Likes: 
Faceplams: I listened to the surround mix for WT the other day - first time in a few years. Fuck me, it's incredible. Like a totally different album. I've always liked WT, but this really opened it up again for me
Stubby Member
I listened to the surround mix for WT the other day - first time in a few years. Fuck me, it's incredible. Like a totally different album. I've always liked WT, but this really opened it up again for me
Active Member
I never got to hear the surround sound version of WT
Is there a preferable version to get?
Like how everyone says the SACD of Downward Spiral is the best.
she/her/hers
as far as i know, the only surround version of with teeth is from the dvd-audio (there was no SACD release, at least in the US)Originally Posted by neorev
Bite me
Ha, G and I were at the Metro listening party, too. I'd already heard a lot of the album by that point ("Fuck you spoilers, Fuck you Saturnine!") but the "listening party" concept was, um, weird. I thought there would be SWAG. Nah, just standing around by the bar upstairs, listening to an album.
I still really like this album, though.
I like the rehab comeback theme, very cohesive.
Last edited by allegro; 07-15-2015 at 11:47 PM.
Stubby Member
Yeah, it's the dvd-audio side of the dual-disc version of the album: http://www.nin.wiki/With_Teeth_(halo...n_.26_DualDisc
Administrator
Have anyone tried playing With Teeth (song) on drums? How the fuck do I do this quick hihat thing after two first bass drum kicks?
Hairy Member
I think of them as two swung 16th notes (first and third note of a triplet). Probably easier to play with two hands to have a nice accent on both notes.
Active Member
I used to play this song a lot, you can do it!
Not the greatest video to reference (due to general quality and various bootlegs put together) but it's the quickest one I could find that best shows you what's going on, IMO.
Jerome throws in a tom hit fairly often (amongst other forms of flair) right after the two hi-hat hits you're getting stuck on, which, yeah--use two hands! @Maurish
His live rendition should've been on the studio cut, the fills he does live are totally sick.
Definitely bob your head/upper body to the beat. Trent does this as well.
2005 Club Tour was the shit!
Active Member
I used to play this song a lot, you can do it!
Not the greatest video to reference (due to general quality and various bootlegs put together) but it's the quickest one I could find that best shows you what's going on, IMO.
Jerome throws in a tom hit fairly often (amongst other forms of flair) right after the two hi-hat hits you're getting stuck on (which, yeah--use two hands! @Maurish ), but maybe that can help you better understand the grid of this beat. It is indeed a tricky beat overall, but really goddamn fun once you get it.
Jerome's live rendition should've been on the studio cut. The fills he did live were sick while not too busy sounding.
Definitely bob your head/upper body to the beat. Trent does this as well.
2005 Club Tour was the shit.
Hairy Member
Thanks for the live clip. Interestingly, the hi-hat hits on the live version (both Jerome and Josh (from BYiT)) are straight 16th notes, while in the studio version they are more spaced out, feeling more like triplets.
Administrator
I mean, I can do the sixteenths, but they somehow sound for too long, while in studio track they are very short.
I tried to notice how Josh plays it on BYIT, but there were too few useful shots of him to see anything.
Hairy Member
I see. I guess you have to try out different ways. I would keep the hi-hat fairly tight and hit it with the shoulder of the stick. Perhaps it's the acoustics of the room (too much reverb)?
Stubby Member
Yeah Non-Entity perhaps fits a bit more than Sunspots, but I thought the chorus for Sunspots was really bad ass.
With Teeth was released to the world 10 years ago today. Honor its memory with individual praise, reviews, complaints, testimonials, etc. as we celebrate a decade with this pivotal and important oeuvre from our Lord the savior, Trent Reznor.
Remember the build-up to this? That burning hot summer of 2004 as we watched him piece it together via a shitty, grainy webcam in the Nothing studios? How an album originally called Bleedthrough containing "12 good punches to the face" became [WITH_TEETH], "a collection of songs that are friends with each, but don't need to rely on each other to make sense"?
