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Faceplams: Originally Posted by Sarah K
Ask him if that's a pipe bomb in his pocket, or if he's just happy to see y.... AWWWW FUCK IT!!!
:P
Dis-member
Ask him if that's a pipe bomb in his pocket, or if he's just happy to see y.... AWWWW FUCK IT!!!
:P
Stubby Member
Does anyone know why Trent often puts so much detail into his music? I mean in Hesitation Marks, it's like every instrument has a "second or third version of itself" that sounds just slightly different; every snare has a punchier or clapish feel as the song progresses, every melody has a couple instruments following it, so on...
This kind of variation and detail is something I've only heard in so much music; Artists like Fever Ray, Blonde Redhead (Penny Sparkle more specifically).
What is his vision? Where did the ideas come from?
Last edited by Copy_of_an_Echo; 11-07-2014 at 11:09 PM.
Stubby Member
Does anyone know why Trent puts so much detail into his music these days? I mean in Hesitation Marks, it's like every instrument has a "second or third version of itself" that sounds just slightly different; every snare has a punchier or clapish feel as the song progresses, every melody has a couple instruments following it, so on...
This kind of variation and detail is something I've only heard in so much music; Artists like Fever Ray, Blonde Redhead (Penny Sparkle more specifically).
What is his vision?
Active Member
"Hey, Ally. I heard you are a cat person......."
Last edited by Charmingly Miserable; 11-07-2014 at 11:28 PM.
Alt-Left Leaning Cunt
Lol. That's what I kept thinking about. Those damn cats.
PS he has a hot scruffy beard now.
Josh Wink was on HLAH
He's a better musician than he was, with a strong team, and the time and money to be able to do little things like that. Every artist grows
bastard from blue city
endless repetition with subtle changes (with the occasional huge change). it's "I Do Not Want This" extrapolated into entire albums, and presumably a consequence of how AR arranges TR's ideas — it may actually be AR's vision guiding the things you pointed out. obviously, it was Flood and TR for IDNWT, though, so it's not like TR takes the back seat: they're co-pilots.
Stubby Member
Interesting. Yeah that sounds pretty valid.
I remember that Reznor had mentioned in an interview that he used to "listen the shit" out of his favorite albums and that he wanted his fans to be able to enjoy his work like that too, and find new things with every listen.
Stubby Member
I still find new sounds in older albums, TDS, The Fragile, it is awesome.
Active Member
ah, I considered going to this -- I'm glad I didn't have to have the same dilemma you did. How was the show? I considered going but don't really care for his ambient stuff that much.
Alt-Left Leaning Cunt
First group was pretty lame. Second one had much better music, but they just sat at their laptops the whole time, with a screen in front of them.
Alessandro's set was cool. I'm honestly not that familiar with his stuff like this. I used to dig some modwheelmood. I mean, I find it interesting. But there is no way that I could name you one song to the next. BUT! It was much more awesome to see it actually being done live. The sound is great. For sure worth $20.
The space it was held it was pretty neat, too.
Throbbing Member
Spinoff of the drummer discussion happening in some other thread: did anyone think Ilan was better during Wave Goodbye than he was in 2013/2014? He was still great, of course, but something felt different. Was it just my imagination?
Throbbing Member
He no longer has that jailbait appeal.
Administrator
Ilan wasn't the best NIN drummer by a long shot, on either tour. Being a multi-instrumentalist is probably what kept him in the 2013/14 lineup.
bastard from blue city
what is the clearest recording of "Pinion" + "Mr. Self Destruct" from the later 1994 (and then 1995) Self Destruct tour shows? doesn't have to have all of "Pinion," i just want the best recording of the backward vocal sample layered in (the one everyone seems to think says "flush") and also the transition into MSD.
Banned
http://www.nme.com/reviews/6099
man NME used to hate TR.....gives new meaning to that 94 london bootleg where TR asks the crowd for an NME so he can wipe his ass
Down, but not out.
Is it safe to assume that Nine Inch Nails are to the 1990s the way The Beatles and The Rolling Stones are to the 1960s?
I've been wondering about that since I became a fan in 2002 while listening to Pretty Hate Machine to The Fragile, and reading about what Nine Inch Nails went through from 1989-2000. There's no doubt that Nine Inch Nails has achieved a legendary status as a musician, so I was still wondering if it would be safe to assume such a thing in terms of impact, popularity and success as far as 1989-2000 went.
I also suppose that critical reception and critical acclaim has always interested me on some level in general.
Josh Wink was on HLAH
As crazy as this board is, no. Simply not popular enough, not enough worldwide acclaim and, hell, not enough music.
Vertiginous Member
Yeah, no. Even if you discount popularity and talk purely about musical significance, I don't think NIN encapsulates that decade in a way that you could maybe ascribe to Nirvana, [insert Britpop band], [insert five-piece teensploitation boy band] or [insert bubblegum pop princess]. Maybe actually closer to encapsulating this last decade, in which elaborate, multi-layered studio productions with beatboxy/metronomic rhythm have taken precedence even in pop music.
