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Thread: Ghosts V: Together & Ghosts VI: Locusts

  1. #361
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    Quote Originally Posted by sheepdean View Post
    I'm arguing the final product that we have was created for Ghosts. Musicians reuse old ideas all the time, riffs and elements and lyrics and themes. But I don't think this is an album of outtakes, this was made to be what it is.
    Of course this was sequenced to be its own release. I think people are taking me too literally when I suggest this was culled from previous material. Reusing an old idea, riff, etc., does not magically change the moment (origin) that was first thought of or perhaps recorded.

  2. #362
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    Can we not just enjoy a new release without speculating which old album xyz tune is a left over of?

  3. #363
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    What would be the fun in that? We hardcore NIN fans gotta get our OCD on. Just kidding.

  4. #364
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    Quote Originally Posted by tricil View Post
    Can we not just enjoy a new release without speculating which old album xyz tune is a left over of?
    Ha! That's like asking "can we not not run every new piece of music by NIN through a spectrograph"?

    P.S. I did. And I get the image of a woman in a window.

  5. #365
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    Quote Originally Posted by paul_guyet View Post
    Ha! That's like asking "can we not not run every new piece of music by NIN through a spectrograph"?

    P.S. I did. And I get the image of a woman in a window.
    but is it the woman in the​ window?

  6. #366
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    Quote Originally Posted by eversonpoe View Post
    but is it the woman in the​ window?
    It's Carol Baskins

  7. #367
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    So 13 pages in and nobody has posed the question: Who's on trumpet? Bugger me, I want some liner notes.

  8. #368
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    I think it would be massively illegal to release that score for their own benefit. Whatever material they made was on someone else's dollar, to not give it to them, and go and resell it as their own... That's not some frivolous IP law. That would be a big deal.

    And Disney owns the rights? No fucking way.

    Also: on track names, you could make a Trent reznor lyric and track name refridgerator magnet set at this point. I don't think it's anything.
    Last edited by Wretchedest; 03-31-2020 at 12:39 AM.

  9. #369
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    Quote Originally Posted by Wretchedest View Post
    Also: on track names, you could make a Trent reznor lyric and track name refridgerator magnet set at this point. I don't think it's anything.
    I’d back that Kickstarter!

  10. #370
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    Great albums. It reminds me a lot of The Fragile / Still era which is perfect (the beginning of Your Touch for example) because it is for me the peak of its creativity.
    Thank you guys.

  11. #371
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    I listened to ghost i-iv yesterday and I must say that they are on another level and way better than the two new ones. Better ideas, the tracks evolve and connects with each other. The new ones are just boring af.

  12. #372
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    Listened to these albums after being awake for 3 days on hard drugs. I was deep in a brain fog and popped my IEMs in and, uh, yikes.

  13. #373
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    Quote Originally Posted by GibbonBlack View Post
    It's Carol Baskins
    I believe you mean THAT BITCH Carol Baskins.

  14. #374
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    I started mostly working from home last week, so this release had a good timing. It's a perfect soundtrack to my home office. Today I had the two albums on repeat all day long.

    However, yesterday I had to go to my office. It's a 60 km drive through the countryside and after a really warm winter finally we had some snow. So listening to Ghosts V while making my way through a (mild) snow storm on relatively empty roads was also quite fitting.

  15. #375
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    Quote Originally Posted by dirtyscarab View Post
    So 13 pages in and nobody has posed the question: Who's on trumpet? Bugger me, I want some liner notes.
    i did. i also commented that people were thinking it was sax when it's in fact trumpet.

  16. #376
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    Quote Originally Posted by dzaver View Post
    I listened to ghost i-iv yesterday and I must say that they are on another level and way better than the two new ones. Better ideas, the tracks evolve and connects with each other. The new ones are just boring af.
    Weird take. My main criticism of ghosts I-IV is, with few exceptions, the tracks are really disjoint and listening through can be a jarring experience

  17. #377
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    Still have only listened to Together, as this is a LOT of music to give its due and listen to all at once. I now think the sporadic and seemingly triumphant beat that emerges on "Still Right Here" is well-placed. It's so brief. It goes on for exactly one minute, by the way--any thoughts on that? Want to sink my teeth into Locusts ​when I have the guts one night soon.

  18. #378
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    Quote Originally Posted by Prettybrokenspiral View Post
    Locusts is officially the Woman In The Window soundtrack to me until another release stating as much is released. There's no way it's not..
    With Teeth to me is just Tapeworm until another release stating as much is released

  19. #379
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    Quote Originally Posted by joplinpicasso View Post
    Still have only listened to Together, as this is a LOT of music to give its due and listen to all at once. I now think the sporadic and seemingly triumphant beat that emerges on "Still Right Here" is well-placed. It's so brief. It goes on for exactly one minute, by the way--any thoughts on that?
    While I also enjoy the calm, soothing rest of the album this is my favourite moment of Ghosts V. It's like a short summer rain clearing the air after a long dry period, making the sunshine afterwards feel pleasent again.