This album was released in the middle of what was probably the darkest period of time in my life. A near-two year journey from the bottom back to some kind of salvation/redemption that this album ended up soundtracking. I remember it leaking in the middle of April and trying in vain to not download it, burn it to CD and listen to it that day. I took it home, waited until everyone else in the house was asleep and I was alone at the computer in a silent house and playing it for the first time.
I remember not believing how much I loved All the Love In the World from the first time I heard it, and still to this day. How songs like You Know What You Are, Only, The Line Begins to Blur and Getting Smaller gave understanding to an adolescent anger I couldn't get my head around but was dealing with every day. Or the way I cried, after years of not believing I was able to cry anymore, when I heard Right Where It Belongs at the end of the record.
I love this fucking album. It has a timelessness to it few, if any, of his other albums can claim. TDS and The Fragile and Year Zero are the monster concept albums, but WT is its own animal. The emotion in this album is virtually tangible; how it sounds so simplistic and streamlined, but reveals itself to be intricate and layered with repeated listens. The raw, ugly emotion of "Love Is Not Enough" and "The Collector"; the beautiful centerpiece of the much-maligned title track, when Trent is whimpering "I can not go through this again..." as that beautiful piano/keyboard instrumental soothes you into lowering your defenses for a moment, before the whole thing explodes violently once more.
This is not my favorite album he's done, but I always get excited to hear the entire thing whenever I''m in the mood to hear it, which is very often. My only complaint with the album is that I wish he would have included "Non-Entity" in place of "Sunspots". I'm always amazed to hear how many people claim Sunspots as one of their favorite NIN songs. To me, it sounds like a good b-side that doesn't quite fit into the context of WT as a whole, the way Non-Entity does.
In essence, I can't believe it's been 10 years since this album was finally released and quite literally saved my life when I needed it saved most. I bitched endlessly, here and offline, for years about the hold-up between The Fragile and WT. But once I heard this, all was forgiven. Even to this day, this album resonates and guides me through trialsome periods, just like his other albums. This one holds a special place in my heart though. It was like a match lighting in a dark, dark tunnel to illuminate a friendly face I didn't recognize at first, but ended up leading me back towards the light.
I own like six different versions of this album, in various formats. All money well spent.
Thank you, Trent, for making such awesome music and sharing with the world this most excellent of albums!
I too very much enjoyed this album because of it's emotional impact. 6 different formats eh.. lol so CD, linyl, cassette?? MP3 and FLAC?
Stubby Member
Hey do you know the name of the NIN artwork that you have as your avatar/profile picture? I like that one.
Stubby Member
You know, a song on this album that I didn't really understand or like and just let pass right through my ears was Beside You In Time.
I listened to With Teeth and Year Zero a number of times when I was about 16 or 17, and it's funny that even when getting into very experimental, drone, and ambient music like Throbbing Gristle, I still didn't catch onto most of the songs (realize how unique they were), especially the very droning, hypnotizing, drum ducking groove of Beside You In Time.
This is a song that I really appreciate now because you could almost call it drone music, but it has more than most that fit under that category. The persistent beat that sucks the sounds inward on every hit is one thing that stands out, also I find that the song builds to the point of "epic-ness" (quite profound towards the end), and as part of that, a few different chord progressions and vocal harmonies are introduced.
Not sure if this is my favorite song on the album but it's really kool.
Hairy Member
Totally agree, I got massively into the visual concept behind this album. I still have a folder on a hard drive somewhere with all the hi res images and posters and stuff that were around at the time, love it.
Just tickles my balls!
Cover It Up (aka The Idea Of You with different lyrics)
Good Day
The End
Not So Pretty Now (Demo)
Home (Demo)
Non-Entity (Demo)
The Warning (2005 Version)
where are youuuuuu?
Just tickles my balls!
Let’s reminisce about that first show in Fresno following WT’s release.