Of course I personally think NIN was one of the very best artists of the '90s, but that's about as subjective a topic as it gets. It'll be interesting to see how the zeitgeist recognises Trent's work in a decade or two, what his legacy will be.
Banned
They almost broke big in 91 after Head Like a Hole and Lollapalooza...TR could have cashed in by 1992 with PHM Part 2 if he wanted, but he chose to follow with Broken and no tour (brilliant moves) which kept the masses away.....TDS became huge in 94, he became one of the biggest "rock stars" in the world for that period and the poster boy for "industrial music" even though half his fans or the media at that point didnt know who Skinny Puppy even was.....then he went into a cave for 4 years and by the time Fragile came out, nu metal had taken over....Fragile (now regarded as a masterpiece by hardcore fans) basically came and went and barely got noticed in America or Europe and set a record at the time for the biggest drop off in sales from week 1 to week 2....The public opinion basically around that time was that TR was past his prime clinging to his past glory days (partly his fault for grouping himself in with clowns like Manson)...............Fragile to NIN is what Pornography has become to The Cure or Low for Bowie....at the time it wasnt understood by the masses, but now its regarded as the creative peak
as for TRs legacy....the other interesting thing is how much hatred (jealousy?) people in the industrial music scene have for him. a band like Skinny Puppy gets a TON more respect IN that scene (by fans and other industrial musicians) than NIN does..I think NIN is regarded as a sell out in that community...of course as he has gotten older, all the critics who used to shit on him, now kiss his ass, so you end up with albums like Slip or WT getting better reviews than TDS or Fragile did, which is laughable......
Last edited by billpulsipher; 11-10-2014 at 11:22 AM.
Active Member
Woah- I actually agree with that assessment
Dis-member
Bill is gonna be PISSED OFF when he finds out someone logged into his ETS user account.
Active Member
I for one can understand the disdain fans of Industrial can have towards Reznor, even if I don't share the sentiment... The man brought pop sensibility to something that was furiously against any sort of mainstream proclivity.
That's like McDonald's taking notes from the best molecular gastronomy chefs and making a line of burgers out of it. Not only that, but imagine every news outlet suddenly jumping on the bandwagon and revering McD for this brilliant innovation, and how forward thinking that move is...
Active Member
I really get lost when thinking about who actually is industrial though - I've been to see Ministry, Front 242, I was into a band called Cubanate for a while, I think I went to see Frontline Assembly but these people all seem a bit dancy to be proper industrial?? I mean do these bands have anything to do with Throbbing Gristle???
Active Member
Yeah, Ministry is also in the huge bag of bands inspired by industrial sound without really being industrial at all. Front 242 and FLA are some sort of cyber-ebm-thingie ? I don't think about those guys when I speak about industrial, or I might as well throw orgy, stabbing westward and econoline crush in the mix and I'd rather not.
she/her/hers
i've always been disdainful of people who look down on NIN while regaling ministry and skinny puppy.
my favorite ministry album is (and will always be) With Sympathy, which is poppier than ANYTHING trent has ever put out. also take into account that trent was close with and collaborated with john balance & peter christopherson (the latter of whom was a founding member of TG, who literally created the term "industrial music for industrial people") so i don't think the endorsement gets better than that.
anyway, my point is that what most people have considered "industrial" music for a long time is more like REALLY LOUD goth club music. whereas NIN, though it has always had more pop sensibility than that other stuff, is definitely closer in actual sound to the foundations of industrial music.
Throbbing Member
I look forward to the day when everyone forgets the term "industrial" even existed.
While I don't disagree with the basics of this assessment, wasn't The Fragile hugely critically acclaimed? Journalists seemed to be jizzing all over it, and the tail-end of '99 had so many magazine covers/most influential artist/etc etc nonsense. I'm pretty sure rock journalists LOVED having something of substance to review at the time, with a few minor exceptions (Pitchfork, which at that stage in its development barely even counts -- they were also pretending black people didn't exist back then).
It seemed to me like critics took a slight turn on Trent after the tour/around the AATCHB time, and then were happy to forget about NIN once the hiatus came -- mainly because Trent himself seemed stuck developmentally. I mean, why make an incredible art-rock record, and then release a shitty video with Manson and keep covering yourself in corn starch every night? I can see why it'd be tough to reconcile those two sides of NIN at the time.
Banned
NME trashed it as did Pitchfork and a few others....british press killed it (Q magazine, Kerrang)
http://www.nme.com/reviews//1441
http://pitchfork.com/reviews/albums/5799-the-fragile/
http://www.villagevoice.com/1999-10-...pose-yourself/
Dis-member
No, not really anyways and particularly by fans. Everyone wanted TDS pt. 2. I'll even admit I didn't like TF at first because of what it wasn't more than what it was so took some time getting used to.
Active Member
Kerrang killed it? They gave it maximum points, they're the one magazine in the UK who have always loved NIN (despite the fact they constantly plug shitty pop punk bands to sell copies)
http://www.theninhotline.net/archive.../xrevw24.shtml
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