  20. #380
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    It is very obvious that a handful of these tracks more than likely leftover cues from Waves - so many of the sounds are either identical or very similar to those featured on the Waves score. Not complaining but this is definitely a collection of tunes created for/during/surrounding the recording sessions of Waves.

    Not that they are left overs by any means...even if they were I wouldn't care. GIVE ME ALL THE SCRAPS

  21. #381
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    I dunno I heard a guitar and there’s guitars on broken so

  22. #382
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    Has this been mentioned before? The similar melodies on Together & Apart, except they're layered over more minor/dissonant chords in the latter. In fact, Apart might be one of the most grandly calming statements under the NIN moniker.

  23. #383
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    I went ahead and gave these albums another chance, maybe this time they would click and i would get it this time. Sadly, it seems to not be the case. As before, the EQuing on some of these snyths, piano keys and other stuff throughout both of theses albums drives my ears nuts, I'm honestly confused why it would be mixed like this. It makes my damn speakers rattle like shit on songs like The Doomed Clock. And im not opposed to violence against my ears such as noisy stuff, some of my fave NIN songs have blasts of noise such as The Day The World Went Away or the ending of Hurt, I can listen to those anytime with no problem, hell, i put them in my songs as well. They come with a mood and a vibe in those cases. But these songs....they just hurt my ears in a way that isn't pleasant in the good way. It's unpleasant in a bad way and very annoying. I didn't think an album would sound WORSE on headphones, but here we are. .But yeah, Together was just really patience testing for me, there is only so much you can do with a non changing chord/note progression with some droning synths over it and when its stretched out for 10 mins...it gets boring and slightly pretentious. Now, I love Ambient and Dark Ambient music, I make it myself as well when im not making Metal music. In theory, these two albums should be right up my alley.

    My favorite NIN song of all time is Leaving Hope and Still is my favorite album, again, in theory, these albums should work for me....but it doesn't. Really the closest song imo that get's as close to Still levels is Your Touch. I can hear the emotions in this song, not th at I couldn't in the other songs, but i saw the most emotions out of this one. The sound, the textures, the progression, I got it, i got excited...but again, the fucking mid range of these synths and keys are just grating to my ears. Im also not a fan of the Sine synth that pops in the song a bunch, it's a bit distracting. I felt the same way about the sine in 8 Million, but it wasnt that bad on that song. But the worse case of ear damage has to be the assault against my ears in Hope We Can Again. Never do that again Trent.

    As for Locust, really the only issues i have with that are the lengths and once again the EQing is uuuuuuuugh, my ears. Even on songs I like such as Just Breathe and Please Turn this off, the lengths and some of the EQing, with all that mid range, and not to mention how limited and compressed some of the parts of these songs are (which happens a bunch of Together as well)are just....they do nothing for me. And this is a minor complaint and im probably one of the few who think this way but I didn't find a single one of these tracks creepy, unsettling or just freaky in general, but that's just me. It's really hard to scare and freak me out as i mentioned before.

    all in all, both albums are about a 5/10 in my book if i had to rate them, its not the worst but im pretty indifferent to them both.

  24. #384
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    Regarding whether or not these new albums are comprised entirely of scraps from TR/AR's last bunch of scores or if the music was all intentionally composed and recorded specifically for these two albums...on one hand: new NIN is new NIN, awesome; on the other, knowing that everything on an album was conceptualized and created in a certain time period, or mindframe, or in relation/reaction to one particular mood/event makes it a clearer and stronger release, in my opinion.

    It's evident from @kraw 's post that all this music wasn't created in the last month as a reaction to the COVID-19 pandemic, but maybe this presentation (a hopeful album and an oh-shit-we're-all-fucked album) and the track names was. Or maybe they had some stuff lying around (WitW) and found it fit into this framework, so they made a few new tracks to solidify the theme of two albums reflecting two warring mindsets.

    While I don't really think it matters, I'm the kind of person who squints over liner notes and loves to know the origin of things, and to have Reznor come out and say, "Yeah, these tracks were from the Waves sessions, these are Woman in the Window, and these are new compositions for this release" would give me...I don't know...some kind of roadmap? Peace of mind? I don't know, it's personal and weird.

