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Thread: Controversial Nine Inch Nails opinions

  1. #4561
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    Quote Originally Posted by BRoswell View Post
    That's not really a bad thing. I think people just need to separate the two. It's clear as time has gone on that Trent & Atticus have learned a lot about scoring films, and they feel more comfortable working outside of the NIN box that their early scores fit more comfortably in. Not every score they do is meant to be some aggressive sonic banger that you can play in the car. Film scores are, first and foremost, meant to serve the picture. They serve a different purpose than NIN music, and I think a lot of fans simply don't understand that.
    YOU happen to be into film scores in general, too, which helps. I'm sort of just not.

    I wish i WAS into listening to them outside of the media from which they come, and contemplating and enjoying them, but, i just have this thing where, you know, the score was made FOR the film and NOT as its own piece of art, and i just can't get into it...except for Prince's Batman album

    I'll also listen to the soundtrack to Interview With the Vampire.

  2. #4562
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    Quote Originally Posted by elevenism View Post
    YOU happen to be into film scores in general, too, which helps.
    I admit that my background with films is why I'm very defensive when it comes to Trent & Atticus' film work. To me, their work in films is just as valid as what they do when they create a Nine Inch Nails album, and they've conjured up a lot of stuff in their film work that hits at the same emotions, just in a slightly different way. A lot of how some fans feel about their score work stems from a lack of understanding I think. They don't get why they would do something like score films, so they see it as them fucking around or doing it for the money, taking away valuable time from the real art. I think that's kind of sad to be honest, because if they knew what kind of work went into making film scores, they would understand that it's not something you do just to put your feet up.

  3. #4563
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    Quote Originally Posted by BRoswell View Post
    I think that's kind of sad to be honest, because if they knew what kind of work went into making film scores, they would understand that it's not something you do just to put your feet up.
    Not all of us are simpletons.
    I don't widely admit that I'm addicted to the score for House of Cards score which Jeff Beal did. I'm partial to the Pride & Prejudice score composed by Dario Marianelli.

    For me, when I listen to the score, I'm transported back to that moment of the film or show, and that remains within the construct of that story. As it should.

    As a listener of NIN I feel, personally, that when I listen to the music there is no construct other than my experience with the music. It is mine to experience. There is no outside, 3rd party(director/writer) with a storyline with which to frame my interpretation of the music.

    So when people say, "oh, there's tons of score work - you have material to listen to/ be happy" it isn't the same thing. I want to hear music framed by NIN, not some external party with their own vision that has shaped the music.

    So yes, the TR/AR score work is good, but it isn't the same as listening to the music without the pretext of what scene it was used in.
    I personally am ok with waiting 1-3 years between albums. Maybe people are getting salty that the scores are being churned out 2-3 albums/year while some fans waited 4-5 years between albums.

  4. #4564
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    After all this talk of NIN returning (which I’m sure was mooted on that DP/30 interview about Watchmen), I looked up artists on Capitol Records and NIN are there. Has this been the case since the EPs as I’m sure they weren’t listed sometime after those releases? Or is this in anticipation of something new
    https://www.capitolrecords.com/artists/

  5. #4565
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    Quote Originally Posted by WorzelG View Post
    After all this talk of NIN returning (which I’m sure was mooted on that DP/30 interview about Watchmen), I looked up artists on Capitol Records and NIN are there. Has this been the case since the EPs as I’m sure they weren’t listed sometime after those releases? Or is this in anticipation of something new
    https://www.capitolrecords.com/artists/
    Add Violence and Bad Witch were distributed through Capitol, but I haven't been paying attention to the site.

  6. #4566
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    Quote Originally Posted by Magnetic View Post
    There is no outside, 3rd party(director/writer) with a storyline with which to frame my interpretation of the music.
    So......... how does that work with NIN concept albums like Year Zero (and some would say The Downward Spiral)

  7. #4567
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    Quote Originally Posted by Magnetic View Post
    So when people say, "oh, there's tons of score work - you have material to listen to/ be happy" it isn't the same thing.
    I'm not saying it's the same thing, just that they work along similar paths. My point is that it should be easy for fans who only want Nine Inch Nails music to see their score work as a separate but related entity (more so than, say, How To Destroy Angels) and be able to tune in or tune out of it as they choose. Yet there's still a very vocal group of fans who seemingly can't accept that Trent & Atticus would want to do anything that's not Nine Inch Nails, and feel that doing score work is some sort of betrayal. That's what bothers me the most. Then again, those fans are usually the ones who complain about a new Nine Inch Nails release, so it seems there's no way to satiate them.

