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Thread: Controversial Nine Inch Nails opinions

  1. #4051
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    I think that Pretty Hate Machine is an overrated album in terms of where most NIN fans rank it. Don’t get me wrong, I love the album, and I understand the importance of it in terms of the album putting Reznor on the map. However, I feel like it was only scratching the surface by way of what we got to hear afterward.

  2. #4052
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    I don't like Mike Garson playing La Mer live, and in general tracks he wasn't part of the original recording, it feels too playful and doesn't have the tact and weight of Trent playing it.

    In general I miss Trent playing important keyboard parts live, or more like I missed the tours where that happened more often.

  3. #4053
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    Quote Originally Posted by InvitingmeAway View Post
    I think that Pretty Hate Machine is an overrated album in terms of where most NIN fans rank it. Don’t get me wrong, I love the album, and I understand the importance of it in terms of the album putting Reznor on the map. However, I feel like it was only scratching the surface by way of what we got to hear afterward.
    I agree with this. For as many classics as the album has, it also has quite a few duds. There are probably four or maybe even five songs on it I don't ever really need to hear again. That being said, I'm dying to have Sin return to the live setlist. I also think Ringfinger would be an interesting live track. Most of those songs seem to translate super well to a live setting, but can come across a little cheesy and dated in the studio. It's an important album, but perhaps not a great one.

    Sent from my Pixel 2 XL using Tapatalk

  4. #4054
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    Waves is the least interesting soundtrack they've done to date. I've started it several times, admittedly while doing something else, and have noticed that 10-15 minutes has gone by and I've switched off completely from it. Usually there's a certain amount of variety from track to track, but I've found it for the most part to be very one note (not literally) which has detracted from my enjoyment. I've been a massive fan of all of the soundtrack work to date, and actually now listen to that more than NIN, it should be noted, so this was a shock and disappointment to me.

    That being said, Feedback Loop is innovative and fairly gripping!

  5. #4055
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    Quote Originally Posted by simonn View Post
    Waves is the least interesting soundtrack they've done to date. I've started it several times, admittedly while doing something else, and have noticed that 10-15 minutes has gone by and I've switched off completely from it. Usually there's a certain amount of variety from track to track, but I've found it for the most part to be very one note (not literally) which has detracted from my enjoyment. I've been a massive fan of all of the soundtrack work to date, and actually now listen to that more than NIN, it should be noted, so this was a shock and disappointment to me.

    That being said, Feedback Loop is innovative and fairly gripping!
    Well it makes sense to disengage from it, it’s mostly drone, ambient. Either you enter a trance-like state or you really have an affinity with it to begin with to be able to give it all your attention. And if it’s played in the background, there won’t be any hook to pull you in apart from your own attention.

    I had the same impression on the first listen through but there’s enough nuances.

  6. #4056
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    Quote Originally Posted by simonn View Post
    Waves is the least interesting soundtrack they've done to date. I've started it several times, admittedly while doing something else, and have noticed that 10-15 minutes has gone by and I've switched off completely from it. Usually there's a certain amount of variety from track to track, but I've found it for the most part to be very one note (not literally) which has detracted from my enjoyment. I've been a massive fan of all of the soundtrack work to date, and actually now listen to that more than NIN, it should be noted, so this was a shock and disappointment to me.

    That being said, Feedback Loop is innovative and fairly gripping!
    i would highly recommend sitting down with a pair of headphones and literally not doing anything else while you listen to it. there are a lot of subtle layers to the sound and it's really lush and gets under your skin if you let it. that said, drone isn't for everyone, and that's what the majority of the score is, so no one is going to berate you if you don't like it.

    PS we have a thread in the score section for "controversial score opinions"

  7. #4057
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    Quote Originally Posted by eversonpoe View Post
    PS we have a thread in the score section for "controversial score opinions"
    Do we? I can see random score thoughts, but nothing labelled controversial.

    Was just listening to it again now, while doing early morning chores, and it is not keeping me interested to the extent that I actually walked out of the room, sat down in my lounge with my cuppa, then maybe 5 minutes later realised I'd left it on in the kitchen as I could hear it in the distance....

    Still, 1 miss (for me) out of 10 scores isn't exactly a bad success rate!

  8. #4058
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    If you're expecting high energy Social Network/Watchmen stuff, you'll be disappointed no matter how many chances you give it. That's what I've loved about their scores so far though. There's a variety of sounds and moods depending on what the project requires. And yeah, it's definitely not a "walk around doing chores" kind of album. It's a "sitting in a dark room wearing headphones" kind of album.
    Last edited by BRoswell; 01-01-2020 at 11:17 AM.

