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Faceplams: Still not 100% concrete confirmation. Crap. Thanks for looking anyway.Originally Posted by Ryan
Throbbing Member
Still not 100% concrete confirmation. Crap. Thanks for looking anyway.
Banned
He did tweet it though, I remember. Dunno why I can't find it!
Stubby Member
within the context of the NIN catalog, its almost cringe worthy.
Active Member
It definitely stands out, but I'm not sure what makes it more cringe-worthy than most Nine Inch Nails songs.
Throbbing Member
Only cringe worthy moment in NIN is music video "Deep" not the song but the video, filled with terrible editing, premise that has nothing to do with the song, music video has sound effects which distract from the music it's awful.
When the video starts digitally zooming with each "DEEP, DEEP" said I was not sure if it was real, awful, just awful music video, I'd take Came Back Haunted music video over it any time, speaking of which, I really like that one.
Also "Wanna go makeh a withradwahl?" at the end
Last edited by HWB; 02-10-2017 at 05:34 AM.
I was nobody. Nothing.
Dave Navarro isn't any kind of "special" guitar player by any strech of the imagination and i can't for the life of me understand his "guest appearance" or whatever. I'm not saying he's a BAD guitar player, but i've certainly never heard him play anything that, for instance, i couldn't play.
I mean, i saw Perry Farrell's band like 8 or 9 years ago, and they played a fuckton of Jane's Addiction songs and i didn't for one second think "i sure wish dave navarro was here to play guitar."
I was nobody. Nothing.
brilliant idea. this should happen on any future reissue or deluxe version. we need for trent to see this.
Banned
It's definitely one of his most poignant compositions
I've always felt that it's wasted on Still, and would have been much better off as the closing song on the Fragile. RWD doesn't end that album on nearly same high that the closing tracks do on his other albums
Banned
Interesting, because that's exactly how I feel about RWD on The Fragile. It just feels like a boring, tacked-on instrumental piece on an album already loaded with instrumentals
My reasoning being that after everything the narrator goes through across the breadth of the album, being left at the end wondering about all that could have been would have been a more suitable closer for the story arc being told. It would also fit in with the motif tradition of the album, referencing the earlier Great Below at the end of the first half.
The last words we hear on the album are "You remain, I am stained...", but imagine how much more depth the album would have if that immediately segued into AATCHB, especially if this album was a continuation of what was transpiring on TDS..
Active Member
Frankly, I think if And All That Could Have Been had ended The Fragile, people would have accused Trent of trying to repeat Hurt. And All That Could Have Been benefits from having a little distance from The Fragile. I think Ripe (With Decay) is a fine final track. It's contemplative and uncertain, filtering through a few different emotions at once. It's NOT an ending, at least not a definitive one, and it leaves you wondering where the story could go next.
Hairy Member
When I listened The Fragile for the first time, I didn't like it, I just got bored. (Not like now)
I was nobody. Nothing.
i am squarely in the "RWD is boring" camp. in fact, the album ends with UIA for me, pretty much.
Hairy Member
TDTWA would have made a fine closing track
Active Member
Except that Somewhat Damaged and The Day The World Went Away serve as the catalyst for what follows. "The sweetest price he'll have to pay..." doesn't really work if he's already gone through everything.
Throbbing Member
Trent made Ripe (With Decay) close The Fragile because he felt it was the best choice. Simple
bastard from blue city
Maybe for the narrative Ezrin pieced together, if you see it that way. All the working tracklists presumably put together by TR started with Somewhat Damaged, La Mer, then Into the Void - so after the initial post-TDS salvo in SD, the first 'event' of the record is contemplating suicide in Big Sur and ... succeeding? I dunno how to interpret ITV so early in the record.
TDTWWA was placed about halfway through or toward the end. So was Ripe in one of them - presumably one of the shorter versions with the beat at the time.
Stubby Member
I'm not a fan of Pino. I appreciate his talent, but not in the context of NIN.
Throbbing Member
He's definitely more of a "listen to thoroughly" guy rather than a "listen and watch movement" guy that most of NIN has been. Still liked his playing
Down, but not out.
This opinion seems to be more unpopular than controversial, and could certainly apply to all sorts of music.
Anyway, I still actually like the way cassettes sound. Perhaps that's also the nostalgia speaking yet again, but I actually enjoy hearing the tape hiss even when listening to Nine Inch Nails.
