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Faceplams: I kinda agree about Hurt, Hurt (Quiet) is just so much better
Josh Wink was on HLAH
I kinda agree about Hurt, Hurt (Quiet) is just so much better
Active Member
I honestly don't think there's much of a difference between the two to really say that one is better than the other. Aside from slightly less distortion and the beginning and end shortened, it's pretty much the same song. It's basically like comparing radio edits to the album versions. Not saying you can't compare and contrast the two, but it seems kind of pointless in my opinion.
Active Member
It starts out strong, pumps you up, just like Ruiner for example, but it just leaves you hangin'. I can't stand to listen to "your god is dead, and no one cares [...]", because that chorus wasn't interesting (musically) to begin with, and it's especially not when you hear it for the 6th time during the same song. Heresy is like THTF or CBH without being catchy or dancy; it has everything your typical mainstream music has (verse-chorus-verse-chorus-solo-pumped up chorus), but it still tries to be "TDS-ish", which is just not possible (no, even Closer is not that mainstream). The only songs on TDS which have the same structure are Mr. Self Destruct and Reptile, but MrSD takes you from the start, has an interesting solo part, and its' chorus is much digestable (probably thanks to being faster), which actually makes you want to listen to the song again, while Reptile has its' own vibe. You either love the album version of Reptile, or just barely ever listen to it, like me, but I can still appreciate that version. It's somewhat like Closer.Originally Posted by eversonpoe
Howewer, with Heresy, when I reach the first chorus I feel like I'm listening to the song for the 1000000000000000000000000th time. It striked me yesterday, when I decided not to skip Heresy after a year, and I'm the guy who probably will never be tired of THTF, but it just doesn't work. It's not angry enough (unlike Ruiner), it's not catchy enough (unlike THTF), it's not dancy enough (unlike Discipline), it just says "fuck religion" which always been a controversial statement, so it remains relevant, because there's not many NIN tack that defies God this openly, so I can see how this could be the go-to song for some people. Still, other NIN songs mentioning God are much much deeper and emotional, Heresy is bleeding heavily on the lyrics-department as well. Being blunt did wonders for Closer, but for Heresy, well, it's like a one hit wonder. First you have a big grin how cool and funny Trent is ("if there is a hell/I see you there"), then you listen to The Wretched or Terrible Lie, and you realize how it should've been done.
Edit: also, it fails being "TDS-ish". The Becoming, IDNWT, Piggy, just to name a few are all unique in a way. What can Heresy show up?
About Hurt, I didn't even realize how screwed the original version was until I saw Hurt (Quiet) on the deluxe edition. I was like "why is it quiet? it's almost the quitest song on the album already", and it turns out that the vocals on the original version are actually mildly distorted, which is fuuuuuuucking annoying once you realize it. People complain about the filter in RWIB, well, it's way way way worse. It actually irrates my ears, which the last thing I want from a song, especially from one that should put you in the mood.
Last edited by Volband; 02-13-2014 at 05:37 PM.
Active Member
Are we listening to the same song? I'm pretty sure the vocals on Right Where It Belongs are MUCH more processed than the vocals on Hurt.
Active Member
They are, but they are listenable without getting a headache. Being annoying for your conscious that it would've been much better without the processing (RWIB) and something ripping your ears apart (Hurt) are two very different things.
Now I'm 0000
I’m sensitive to the same stuff Volband is talking about. Much as I understand the reasons for it, the distortion in Hurt is enough to distract me from what I like about the song, so I play (Quiet) instead.
The bigger problem for me is the end of TDS (the song). With all the bass filtered out, it doesn’t have the impact I think it should — but maybe that was the whole idea. Plus it’s tough to listen to on headphones.
The fuzz in RWIB is easier to live with. If you restrict yourself to v2, you’re missing too much of the texture.
Active Member
Does anyone else find the ending of "Closer To God" to be almost unbearable? I love that track to bits, but the way the cacophony builds and builds at the very end is almost too intense. I can tell that it's meant to be that way and it's actually kind of cool that they found a way to push your listening to its absolute limits like that, but damn.
Now I'm 0000
I can survive that only because I have all of my music going through a reverb filter to fight the “inside your head” effect of headphones. Otherwise the way the sound breaks up at the very end would make my teeth explode. (Ow.)
Sometimes I think TR never listens to his stuff through headphones. Obviously he has less sensitive teeth…
she/her/hers
i love it. but i also listen to throbbing gristle pretty regularly.