  9. #4059
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    Quote Originally Posted by BRoswell View Post
    If you're expecting high energy Social Network/Watchmen stuff, you'll be disappointed no matter how many chances you give it. That's what I've loved about their scores so far though. There's a variety of sounds and moods depending on what the project requires. And yeah, it's definitely not a "walk around doing chores" kind of album. It's a "sitting in a dark room wearing headphones" kind of album.
    this is a very specific thing that I miss about listening to music. maybe when my son moves out.

  10. #4060
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    My "All Things Reznor" Spotify playlist is 51hrs long and i still feel it's not enough.

  11. #4061
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    Quote Originally Posted by r_k_f View Post
    My "All Things Reznor" Spotify playlist is 51hrs long and i still feel it's not enough.
    how do you have it arranged? chronological? autobiographical? i'm genuinely curious!

  12. #4062
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    Quote Originally Posted by eversonpoe View Post
    how do you have it arranged? chronological? autobiographical? i'm genuinely curious!
    No particular arrangement, I always play it on shuffle. Same goes for my 17hr "NINstrumentals" playlist

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    I used to throw the score stuff in with everything else too, but there is so much now I gave it it's own separate list because sometimes it would go like 4 hours without any vocals whatsoever.

  14. #4064
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    So I've been wondering where to put this, and I guess it's sort of controversial, so, it's here.

    How do you guys get so amped up about the film and tv scores?

    For me, if direction is given, and the music is made for particular scenes, it's sort of compromised: it belongs to the movie. The director told TR and AR to write it a certain way.

    I can't get around this.

    I'm hoping someone can change my mind.

  15. #4065
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    I'm just speculating here, but I think it's two things: 1) some folks are genuinely into film scores as its own genre, and 2) if you can get yourself to think of it as an album of ambient music rather than a score, it's probably easier.

  16. #4066
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    Quote Originally Posted by elevenism View Post
    The director told TR and AR to write it a certain way.
    It's no different than Trent & Atticus writing a song to achieve a certain mood, whatever it may be. The fact that their score work...well...works outside of the films is a testament to how expressive it is. The way you describe it makes it sound limited in scope, but there's such a variety of stuff that they've done now that I don't feel a piece of music can only work for one scene in one film.

  17. #4067
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    Quote Originally Posted by elevenism View Post
    So I've been wondering where to put this, and I guess it's sort of controversial, so, it's here.

    How do you guys get so amped up about the film and tv scores?

    For me, if direction is given, and the music is made for particular scenes, it's sort of compromised: it belongs to the movie. The director told TR and AR to write it a certain way.

    I can't get around this.

    I'm hoping someone can change my mind.
    For me, scores are no different than listening to say, "The Persistence of Loss" and "Leaving Hope".

    I generally don't associate the music with a particular scene unless I'm forced to, like the dialogue clips from Watchmen. There are scores, like Bird Box or Waves, which my mind is able to completely detach from the movie.

  18. #4068
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    Quote Originally Posted by Jon View Post
    For me, scores are no different than listening to say, "The Persistence of Loss" and "Leaving Hope".

    I generally don't associate the music with a particular scene unless I'm forced to, like the dialogue clips from Watchmen. There are scores, like Bird Box or Waves, which my mind is able to completely detach from the movie.
    I agree 100% with this. The score work can stand on it's own dependent of the film in my opinion. For me, knowing TR/AR were doing the scores is what got me to watch the films in the first place. I often listen straight thru or roll them into my master TR playlist with everything else. And let me tell you, you put all that shit on shuffle and you get some magical mixes.

  19. #4069
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    Quote Originally Posted by Jon View Post
    For me, scores are no different than listening to say, "The Persistence of Loss" and "Leaving Hope".
    Some of the Still material was written for the movie One Hour Photo. So, in a way, it's soundtrack work.

  20. #4070
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    I suspect that there are as many different types of director/composer combos as there are directors and composers. Each project takes on the character of the artists involved. TR/AR have reached the shiny, bald, golden pinnacle of their craft, so I don't think anyone in Hollywood is going to "direct" them to do anything. Even with their pre-Oscar scoring work, I would tend to believe that Mr. Reznor has always been given lots of creative space in which to operate. In fact, years ago I would have never said 'Hey, wouldn't it be great if my favorite artist got involved in scoring films,' but now I watch other movies and think to myself, 'Damn, I wonder what it would have sounded like if TR scored this one?'