  8. #4568
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    Quote Originally Posted by MrLobster View Post
    So......... how does that work with NIN concept albums like Year Zero (and some would say The Downward Spiral)
    I said "outside, 3rd party (director/writer)."
    If NIN has the framework of a concept album, that's part of its creation.


    Quote Originally Posted by BRoswell View Post
    Yet there's still a very vocal group of fans who seemingly can't accept that Trent & Atticus would want to do anything that's not Nine Inch Nails, and feel that doing score work is some sort of betrayal.
    My theory is that it's the volume churned out by the scores vs albums. Let's face it, the trilogy = 1 album, plus Ghosts V &VI = 3 albums. Meanwhile, in the same amount of time you have 8 albums of scores, and Watchmen had three volumes, so 11 albums worth of material. So in terms of output, yah, I understand the impulse for people to get butt hurt over it.

    But here's the kicker: with scores you are always working against a deadline. Whereas with NIN material, they're at liberty to tinker and perfect for as long as they want.

    I usually give all the scores a casual listen or two. Before the Flood and the Social Network I will go back to often while I'm working, and I really enjoy those albums. I am hoping that the NIN itch will get scratched....soon.
    Last edited by Magnetic; 12-13-2020 at 11:53 AM. Reason: Double post

  9. #4569
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    I think it's quite essential for artists to go outside of their comfort zone sometimes to find inspiration. Especially for artists that have been around for a long time.

    No matter what you do (producing Saul Williams, starting a side project, composing a 1930s orchestral score), it will provide you new ideas and tools on how to approach making music. Yet there will always be a portion of your fan base who will call you a sell out or demand new albums immediately.

    I am too a liitle overwhelmed by the sheer amount of ambient/instrumental music by Trent and Atticus. Still I find this much more enjoyable than TR working for Apple's streaming service.

  10. #4570
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    Quote Originally Posted by SchwarzerAbt View Post
    I am too a liitle overwhelmed by the sheer amount of ambient/instrumental music by Trent and Atticus. Still I find this much more enjoyable than TR working for Apple's streaming service.
    I mean it was important to Trent at the time to develop new pathways in distributing music and refining the streaming experience. And he startet ou with beats which was later bought by apple. So I don't think it was a mistake or a waste of time. He can do whatever he thinks is right. It also counts as working outside of his comfort zone in the meaning of my original argument.

    Sorry for the double post, just wanted to clarify.

  11. #4571
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    Quote Originally Posted by tony.parente View Post
    WE CAN STILL MAKE A PIZZA PIE.

    We just can't listen to bad witch while making it.

    I'D RATHER LISTEN TO HEAVEN UPSIDE DOWN THAN BAD WITCH.
    how about we just listen to the fragile together and enjoy our tasty pizza while we snuggle with vern? <3

  12. #4572
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    Quote Originally Posted by Magnetic View Post
    So in terms of output, yah, I understand the impulse for people to get butt hurt over it.
    I don't, but I'm not a quantity over quality guy, so the amount of scores released just strikes me as irrelevant. We had three interesting and distinct EPs released, plus a tour that was the definition of fan service and wish fulfillment for a lot of people (which would have probably continued this year had the world not lost it's goddamn mind). I think that's enough to not consider Nine Inch Nails as an afterthought.

  13. #4573
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    Quote Originally Posted by eachpassingphase View Post
    I don't dislike "Big Man with a Gun" at all. I know some folks have accused it of being corny, but in this decade it reads like an incel's internet manifesto before he shoots up a yoga studio or something. When I listen to it with that narrative in my head, the song doesn't sound cheesy but actually sort of terrifying lol.
    Hard agree. I used to think, when I was younger, that Big Man with a Gun was over the top and should have been left off. Now when I listen to TDS I can't imagine the album without it. Its function, and placement, are perfect. The lead in of "I want to know everything/I want to be everywhere/I want to fuck everyone in the world/I want to do something that matters" from the end of I Do Not Want This, a primal scream for some kind of impact on anything, into Big Man with a Gun's delirious conflating of firearms and phallic power is hauntingly appropriate. As we all should know at this point, there is no easier path to attention and "mattering" in the most superficial sense than violently lashing out at the world, and its something we've seen take awful shape in this country time and time again, sometimes (not at all coincidentally) by sexually frustrated incels. The song not even lasting two minutes and building to a feverish frenzy of sexual aggression before abruptly cutting off creates the sense of someone furiously getting off to something ghastly before it's suddenly over and all that is left is the afterglow, the shame and guilt of what that furious lust cost (A Warm Place). A perfect segue into the album's final, darkest act.

    The Downward Spiral's vision of psychological self-destruction has remained incredibly relevant - in fact I'd argue that the incel-type themes laden in Big Man with a Gun and Reptile ("give it") have gained an even more disturbing clarity in the world we live in now. Within the album, Big Man with a Gun is indeed terrifying. Outside the album, it is clearly not meant as an endorsement of what it describes and is really the closest thing to a Dead Kennedys song that Trent has ever written.