Active Member
Yeah, until the Wave Goodbye tour I didn't even consider TDS a song, when in reality, it would be awesome without the filter.
Hairy Member
Wow, and I thought I was the only one here. I've skipped it consistently for 15 years. And I agree with you on the lyrical content. However, I had a female buddy in high school who sang the song to me (yes, she did) and that might have been the only time I found it palatable.
Throbbing Member
curious how you do this. is there an "app" (or program on the computer) for that? or do you use, like, a dedicated processor on your home system?
Now I'm 0000
It’s a very roundabout thing that I stumbled upon by accident. OS X has a built-in set of audio filters for programs like GarageBand to use, and a couple of programs by Rogue Amoeba (Audio Hijack Pro and Nicecast) can apply them in real time to the audio passing through the system.
As if that’s not obscure enough for you, I ended up tinkering with a combo of two Matrix Reverb filters to get my pseudo-crossfeed effect — thanks to the reverb, audio from one channel bleeds into the other, which is how you get the sound field outside your head.
(A bonus of using reverb to do this is that everything sounds like it’s coming out of big-ass speakers in a concert hall.)
There’s a commercial thing called Dolby Headphone that does this sort of crossfeed (but without the reverb). I heard it in a Windows DVD player app years ago and became obsessed with it. My duct-tape version is the only one I know of that isn’t limited to certain media players or audio hardware, aside from having a Mac.
Last edited by Joy Prevention Hotline; 02-15-2014 at 05:36 PM.
Hairy Member
Trents lost it
Josh Wink was on HLAH
That's a big book, how did he misplace it
Now I'm 0000
What brings that on?
Active Member
Multiple Trents? As in the various copies he is of himself?
Active Member
I think he meant to say "Trent slots it". I had no idea he had a gambling problem.
Hairy Member
Trent has no more talent
Active Member
Trent is a ham sandwich.
Throbbing Member
I feel like Copy of A (the user) is a very specific chat bot programmed to state random opinions about NIN.
Banned
Trent can put his ham in my sandwich.
Active Member
Now I'm 0000
Does seem more Random than Controversial.
Down, but not out.
http://godgiven.ytmnd.com/
Throbbing Member
I posted about my distaste for Broken in this thread a while back, and how I feel it's really the only spot of weakness in the NIN catalog. In my opinion the songwriting just isn't there like it is on every other album, with the exception of Happiness In Slavery and Gave Up. It's a boring punch in the face, gets discussed/referenced far more than it deserves, and to me has always represented what non-NIN fans think NIN is, not what NIN actually is. Anyway, I think Trent's thoughts in the Quietus interview from today really summed up why Broken just doesn't feel right.
Trent's controversial NIN opinion...
"Well if I look at my catalogue, I see Pretty Hate Machine, which is a pop album with bits of noise, and at the time felt quite daring to me. Broken was a reaction to that. You know: "I'm not a pussy! I'm not a pop guy!" Which probably lent an air of insincerity to it. In all honesty it was more reactive than coming from a place that was pure. But on Downward Spiral, that's where I found my footing and started to become more me, I think."
Vertiginous Member
I think Broken's a work of absolute brilliance personally, but I'm very rarely in the mood to listen to it these days. I respect it more than I love it right now.
Active Member
And yet out of the ten shows I've seen, from nintourhistory, Wish has been played at 9 of them, the most, followed by Hurt, Gave Up and March of the Pigs at 8 (head like a hole as only at 7 and Closer at 6).
Stubby Member
IMHO "Copy of A" live version from Festivals 2013 tour is much more better than the version played during the Tension 2013 tour.
Besides the fact that Pino did an extraordinary work in "Sanctified", I still prefer the Festivals 2013 tour version. :-)
Throbbing Member
Hey man, it's Trent's quote, take it up with him.
...in all seriousness though, I know you're right, and I've never understood why he still plays tracks like Wish. I know some people think Hurt or HLAH or MOTP should retire because everyone has seen it -- I disagree. Every show is someone's first, and every band has staples. But Wish? Sometimes I think he does it for the exact same reasons he describes for why he put out Broken. Street cred? Easy way to rile the crowd up again after playing the more mellow songs? That does seem to always be its position in the setlist. And damn, it always brings out the assholes too. The pit could even contribute to why I don't like Broken... the same bro-y assholes that behave shittily are the ones I picture claiming Broken as their favourite NIN release.
It's not the heaviness, by the way -- I love when NIN is heavy. Broken is just such a dumb, simple heavy.
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