    Regarding I-IV versus V + VI, I enjoyed the instrumental range and concise nature of Ghosts I-IV, but I do enjoy a lot of the exploration on the new releases. And while "Together", "Your Touch", and "Hope We Can Again" are all staggeringly beautiful at times, no Nine Inch Nails instrumental has yet to rival '34 Ghosts IV'.

    Here's hoping for a forthcoming, information-soaked, prohibitivly-expensive, ultra-deluxe, sell-your-house-and-kids edition to celebrate the end of quarantine. In July.

  25. #385
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    Gotta say, I'm really really enjoying these new releases. I'm a big fan of soundtracks in general (I have Trent, Hans Zimmer, Howard Shore, Ryuichi Sakamoto, Jeremy Soule, Jonny Greenwood, Danny Elfman etc on regular rotation) and it seems that I listen to more instrumentals than not these days. I was a big fan of the original Ghost releases, but half of them fell flat for me, and overall the collection was a chore to listen to together. These albums are much much more cohesive and listenable.

    The first four tracks of 'V' are some of my favorite Trent/Atticus works (especially Together). The ethereal, spacey, dreamy, droney nature of 'V' is right up my alley. I love putting it on while I work on things or take walks through nature-y areas. I love how 'Together' and 'Apart' play off each other and how there are recurring musical motifs throughout the collection.

    'VI' is just as awesome. It's haunting, unsettling, and engaging, and again the first few tracks are absolute winners in my book. Still digesting everything, but I've found it's surprisingly easy to listen to either album front to back. They flow pretty well and I'm always near the end of 'V' before I realize it.

    Can't wait to keep digging into these and filming some cool stuff to go with them.

  26. #386
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    The first time I heard the fluttering bass that starts at 12:00 in Apart, I immediatetly thought it sounded like a motorcycle idling in a separate room (garage). I like to imagine Trent has a Harley panhead that he decided to sample. Or, better yet, it belongs to Atticus.
    Also, in Another Crashed Car, is that the sound of a gas-powered lawn mower that can't start? Like, in a desperate 3am attempt to mow his overgrown lawn to keep the locusts out of the yard, Trent tries over and over again to start the mower. He would have siphoned from his Harley, but he previously let it idle until the tank ran dry, trying to get the perfect sample, and his cars are all Chevy Volts. He then gives up and resorts to ordering a push mower online.

  27. #387
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    I also noticed that one of the tracks, can't recall which one, has that three-note tone that sounds when you try to call someone and the call can't be completed.

  28. #388
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    Quote Originally Posted by piggy View Post
    I also noticed that one of the tracks, can't recall which one, has that three-note tone that sounds when you try to call someone and the call can't be completed.
    I was waiting for someone else to notice that too! Ghosts VI: Locusts - Another Crashed Car @ 1:38 and repeats a few times.
    Last edited by zero; 04-01-2020 at 06:38 PM.

  29. #389
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    Quote Originally Posted by zero View Post
    I was waiting for someone else to notice that too! Ghosts VI: Locusts - Another Crashed Car @ 1:38 and repeats a few times.
    Wondering of this is maybe a reference to Coil's "Is Suicide A Solution?", which has the same tone. One of Coil's most unsettling tracks in AN OCEAN of unsettling tracks.

  30. #390
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    Honestly, I don't see any proof of these being scraps from soundtracks or what-not, I will refrain from making any assumptions until it is somehow confirmed but I do have strong doubts and even if it's true I would wager the majority of what we are hearing is new work made specifically for our current times.

    I don't think that even matters though, these two records float wonderfully from beginning to their end like conceptual records should, even though they are ambient records they feel very exciting and develop their ideas wonderfully in each of the tracks; I do have to say that I prefer Locusts by a pretty big margin but that is probably because I prefer creepier edgier stuff, but Together is absolutely stellar as well, it sounds like the best instrumentals of Still and Fragile, wonderful soft melodies, uplifting yet with a lot of melancholy and loneliness underneath it.

    Locusts is a whole new animal though, covered in the depressive atmosphere. Really dark and menacing record, it may be a controversial opinion but NIN hasn't sounded this disturbing perhaps ever, only "The New Flesh" approaches nightmare fuel of some of these tracks. I hear plenty of Bad Witch's ideas seeping in here to create something new and exciting, even though it is a slow record it still feels heavy in its own way to me, there are plenty of noisy moments which are nicely balanced to surprise the listener. It feels more diverse than "Together" as well to me while sticking to its nightmare-ish sound. It's dark, it's anxious and cool as fuck.

    I prefer these two records far more than Ghosts I-IV as while that album was far more diverse than these records it didn't float nearly as well, they weren't quite so focused as these records are, Ghosts I-IV's ideas aren't nearly as developed as they are here. The scope feels far higher here.
    Last edited by HWB; 04-02-2020 at 12:27 PM.

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