    Quote Originally Posted by bobbie solo View Post
    Plus how about the part when almost everything else falls away & we're left with Trent screaming "...Whole World Dowwwwn". You ever see them do Burn live? That part makes me want to murder everything. Or how about when he belts out "Swallowed Up In Fiiiiiire"?
    The choruses of Burn are absolutely face melting. And yeah, it kicks serious ass live. Count me in as a fan. Sure the lyrics are a little "10th grade me writing angsty poetry next to violent doodles" but it was written for an Oliver Stone film so...if the shoe fits!

  14. #4574
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    In my day, you had to wait five years... Five TEENAGE years...for the fragile, after TDS.

    I'm of the mind that we can all put on our big girl panties and hold on for new NIN.
    I'm expecting it to come out in 2022, personally.

    I do NOT think that soundtrack work is "taking away" from NIN, or that they're wasting time on it.

    I think of those records like, idk, like commissioned paintings. They're being paid to create something with a certain vibe, for a certain thing.

    Trent has money. If he felt an insatiable desire to make a new NIN record, I think he'd be doing that.

  15. #4575
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    Quote Originally Posted by elevenism View Post
    I'm of the mind that we can all put on our big girl panties .
    We? What’s this “WE” stuff!?!?!?... o_O

  16. #4576
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    seriously, commando all the way.

    Spoiler: apologies for that mental image btw.

  17. #4577
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    I connect with some scores. I don't with others. Which isn't to say I explicitly think they're bad or anything, but I just really need to be in a given mood to play a lot of scores.

    To put it in an off-kilter way, to me there's just a "NIN" vibe to some stuff (Watchmen being the example that stands out the most), and there's a "TR/AR" vibe to other stuff. It's odd, but yeah, I am at a point where I usually look at releases as feeling like one thing or another. Mank is brilliant but I'd have a tough time looking at it and calling it NIN.

    Often there is...bleedthrough.


    Quote Originally Posted by elevenism View Post
    In my day, you had to wait five years... Five TEENAGE years...for the fragile, after TDS.
    I remember being thinking we'd never have a new album again, lol

  18. #4578
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    Quote Originally Posted by elevenism View Post

    In my day, you had to wait five years... Five TEENAGE years...for the fragile, after TDS.
    1995 had Further Down The Spiral and a tour w Bowie. 1996 had Quake and a mini tour. 1997 had 'The Perfect Drug' and the Bowie video and remix of 'I'm Afraid of Americans'.....Its not like Trent hid in a cave for 5 years from TDS to Fragile

  19. #4579
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    Ehhh... same could be said for the recent timelines, no? My opinion only, TPD kind of sucks- and that’s not even taking into account the video. Not a fan of Bowie so that tour and song weren't really for me either, and it was a pretty short collaboration.

    Take out that first 2/3rds or so of 1995 out of the equation to since that’s basically an extension of TDS era.

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    https://consequenceofsound.net/2020/...-atticus-ross/

    After reading that interview, I take back anything I've ever said about the score work. If it's keeping them happy and engaged, I'm all for it. I think without it, they would would get tired of just doing NIN work, and maybe quit it altogether.

    Though I'm still waiting for the next NIN album.

  21. #4581
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    I quite like Soul from what i've heard so far but i hope that's as mainstream as the boys get regarding scoring movies. It's fair to say by now they must have been approached from either the MCU, DC* or ehem, Star Wars.. given the colossal amount of stuff heading our way. I don't want Trent & Atticus touching stuff like that. Ever.

    Gimmi Grimy obscure Horror scores any day!

    *yeah i know Watchmen is DC.. a rare anomaly!

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    Quote Originally Posted by Shadaloo View Post
    I remember being thinking we'd never have a new album again, lol
    Yeah, calling that video release in late 97 "Closure" and having it basically be a then-career spanning retrospective didn't really help that.

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    Quote Originally Posted by elevenism View Post
    In my day, you had to wait five years... Five TEENAGE years...for the fragile, after TDS.

    I'm of the mind that we can all put on our big girl panties and hold on for new NIN.
    I'm expecting it to come out in 2022, personally.

    I do NOT think that soundtrack work is "taking away" from NIN, or that they're wasting time on it.

    I think of those records like, idk, like commissioned paintings. They're being paid to create something with a certain vibe, for a certain thing.

    Trent has money. If he felt an insatiable desire to make a new NIN record, I think he'd be doing that.
    Agree 100%! And furthermore, he explained in a recent interview that he is honestly not that inspired right now creatively during COVID, that it's all a real bummer and he's just trying to get through it like the rest of us. He has a family and that takes a lot.

