Random NIN Thoughts

[Wulgaren]

if the soundtracks are their main source of money then i don’t see any reason for them not to release stuff as NIN for the few that do appreciate art and what they do nowadays. its okay to be obscure.

“i’m safe in here, irrelevant”

[Jazzkokehead]

In another random thought, I will be AMAZED if NIN aid not retired soon. Rationale? Well Trent and Atticus are getting WAY s’more affirmation and money and awards and opportunities as composers. Like it doesn’t even compare now. Meanwhile the music industry is shit, they can’t make much from NIN, they are aging, their fan base is generally aging and not very diverse (myself included) and people think of NIN as a legacy act in spite of their new materials being just as incredible as anything from back then. Furthermore Rock as a genre is barely hanging on and is so outside of the culture now. And speaking of the culture, everything is shallow now. Few people spend any time with art. You can stream everything in the world for peanuts, a new album gets five minutes of attention. It’s all Instagram and TikTok.

in that kind of atmosphere, what in the world would motivate you to keep pushing that boulder up the hill? I know he does it as a vehicle of self-expression and because he just enjoys it, but he is also the kind of person who would never want to keep something going just to keep it going.

I bet we have one NIN album left if we are lucky. I hope I am wrong, but you can’t argue with the way I have described the landscape and the situation. I think NIN has produced some of the greatest, most relevant and vital music in the world in the past few years. But that world sucks and doesn’t appreciate good things any more. How long do you give your pearls to swine who don’t deserve it (present company excluded of course). Trent has a lot of integrity and perseverance, I’ll give him that. I’d be too disillusioned to even try anymore. Too attracted by what earning me the awards and too pissed at the poor taste of Americans.

Sorry, but I can't really agree with this. Maybe I'm biased, and it's just my personal, selfish desire to want Trent to work on NIN until the end of time, but I still don't see this happening. Wasn't there just an interview recently where Trent said he was excited to get back to touring in a post-COVID world? Doesn't sound like something a guy ready to throw in the towel would say. While I have no idea how much money he's pulling in for a film score, the amount he makes on touring and merchandise can't be small. And I also think NIN is a pretty mutable entity, especially live; if a future live show was just Trent, a piano, and maybe a few string or keyboard accompaniments, I'd still buy the shit out that ticket.

[fillow]

There's been literally zero indication that Trent wants to put NIN to rest. On the contrary, he said a lot of times that he's quite comfortable with their present schedule of switching between NIN and score work. Some unexpected opportunities for one project may inspire some new direction in the other one, and, as already said above, putting NIN on hold for a couple of years makes him eventually miss it and get more excited to come back. Which is precisely the change he needed after non-stop 2005-2009 touring era, which burned him out to the point of potentially retiring the band.

[Jazzkokehead]

Ilan Rubin has been such a win for the NIN live band. Apart from the fact that he's a great drummer, his ability to switch to guitar, bass or keys as the song demands is fantastic. I think his bass playing on Disappointed live, for example, is a good bit better than Pino Palladino's. Which seems almost heretical to say, given Pino's legendary status, but, well, there it is.

[eversonpoe]

Ilan Rubin has been such a win for the NIN live band. Apart from the fact that he's a great drummer, his ability to switch to guitar, bass or keys as the song demands is fantastic. I think his bass playing on Disappointed live, for example, is a good bit better than Pino Palladino's. Which seems almost heretical to say, given Pino's legendary status, but, well, there it is.

pino plays in a VERY particular style. i think it worked on a good bit of the HM material. but i honestly preferred it when josh was on bass. it had more urgency and i think it served the material (especially the older material) better. i actually can't stand the version of MotP with pino on bass. it sounds off.

[WorzelG]

pino plays in a VERY particular style. i think it worked on a good bit of the HM material. but i honestly preferred it when josh was on bass. it had more urgency and i think it served the material (especially the older material) better. i actually can't stand the version of MotP with pino on bass. it sounds off.

I did love Pino’s Sanctified, but I also loved the bass in the Sanctified from the festivals, which I assume was Josh? But they both had their merits

[eversonpoe]

I did love Pino’s Sanctified, but I also loved the bass in the Sanctified from the festivals, which I assume was Josh? But they both had their merits

yeah, festival version was josh, which i also preferred. it was sexy instead of noodly. i don't want noodly bass in NIN.

[WorzelG]

yeah, festival version was josh, which i also preferred. it was sexy instead of noodly. i don't want noodly bass in NIN.

Ha there was a certain throbbing style about it that fit, I can see that. It was very forthright

[Jazzkokehead]

pino plays in a VERY particular style. i think it worked on a good bit of the HM material. but i honestly preferred it when josh was on bass. it had more urgency and i think it served the material (especially the older material) better. i actually can't stand the version of MotP with pino on bass. it sounds off.

I actually liked Pino's bass on March of the Pigs. The song hasn't been played with a huge amount of variation for literal decades now; what he brought to it was welcome, I thought.

Poor Josh Eustis, though. Talented guy who seems to have really gotten a raw deal.

[Erneuert]

Re-reading this and I can’t help wondering where the Super 8 footage vanished to... or who stole it and still has it to this day?

https://pantograph-punch.com/posts/i...-simon-maxwell

And from what I remember, someone stole all the Super 8 footage! It just disappeared. It was shot all over the country in the States, then it was shipped to LA and then it was shipped back to England. When we came to put it all together, a lot of the Super 8 footage had disappeared. I knew we had it – I had seen the rolls of film – but when we came to put it together – you know, we had these rolls sitting next to the telecine machine - I am going, “Where the fuck is all the Super 8?” Because that was the idea, capturing the essence of the whole gig on Super 8, and intercutting it with the high production, 35mm stuff. But – it disappeared!
How weird.
That kind of put a spanner in the works, and we were really short on that footage. It’s not something you can go back and repeat again. So yeah, that did cause a problem. And we didn’t reshoot anything as the tour had finished.
So the ‘Hurt’ video was done and dusted before then, and that was quite a straight-forward process. And it evolved a little bit, but effectively that never changed.