote Originally Posted by ItsJustDave View Post
    Disagreement is fine and I'm all for discussion, but objectivity has to be a part of it.
    I still think TDS and Broken are the best nin albums, and I'm almost certain that my opinion there has very little to do with the fact that I was younger and a much bigger fan when those came out. I get nostalgic about a lot of things, but I don't get nostalgic about music I liked when I was a teen. A lot of stuff I used to love is practically unlistenable to me now.

    There's a lot to like in the new albums, and I can get behind the safe dancey disco fine. I can deal with ridiculous lyrics, even when they're intentionally grammatically incorrect just to secure a steady predictable rhyme. That doesn't bother me really. As long as the lyrics don't make me wince (the chorus to "Don't You Fucking Know Who You Are" comes to mind) I'm fine with it.

    But to say that Reznor "couldn't top The Downward Spiral (for me)" is ridiculous. Of course he could. He just hasn't yet.

  27. #1077
    Join Date
    May 2012
    Posts
    104
    Mentioned
    0 Post(s)
    In Heresy the synth that starts out the song isn't in the chorus. it stops before the chorus and trent uses different percussion on top in the second verse. Also compare Heresy's bridge to CBH. A lot more going on in Heresy. Also for Into the Void, that song has a different structure in itself. The chorus is a line of the verse and it uses the base to build toward the climax at the end. A lot of his songs build up to an abrupt end now. not saying that is HAS to be that way.. I really didnt even want to compare his old music to his new music but Trent did a lot more back then to hide some of his production secrets. Now they are just so out there.
    Last edited by Fragile Teeth; 06-09-2013 at 05:46 PM.

  28. #1078
    Join Date
    Dec 2011
    Location
    NYC
    Posts
    905
    Mentioned
    11 Post(s)
    Quote Originally Posted by Fragile Teeth View Post
    1: Heresy the synth that starts out the song isn't in the chorus. it stops before the chorus and trent uses different percussion on top in the second verse. Also compare Heresy's bridge to CBH. A lot more going on in Heresy. not saying that is HAS to be that way.. I really didnt even want to compare his old music to his new music but Trent did a lot more back then to hide some of his production secrets. Now they are just so out there.
    Regarding Heresy's baseline, you're just wrong. Listen closely. It's the exact same bassline underneath. It ditches the higher-monosynth counterpoint but the underlying bit keeps going identically.

    The percussion in Came Back Haunted changes *constantly.* The underlying beat stays the same but there is a flurry of extra percussion going at all times as the song builds. In contrast to ... four on the floor beat in Heresy with some interesting sub-bass drum work that's barely noticeable.

    The bridge in Heresy is neat -- one of my faves of TR's -- but it's really just a bassline (echoing the main guitar part), some tambourine, and some movie samples looping. The composition of what's going on in CBH's first breakdown just -- blows me away in a way I haven't been in awhile.

    I'm sorry, but I just respectfully disagree. I love Heresy to pieces and think its a great song. But production wise, this is an entirely different game. If it doesn't work for you that's fine, but I think you should listen closely to CBH.

  29. #1079
    Join Date
    Dec 2011
    Location
    England
    Posts
    580
    Mentioned
    8 Post(s)
    Quote Originally Posted by MAD View Post
    Guys. Nincamp releases the crappy songs first. I got used to it. Look at The Slip or the HTDA albums. I would be surprised if this wasn't the case.

    ... The start of the song is cringy, much like Letting You.
    I've lost count of the number of posts in this thread that have boggled my mind (such as almost every point made in this post, no offence MAD :P), but the variety of opinion in itself is probably the biggest chin-scratcher. NIN fans must have the world's lowest incidence of herd mentality, though I guess one could argue that everyone's conforming to being an individual.



    Anyway, skipping back a bit to the discussion of Trent allegedly having a teenage grasp of the English language, in which Fred pointed out a couple of dodgy lyrics and I suggested that alternatives wouldn't rhyme, and it being songwriting rather than essaywriting, and whatnot.

    Quote Originally Posted by Fred View Post
    "Down the path that we chose."

    "The destiny I chose."

    Hmm, they're grammatically correct. The meanings are pretty much identical too and the number of syllables is unchanged in both. Too bad none of them rhyme. Oh, wait...
    With the former of those, "...We have chose" has the double purpose of forming a statement all on its own (a dodgily syntaxed one admittedly, but as mentioned earlier, a rhyming and nicely sounding one), where "...That we chose" is merely a continuation.
    With the latter... well, you're right. I can't argue with that, and honestly the first one's a bit of a stretch too.

    But I can't agree that a lyric works on the basis of its grammatical accuracy and sophistication of language. On this basis, most lyrics fall short by forming phrases rather than sentences. In my opinion, the quality of a lyric is decided by two things: how it sounds, and what it evokes. Trent tends to use simple language, and I think it helps make the songs more striking and immediate. Even if you're not sure of a song's overall message, each line will almost certainly say something to you. For all the technology involved in a Nine Inch Nails record, it's that emotional and personal connection which makes it truly remarkable music, for me at least.



    :edit: I wish we had a couple more minutes' editing grace before the "Last edited by..." note is attached.
    Last edited by Vertigo; 06-09-2013 at 06:09 PM.

  30. #1080
    Join Date
    May 2012
    Posts
    104
    Mentioned
    0 Post(s)
    Quote Originally Posted by screwdriver View Post
    Regarding Heresy's baseline, you're just wrong. Listen closely. It's the exact same bassline underneath. It ditches the higher-monosynth counterpoint but the underlying bit keeps going identically.

    The percussion in Came Back Haunted changes *constantly.* The underlying beat stays the same but there is a flurry of extra percussion going at all times as the song builds. In contrast to ... four on the floor beat in Heresy with some interesting sub-bass drum work that's barely noticeable.

    The bridge in Heresy is neat -- one of my faves of TR's -- but it's really just a bassline (echoing the main guitar part), some tambourine, and some movie samples looping. The composition of what's going on in CBH's first breakdown just -- blows me away in a way I haven't been in awhile.

    I'm sorry, but I just respectfully disagree. I love Heresy to pieces and think its a great song. But production wise, this is an entirely different game. If it doesn't work for you that's fine, but I think you should listen closely to CBH.
    I've listened to CBH pretty closely and can hear it's components pretty clearly, extra kicks, hi-hat work etc, more clearly than Heresy but it may be the production and my ear space BUT you could argue that more is going on in CBH than No, You Don't but No, You Don't breaks the pace of the song with a different drum beat and brings a different mood with the guitars in the bridge before going back to what is pretty much classic trent, looping beat, repeating melody, added hi-hat in chorus. extra guitar in chorus etc. that to me is what makes a good NIN song and while CBH does provide some extra mood with the chorus guitars they are grounded or retrained by the repeating synth I feel like... IDK..

Posting Permissions