    I don't ever want Trent Reznor to make a Nine Inch Nails album because everyone wants one, or it's "time" to do that. I only want him to make one when he feels like he really has something poignant to say, a feeling that must​ be expressed. It's always worth the wait.

  24. #4584
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    Quote Originally Posted by Max View Post
    Agree 100%! And furthermore, he explained in a recent interview that he is honestly not that inspired right now creatively during COVID, that it's all a real bummer and he's just trying to get through it like the rest of us. He has a family and that takes a lot.

    I don't ever want Trent Reznor to make a Nine Inch Nails album because everyone wants one, or it's "time" to do that. I only want him to make one when he feels like he really has something poignant to say, a feeling that must​ be expressed. It's always worth the wait.
    So if Trent is experiencing a lot of fear, dread and anxiety this year.....Sounds like the perfect ingredients for a new NIN album

  25. #4585
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    To you? Sure. To him? who can say.

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    Quote Originally Posted by Reaps View Post
    It's fair to say by now they must have been approached from either the MCU, DC* or ehem, Star Wars.. given the colossal amount of stuff heading our way. I don't want Trent & Atticus touching stuff like that. Ever.
    Why not? I think ‎Ludwig Göransson has proven you don't need to be traditional or even close to the mark to make amazing movie scores.

  27. #4587
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    Quote Originally Posted by Helpmeiaminhell View Post
    1995 had Further Down The Spiral and a tour w Bowie. 1996 had Quake and a mini tour. 1997 had 'The Perfect Drug' and the Bowie video and remix of 'I'm Afraid of Americans'.....Its not like Trent hid in a cave for 5 years from TDS to Fragile
    annnnnnd- one...two...wait: ZERO? is that right? ZERO of those things were NIN studio albums.

  28. #4588
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    In hindsight, that five-year wait between TDS and The Fragile was maddening, but it reached a pretty terrific fever pitch all the same. I had TDS when it came out but my full-blown hardcore obsession didn't kick into overdrive until the end of '94. Back then, before internet ruined the world, everything seemed to drag. 1995 had Closer, Hurt and MOTP all over MTV and FDTS magically appeared in stores that summer. Then there was the legendary Outside tour that autumn and seeing them perform that mind-blowing mini-set with Bowie opened up new realms I'm still exploring to this very day..

    I remember in the span of like one week in 1996 finding the Ultra Rare Tracks bootleg at a flea market vendor stand and this dude at Babbage's swearing up and down to me that "a new Nine Inch Nails album" was hidden in the Quake computer game disc and would magically play on my stereo at home if I bought it. I had no computer at the time but thankfully I was gullible -- and obsessed -- enough to believe him and pony up the cash, and practically shit my pants when I took it home and pressed play and the Quake game music started playing. Technically, that guy wasn't wrong..

    In the beginning of 1997 there was The Perfect Drug and the Lost Highway solo tracks, and Closure, the most amazing tour documentary ever created, appeared at the end of the year. So really, it was that 18-month period of 1998 to mid-1999 that really seemed to be the most egregious of waiting games..

    It was still better than The Great Wait of 2002-2005, true NIN wilderness years punctuated by the wholly uncalled-for Tapeworm and Bleedthrough teases, which ultimately went nowhere. Thankfully, the masterpiece known as Year Zero conquered the Great Waiting trend, and the lands have been rife with creativity ever since..

    So even if there's no new, true NIN album on the horizon, at least we're not being subjected to half-assed remix EPs and the odd live DVD (not that I wouldn't whorishly buy both of those things regardless) during the interim, and are instead getting increasingly-groundbreaking and avant garde magnum opuses like Bird Box Deluxe, Watchmen, Mank and by god a fuckin' Pixar movie score. I'll take that over a random soundtrack cut or an endless slog of touring any week..

  29. #4589
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    Quote Originally Posted by Prettybrokenspiral View Post
    It was still better than The Great Wait of 2002-2005, true NIN wilderness years punctuated by the wholly uncalled-for Tapeworm and Bleedthrough teases, which ultimately went nowhere. Thankfully, the masterpiece known as Year Zero conquered the Great Waiting trend, and the lands have been rife with creativity ever since.
    I remember in 2005(6)ish, buying tickets to three live shows, going to one and having my mother ask me to do something that would have caused me to miss the remaining two. Being so used to Trent's five year album cycles, I told her I didn't want to miss them, because it would be five years before he toured again. Thankfully, I was wrong.

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    Might as well count the Puff Daddy Victory NIN remix in 1998 too, then. It's almost like Trent didn't take any time off at all.

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