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  1. #1
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    Quote Originally Posted by atomobile View Post
    First, I never said that the DEMO was the version that was the originally intended album version. What I said was, and I quote myself, "possibly." Here is my reasoning for this belief: The earliest Down In It version we know of is from the "Purest Feeling" demos, where it appears with an extended outro. Then there were the 2 versions on a cassette that was mailed out to solicit in the early days (both versions appear on the "demos and remixes" boot). These appear to be a more polished DII, along with what appear to be a remix or alternate version. None of these early version have the final vocals as appear on the album. Besides those early versions, the only other version we all know about is this so-called DEMO. What's interesting is that his vocals are the final version exactly as it appears on PHM. Which leads me to theorize that this "Demo" is exactly what was remixed and became the 12" single released before PHM. In turn, the "single edit" of the remix, became the official album version, and this last part is 100% accurate.
    So to sum it up: There was a version of Down In It with identical vocals to the remixes that was meant to go on Pretty Hate Machine. This track was given to the remixers which came up with an extended remix, a shorted edit (sometimes called 7" edit), and a dub version. After these 3 remixes came back, it was decided that the remix edit would go on PHM instead of the intended version. So far all this is FACT.
    Now about the DEMO version on the Head Like A Hole CD single: This version has identical vocals to the final album version, and it could have been exactly as was given to the remixers. I'm asuming, because everything matches up, but I do not know that for sure. The fact that it was labeled a Demo does not mean much. First of all, Trent is not the most explanatory when labeling tracks on singles, but most importantly, I can see how he would consider this a demo to the version that ended up on the album. This "demo" was just kinda thrown out as a CD single exclusive, and not even included on the original Down In It 12" possibly because it was going to be on the album. But, yes, it's very possible that there is yet Another version that was meant for the album, but we know that the vocals would have been identical to the "demo."
    Hope that helps explain. I've been a Trent Reznor music collector since the early 90s. I believe I may have one of the largest NIN music collection of domestic releases in the U.S. My intent is not to start any rumors, but to uncover rare information on the history of NIN music. There is still much info I would love to discover: Any info on the Trent-mentioned 12" that was supposed to have Physical and Suck before it ended up as Broken extras, tracks such as A Violent Fluid and March of the F***heads, where they TDS outtakes? Remixes of TDS tracks? Same thing with the Aphex Twin tracks on Further Down the Spiral, even though I suspect not a note of NIN was used to make those tracks. I remember Richard (Aphex Twin) mentioned that he had never heard NIN music when making these, and so on........


    PS: I would love to write a book on the history of NIN music specifically. An official one, with Trent's contribution would be even better!
    Well fuck me, you're right! For the record, the parts I thought you were wrong about were that the album version was a remix of the demo version, and that it was done by someone other than TR. Looking at the interview in the other comment, it seems I was wrong! That said, I still don't think the demo was anything more than a demo, as it is far below the quality of the rest of the album. But I do think the original version might be the one on Demos & Remixes; other than the poor quality recording of the bootleg, it sounds much more finished than the HLAH demo version.

    This is pure speculation, but I've always felt that A Violet Fluid and March of the Fuckheads were tracks that were worked on for TDS that were never finalized, but were still interesting enough to be released. And you're correct about the Aphex Twin tracks not being actual remixes, but as for James's quote about not having listened to NIN when making the track, I don't believe it. At the time, he was doing this thing with the press where he trashed every other band, never admitting to liking or listening to anyone. He liked to fuck with the press. He specifically called out Radiohead as a band he didn't care for, only to tour with Thom Yorke a few years later. I think he listened to TDS and matched his style to it, but didn't actually remix a song.

  2. #2
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    Quote Originally Posted by zecho View Post
    He specifically called out Radiohead as a band he didn't care for, only to tour with Thom Yorke a few years later.
    Wait, when did this happen?

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    Quote Originally Posted by BRoswell View Post
    Wait, when did this happen?
    I feel like I'm going crazy. I can't actually find any info on it. I could have sworn that I read about him doing a one-ff DJ set with Thom Yorke, but I can't seem to find any evidence of it. So it looks like I'm wrong twice in a row :/

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    Quote Originally Posted by zecho View Post
    I feel like I'm going crazy. I can't actually find any info on it. I could have sworn that I read about him doing a one-ff DJ set with Thom Yorke, but I can't seem to find any evidence of it. So it looks like I'm wrong twice in a row :/
    Maybe you're thinking of this?

    On Friday, Greenwood premiered his “48 Responses to Polymorphia,” a piece inspired by Penderecki’s 1961 “Polymorphia.” On Saturday, Aphex Twin unveiled his remix of Penderecki’s 1960 “Threnody for the Victims of Hiroshima” along with his own “Polymorphia” reworking, titled “Polymorphia Reloaded.” The performances took place as part of the European Culture Congress in Wroclaw, Poland.
    Even the article's title is misleading since they didn't actually play together.

  5. #5
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    Quote Originally Posted by zecho View Post
    I feel like I'm going crazy. I can't actually find any info on it. I could have sworn that I read about him doing a one-ff DJ set with Thom Yorke, but I can't seem to find any evidence of it. So it looks like I'm wrong twice in a row :/
    NIN and TY both played Day For Night as a stand alone festival appearance.

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    Quote Originally Posted by BRoswell View Post
    Wait, when did this happen?
    Didn't he once say the rainbows boxset was worthy of beating out Year Zero?

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    Quote Originally Posted by snaapz View Post
    Didn't he once say the rainbows boxset was worthy of beating out Year Zero?
    I have no idea who we are talking about anymore or why. Spot NIN much lately?

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    Quote Originally Posted by botley View Post
    I have no idea who we are talking about anymore or why. Spot NIN much lately?
    I remember TRs comment about In Rainbows back in 2008, but I didn't catch on that he was being sarcastic, I guess that's why TR made sure everyone knew how he felt.

    https://www.cnet.com/news/trent-rezn...was-insincere/


    Yes I "spot" nin lately, ^^^^

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    Quote Originally Posted by snaapz View Post
    I remember TRs comment about In Rainbows back in 2008, but I didn't catch on that he was being sarcastic, I guess that's why TR made sure everyone knew how he felt.

    https://www.cnet.com/news/trent-rezn...was-insincere/
    And this is relevant to the discussion of Aphex Twin dissing Radiohead's music (not their marketing savvy, mind, but being pleb-tier electronic musicians in his assessment)... because reasons?

  10. #10
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    Quote Originally Posted by snaapz View Post
    I remember TRs comment about In Rainbows back in 2008, but I didn't catch on that he was being sarcastic, I guess that's why TR made sure everyone knew how he felt.

    https://www.cnet.com/news/trent-rezn...was-insincere/
    The writer of that article is grotesquely naive. There are literally thousands of artists who use the Internet to distribute their music, for free, paid, whatever. It's been like that for years, but no one cares because they're not on mainstream radio or in the shops. If you're on a 'traditional' label, you have a marketing team who gets you on the radio and TV, gets you interviews, gets you tour dates. If you're doing it yourself, it's almost impossible to get recognised unless you build a similar team and have a lot of disposable income. When a 'traditional' band releases an album using a pay-what-you-want model, suddenly that band is doing something iconic, amazing, why has no one done this before? And they're praised for their ingenuity. But all these other thousands of artists who don't have a name are completely ignored. It's sad. /rant

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