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Faceplams: But, but, but I thought you were the guy with all the 53cr3t 1n51d3r kn0wl3dg3 about release dates and announcements and stuff!Originally Posted by cashpiles
You're not telling me you're just a liar, are you???
Active Member
But, but, but I thought you were the guy with all the 53cr3t 1n51d3r kn0wl3dg3 about release dates and announcements and stuff!
You're not telling me you're just a liar, are you???
Banned
considering the last 2 albums were mediocre to poor, maybe TR is taking his time with this one, realizing how important it is at this juncture of his career....
Active Member
I'm sure that with his Academy Award, his net worth in the millions, his happy and successful family and his acclaimed film scoring career he's just fucking sweating about whether or not his next NIN album is a big enough deal or not. It all comes down to this!
Banned
Oh snap crackle pop.
Active Member
Yes, I'm aware it's probably the most accepted interpretation, but isn't it almost the same? He doesn't understand why people love him, which means he personally does not love himself nor thinks he has qualities which should warrant it.
I do not necessarily agree with that he accepts it in the end though. ATL, Closer, ILFTJYF have rather sad themes. Also, WT has some rather depressing songs where Trent questions himself or the way he lived or lives his life. In You Know What You Are? Trent struggles an awful lot with himself and gives no mercy. He hated what he stood for. But WT also has EDIETS and TLBTB; both songs radiate defeat.
Though the record has an awful lot of coming to terms with himself in one way or another, but these are not exactly the happiest conclusions. If we ignore the chorus in ATLITW we also get a rather sad picture. Even in the last verse, where he basically says he's only happy when he's with us, and he feels relevant, so even that ends with Sometimes I get so lonely I could ... [die].
In the end, I think he was extremely grateful for the millions of people being a fan of his, and it was the thing that kept him going, made him come back, but on the inside, he still failed to accept that he was worthy for that love, because he had seen himself for the selfish monster he thought himself to be.
Banned
Lots of people seem to be getting in a big tizzy over the lack of announcements/musical output so far this year. Rest assured, when the new Apple Music is unveiled, the new NIN album/EP will be unveiled.
Active Member
I'm so glad our residential Trollstradamus has returned to sharing his predictive powers with us commoners
Throbbing Member
I wouldn't be surprised to see an EP come out with the Apple Music thing next week. Maybe a single and two non-album tracks on the EP and an album to be released in the fall? Tour dates would be cool next week too, but looks very unlikely with no festival dates.
Banned
good point. I mean TR doesnt have a history of sweating over an album or being a perfectionist or anything....
Administrator
I'm so desperate, I actually hope there is some NIN feature to the next Apple Music release. But I'm not sure that apple or Trent would think its a valuable idea for either party. It just seems like Trent would be limiting himself if he did an apple only release. Plus, Apple could probably get whoever the cool kids are listening to these days, which is not nin.
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words.exe
I don't think he would go so far as to tie actual, real NIN music to Apple Music. Remixes are one thing, instrumentals are another, but new studio material is completely different.
Maybe, at most, timed exclusivity - like, a week or something. I don't even like that very much, though. Streaming exclusivity just screams "pirate me instead."
Banned
A Bowie cover on Apple Music would be nice and appropriate...
Active Member
A NIN cover of Always Crashing In the Same Car could be pretty amazing
Active Member
He also has a history of releasing an intentionally low-effort record, making an album from the stuff he did on his laptop while on tour and so on. There was a Trent Reznor in 99, in 08 and there is one in 16 and we have no idea how does he feel now about going into a new record. Whether he wants to change the world once again, or just wants to jam around.
Active Member
I will say I like the image in my head though of Trent literally physically sweating with anxiety over how many times to repeat the ending to 1,000,000 before finally deciding it should be an actual 1,000,000 times, or as close as Atticus would allow. "This is what my entire goddamn career's led up to, you fucking idiots! Fuck it, play 999,999 again -- I know something in that mix isn't right!"
Banned
you just made my point. Thank you for that....Because the record he took his time on (1999) is regarded by many as his pinnacle and the record he made quickly and low effort (2008) is regarded as one of his weakest..Further proving my illustrious point on how he may be taking his time with the new record because he realizes the quick low effort album only leads to substandard work.
Active Member
Considering 1,000,000 is still a staple and Letting You got a lot of play last tour, along with Echoplex popping up along the Tension dates, I'd say Trent himself probably doesn't regard it as particularly weak. Those weren't "hits" and there'd be no reason to play them if he didn't feel good about them. No one's going to likely leave a show muttering angrily that "it was good, but they didn't play that song about feeling a million miles away again, so it was a real waste of money coming here all in all." He probably feels just fine about it, and considering all the indie sales records it set at the time, financially the numbers back that sentiment.
I'm not even a fan of The Slip but I doubt Trent has some sense of "Oh no, that album I did 7 years ago just wasn't up to snuff and I need to go through intensive addiction, recovery attempts, deep personal loss and writer's block to make something worthwhile again!"