    One thing is for sure...being a NIN fan in the Reznor goes Hollywood era has made me infinitely more aware of film scoring, and I'm kind of grateful for that.
    Last edited by buzburbank; 01-10-2020 at 02:16 PM.

  21. #4071
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    Deep​ (ironically) has incredibly stupid lyrics.

  22. #4072
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    Quote Originally Posted by buzburbank View Post
    I suspect that there are as many different types of director/composer combos as there are directors and composers. Each project takes on the character of the artists involved. TR/AR have reached the shiny, bald, golden pinnacle of their craft, so I don't think anyone in Hollywood is going to "direct" them to do anything. Even with their pre-Oscar scoring work, I would tend to believe that Mr. Reznor has always been given lots of creative space in which to operate. In fact, years ago I would have never said 'Hey, wouldn't it be great if my favorite artist got involved in scoring films,' but now I watch other movies and think to myself, 'Damn, I wonder what it would have sounded like if TR scored this one?'

    One thing is for sure...being a NIN fan in the Reznor goes Hollywood era has made me infinitely more aware of film scoring, and I'm kind of grateful for that.
    I feel you.

    But I saw an interview with the director of Mid90s...Jonah Hill, right?
    Anyway, he was discussing how crazy it felt to be giving direction to TR and AR.

    I think there's SOME degree of the music being made to suit a certain mood and such.

    But, everything is so relative and subjective, and we may all assign wildly different feelings and meanings to things that were created with some other objective vibe in mind, entirely, even when a piece of music ISN'T part of a film score.

    Ok. Let's try this. Which TR+AR film score is the best, to digest like an album? Which one should I try?

  23. #4073
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    Picked up a copy of Broken "definitive" at my local record store and while giving it a spin I'm reminded that not only do I need a better turntable, but that over the years NIN has gotten me to upgrade my home theater system with the 5.1 releases and blu-ray releases coming to mind.
    With that said, my controversial opinion is that the surround mixes of TDS, WT, and Ghosts are the true "definitive" versions.

  24. #4074
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    Quote Originally Posted by elevenism View Post
    Which TR+AR film score is the best, to digest like an album? Which one should I try?
    Dragon Tattoo. For me, that one stands on its own merits, even though it so perfectly complemented the rich texture of the film.

  25. #4075
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    Quote Originally Posted by elevenism View Post
    Ok. Let's try this. Which TR+AR film score is the best, to digest like an album? Which one should I try?
    Stuff like Waves and Bird Box work well, but that's probably not what you meant by "album". You kind of have to be in a certain mood. As far as "traditional":

    The Social Network (still the easiest, although...)
    Watchmen (all of this works really well, even with the dialogue clips. Volume 2 is especially cohesive)
    The Vietnam War (seems like a great middle ground for the score work)

    Gone Girl (this is my favorite "abnormal weather" score. This always hits me differently)

  26. #4076
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    Quote Originally Posted by buzburbank View Post
    Dragon Tattoo. For me, that one stands on its own merits, even though it so perfectly complemented the rich texture of the film.
    This. With exception of Immigrant song, which is garbage.

  27. #4077
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    Quote Originally Posted by brotha52 View Post
    the surround mixes of TDS, WT, and Ghosts are the true "definitive" versions.
    Ghosts I-IV has never been officially released in surround.

  28. #4078
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    Quote Originally Posted by elevenism View Post
    So I've been wondering where to put this, and I guess it's sort of controversial, so, it's here.

    How do you guys get so amped up about the film and tv scores?

    For me, if direction is given, and the music is made for particular scenes, it's sort of compromised: it belongs to the movie. The director told TR and AR to write it a certain way.

    I can't get around this.

    I'm hoping someone can change my mind.
    I believe with The Social Network, Fincher gave hardly any, if any direction at all for the most part. I'd say this is the way with most respected film scorers also, it remains very much their art and that is why they are chosen for their projects.

  29. #4079
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    I like Immigrant Song.

  30. #4080
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    Quote Originally Posted by elevenism View Post
    But, everything is so relative and subjective, and we may all assign wildly different feelings and meanings to things that were created with some other objective vibe in mind, entirely, even when a piece of music ISN'T part of a film score.
    We tend to mix and match music to fit how we feel. Sometimes we even do it with music that doesn't fit our mood just to create a juxtaposition of feelings. I know when I've been writing stuff that requires a certain level of anxiety or angst that I have to throw on something aggressive to get me in the right frame of mind.

    Ok. Let's try this. Which TR+AR film score is the best, to digest like an album? Which one should I try?
    The Social Network is a good start.

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