Beside You In Time (Intro)
Love Is Not Enough aka The Clamp (Debut)
You Know What You Are? (Debut)
March Of The Pigs
The Line Begins To Blur (Debut)
Piggy
Terrible Lie
The Collector (Debut)
Closer
Home (Debut)
Burn
Gave Up
With Teeth (Debut)
Even Deeper
Hurt
Wish
The Hand That Feeds
Starfuckers, Inc.
Head Like A Hole
…in hindsight, it’s kind of cool that he included Home in the very first set. And then years later used it as an opener. He must be pretty fond of it. Makes you wonder why it didn’t make the final album cut (not counting vinyl).
Stubby Member
The fact that Home's made a semi-regular appearance in setlists, while other tracks like You Know What You Are? have been MIA for a while makes me think Trent has had second thoughts about not including it in the tracklisting. It would hardly be the first time an artist's cut a song only to later decide it was a mistake.
Just tickles my balls!
See: 10 Miles High.
Stubby Member
Not to be completely negative, but 10 Miles High has never been played live. I like the track, but it also doesn't feel like a song Trent's been comfortable with in any form. There's the remixed version on Things Falling Apart and the vinyl version of The Fragile (complete with buried lyrics) and the instrumental on Deviations (which is pretty distinct). Whereas with Home, there's only one released version that we have... so I can only conclude that Home is a track that Trent considers "finished," whereas 10 Miles High is something he doesn't want to release in it's original form. If he liked 10 Miles High, we probably would've gotten a live version of it by now. I mean, we've gotten And All That Could of Been and The Perfect Drug live now. And Trent famously does not especially like The Perfect Drug.
That being said, 10 Miles High is great, and I would absolutely love to see a live performance of it.
Last edited by Jazzkokehead; 06-24-2021 at 10:32 PM.
Just tickles my balls!
On the contrary, he actually said in interviews around the time of The Fragile how fond he is/was of the track and did want it on the album proper, along with The New Flesh. @piggy can probably find the quote I’m looking for.
Meanwhile,
Reznor: "10 Miles High" was a full song that had three completely different sets of lyrics and choruses during the course of its life span. When it came time to put The Fragile together, and decide what was gonna get kept, that song took a bullet. But we left a little reminder of it on there, and we put one of the versions on the vinyl version of The Fragile. There are other versions with varying degrees of embarrassing lyrics that are floating around the vaults here.
>
Hello everybody. I've been doing a lot of European press lately and they've been mentioning the various configurations of 'the fragile' and wondering if there was a reason (other than to make the hard-core fan buy them all) to have some different tracks on them.
If you're curious, here's why. We agonised over the sequencing of the record and focused solely on the CD config. as the definitive one. After the decision was made to move to two CDs the problem then became removing tracks to get the right feel and flow. Taking the new flesh' off the CD was a tough call because Alan and myself really like the track, but it destroyed the balance and it just didn't fit.
When we assembled the cassette, we now had four beginnings and endings to contend with instead of two of each (for the CD) follow? It worked out pretty well just dividing the songs up, but we wanted the A sides of the cassettes to be slightly longer than the B sides (so that when the tape flips over you are not in the middle of the first song on that side). We added the 'appendage' to 'please' to make that work.
For the vinyl, the decision to move to three discs was based on fidelity. (you can only fit so many minutes on a side of vinyl before it degrades the sound) So now we are faced with SIX beginnings and endings. Simply splitting the sides up didn't work as well this time so we decided to include the other two tracks we had been considering ('10 miles high' and 'the new flesh') as well as use the full unedited versions of all the other songs on the record.
The vinyl sequencing has actually grown on me lately as a viable alternate! -just thought you might want to know...
Last edited by Erneuert; 06-24-2021 at 11:38 PM.
Active Member
I always think of Home as belonging to With Teeth just because I’m British and it was on that version, albeit as a bonus disk
Reply With Quote