I never owned any official Nine Inch Nails cassettes though, but looking through the collections over here reminded me to at least make an attempt to get official copies of Pretty Hate Machine to The Fragile on cassette as I used to record all of those albums on blank Maxell and TDK tapes just for fun.
The last two NIN albums I did that to after quite a very long while were actually Ghosts I-IV and The Slip, (As I used to do that regularly in the first half of the 2000s.), and also had some enjoyment playing them on my stereos that had tape decks.
Last edited by Halo Infinity; 02-27-2017 at 07:17 PM.
Stubby Member
I really can't get into YZ at all and to me it just doesn't feel like NIN for the most part, bar the odd moment here and there. If I had to pick one, I'd sooner be stuck with Ghosts.
The Slip is brilliant.
Stubby Member
Thank you for your courage. The ARG was cool at the time and I do like YZ for him trying something different, but I'd rank it below Ghosts and Slip also.
Throbbing Member
Opposite for me, hell I can't remember the last time I listened to The Slip in full
Dis-member
Ha! Interesting you bring that up as I used to do that when I was young (about 7-9 YO) during the mid '80's. It was mostly KISS and Iron Maiden vinyls I would duplicate on Maxell blanks, for some unknown reason other than because I could.
As for the ARG, glad I didn't get into it. Just didn't have the time or patience to figure it out. Some of the obvious things like the USB with songs was cool though.
Down, but not out.
That's actually one of the exact reasons as to why I used to do that. I probably might do it again with my favorite albums some day though as it takes me back to the 1990s. I would also say 1980s, as I know cassettes were definitely big then, but at the same time I was just far too young to have experienced the 1980s with clear memories, or any real memories at all. I also saw it, and knew it as one of the old school ways of promoting music too.
I also had a lot of fun knowing that Pretty Hate Machine and Broken were a perfect fit for a 120 minute cassette. It was also obviously the same exact case for The Fragile and Ghosts I-IV. I don't remember if I had or used 180 minute cassettes though, but that would've clearly solved my problem of trying to fit Pretty Hate Machine and Broken on one cassette. I also would've done that to With Teeth and Year Zero.
And in the spirit of The Slip and Radiohead's In Rainbows being released as a display of both bands being okay with file-sharing, I actually recorded those two on one cassette as well.
Me neither. And not that I thought it was a bad idea or anything like that. I actually thought it was pretty cool, considering that I sometimes get interesting in topics concerning conspiracy theories and paranormal activities, as well as social, religious and political corruption and oppression.
I just focused on the music itself. It's ironic though, as I'm very visual, but sometimes I actually block out all images and pictures and all sorts of exterior materials when I chose to give albums a proper listen. I will say that Year Zero has one of my favorite artwork and CD cases of NIN as far as the 2000s, hand down though, especially with the Bible and a gun (As well as the other references to Republicans, conservatives and Christianity with in the rest of the booklet/artwork.) that can be seen as you open it, not to mention the actual CD's thermocrome covering.
Last edited by Halo Infinity; 03-01-2017 at 06:30 PM.
Throbbing Member
I honestly like "Starfuckers, Inc." A lot. In and out of context of the album and the live version from the 2005 KROQ Christmas show is probably the best version of it ever.
Throbbing Member
---Great---
TDS
The Fragile
Year Zero
Broken
PHM
---Good---
The Slip
With Teeth
NTAE
---Acceptable---
Ghosts
---Bad---
Hesitation Marks
•••••¤○●○¤•••••
The more I listen to it lately, the more I prefer the 2 minutes of normal wish on the thirwell mix to the album version. It hits so much harder and the live drums are amazing. Not to mention the chorus harmonies.
Stubby Member
Kinda I Want To is a good song
Active Member
I have never understood the hate on this one. Its lyrics never seemed drastically different in quality to other PHM beloveds and it has a pretty fantastic, dancy and dirty production. There's a grimy poppiness to it that just does it for me for some reason, and Trent's vocal performance is downright nasty.
Down, but not out.
Agreed. It's easily one of my favorite tracks, as well as a great way to literally start up the second half of the album after Something I Can Never Have.
Me neither. I also thought that it was a perfect chance to post the following.
This very performance also sold my love for Kinda I Want To even more. I'd also even go as far as to say that it's definitely one of the best songs on Pretty Hate Machine. And since I already love Down In It, it makes the reference even more worthwhile.
Last edited by Halo Infinity; 03-07-2017 at 09:03 PM.
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