It's been said a lot that The Fragile took so long in part because of dry spells, a lack of focus, constantly changing goals and directions and a real constant disorder. The guy also was touring heavily for several years, working on a couple of different big soundtracks and produced a sprawling concept album that he was heavily involved in which has a fabled production tale of extreme chaos and disorder that you may have heard called Antichrist Superstar, while also trying to make Nothing Records into more than just another short-lived vanity label and also doing ... well, whatever the fuck he was doing with Tapeworm and Leo Herrara. It's just as easily argued that it is as good as it is despite the long time it took rather than because of how long it took. And, even then, actual full-on sessions for it didn't run from 1994 to 1999. All in all it was more like two years, right? With Teeth's a better fit as an example of an album that took a very large amount of work and time and while I'm a huge fan of it not everyone's so hot about it. A lot of people bitch that the earlier Bleedthrough concept was better -- and that's a potential consequence of working too long on something; you can end up overworking an idea to the point where the best version's lost and you've sanded it down too finely.
There's this petty idealization of "classic NIN" from a lot of ... less tactful fans, to say the least, that really doesn't hold up under scrutiny. A lot of these same people love Broken which was made pretty quickly. Time invested is not directly proportionate to the level of quality. One idea might take a year to perfect and another might take a day. Different things call for different gestation periods. Art isn't like a fetus where there's a set 9 month period required that's a univeral standard. It's highly variable. Terrence Mallick and David Fincher have wildly different schedules and amounts of time spent on their respective films and yet both are lauded. Some writers pump out a novel a year and others spend their lives polishing just one. You can try and reduce it to some formula of "THIS is what would always lead to the best work," but you can never really be terrifically certain.
Last edited by implanted_microchip; 06-08-2016 at 04:59 PM.
Throbbing Member
I'd put The Slip in a different category than Hesitation Marks. The Slip was raw, but it still sounded like Trent was the driving force behind the architecture of the sound. Hesitation Marks sounds like Trent provided some vocals and basic ideas and then phoned the rest in, letting other people do a lot of the leg-work in the arrangement and production. Of course that is pure speculation, but HM sticks out as the most soulless of his releases.
Active Member
The basic idea I was trying to refute is that it is not important for his career anymore, not even sure why you said that. He can permanently retire NIN and still have a prosperous future. No one in the world is saying "yeah, this Trent Reznor dude... I think he might be talented, but I am remaining skeptical until he doesn't release another great record."
Like it or not, he can drop dead yesterday and still die as a rich as fuck legend who did not leave anything left to prove.
That being said, I agree with @HurtinMinorKey (whose name I just understood, LOL) that it was not The Slip which was problematic. Hesitation Marks feels like it had disgustingly low effort and creativity put into it. It had a few moments (including Everything, because whether you like it or hate it, it's at least daring), but the rest was just played safe. The songs are not bad, they just feel like some washed up versions of cover songs from NIN's previous records with some additional HTDA songs. The only creative song on HM is Running.
Banned
And let's not forget at the time of The Slip being released, Trent said that he made it as a record of songs that could be played live (paraphrasing)... so to that end he seems to have also been successful in his aim if he still plays Slip material in live shows.
Banned
Why no Demon Seed live then?
Active Member
Is that a serious question? [and no, I don't mean the song is shit or could not be played live, but this is just not a good question]
Banned
Yes it is. Especially since we saw footage of Ilan rehearsing it!
Administrator
Ilan later said he did it on his own just for fun and the challenge. Trent was kinda impressed but still never really considered the song to be played.
Active Member
The reason I asked was not because of Demon Seed, but because you implied every and all songs on that album should have been played. Even if you have live shows in mind when you are making a record, it was done in such a short time that it is still impressive it turned out the way it did. Also, I doubt he literally said he made every single song on it live show friendly.
Banned
I remember seeing an interview a couple years ago where he expressed regret over how bad The Slip sounded/was produced and said something to the effect of "I can't believe I released a record that sounds that shitty" regarding the production....that right there is an admission of a rush job
Active Member
Anybody else remember this interview?
Active Member
Really ? I'd love a source on that, because I always thought the garage sound was actually the whole point.
Active Member
Yeah I'm about completely certain the comment our faithful friend BP is referring to was Trent remarking in a self-effacing, comedic tone of "I'm surprised that I let myself have that freedom and go for such a radically different production style that was supposed to sound like something from a garage instead of some elaborately polished and sheened project." The whole thing seemed like a personal challenge of "Can I actually make an album in the span of a month or so efficiently and completely," it wasn't supposed to be heard as "THE FRAGILE'S RIVAL, MOVE OVER DOWNWARD SPIRAL 'CAUSE A NEW BULLETEATER'S IN TOWWWWN" (god I have such a thing for making jokes about the lyrics for 1,000,000 and I don't even know why)
Dis-member
Nope.
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