Eric leaves NIN or "the breakdown of nyrexall"

[Tyler Durden]

2.8? Do you work for Pitchfork or something?

[perkana]

I actually enjoyed this show...First Time with Trent Reznor
http://www.bbc.co.uk/programmes/b039394l

Thanks for posting this. A great listen.

Guess you would like this too
http://www.bbc.co.uk/programmes/b03939f9

[Tyler Durden]

I actually enjoyed this show...First Time with Trent Reznor
http://www.bbc.co.uk/programmes/b039394l

Thanks for posting this. A great listen.

Guess you would like this too
http://www.bbc.co.uk/programmes/b03939f9

Cool...thank you.

[Matz]

Entertainment Weekly is some sort of bible with all the right answers that we all have to adhere to, is that what you're saying?

Nothing of the sort; why would you think that?

sorry, I just misunderstood, read the thing to fast or something

[NYRexall]

I can't really believe Trent's getting that great review everywhere, I think he deserves a 2,8/5 or something. Lots of fans seem not that pleased though

Except on his official forums and unofficial fan sites, where 98% of his fans are over the top about the new album.

Maybe troll those instead of just his FB page.

[NYRexall]

"Both Hesitation Marks' lead single, ''Came Back Haunted,'' and the propulsive, New Order-nodding ''Everything'' rank among Reznor's finest." -- Entertainment Weekly

I heard 'Everything' for the first time yesterday. I have to agree with most of the people here: it’s pretty bad. Not sure what he was thinking when he wrote this, but it doesn’t suit him.

I’m not saying I won’t try to open my mind to it over future listens or eventually come to appreciate it, but calling both CBH and Everything amongst his finest is, well, a heresy of sorts.

[Tyler Durden]

"Both Hesitation Marks' lead single, ''Came Back Haunted,'' and the propulsive, New Order-nodding ''Everything'' rank among Reznor's finest." -- Entertainment Weekly

I heard 'Everything' for the first time yesterday. I have to agree with most of the people here: it’s pretty bad. Not sure what he was thinking when he wrote this, but it doesn’t suit him.

I’m not saying I won’t try to open my mind to it over future listens or eventually come to appreciate it, but calling both CBH and Everything amongst his finest is, well, a heresy of sorts.

I wouldn't say "Everything" is among what I consider his finest work. It's an interesting diversion; I like it. My point in post the above quote is that I'm not the only one who hears New Order in the song.

As for "Came Back Haunted", I went from being indifferent about it to now loving it. It's just as good as any single he's ever released, in my opinion.

[NYRexall]

CBH is nothing special to me; a pleasant, by-the-numbers variant on Survivalism, The Hand That Feeds and Discipline.

'Everything' has its moments. The verses are catchy, but the beat is lackluster and that chorus is fucking awful. That's where the song gets truly ridiculous.

[Hokahey]

Are there any new songs where he doesn't sing like he had a traumatic brain injury?

[Hokahey]

Anyone that ranks anything post The Fragile above anything pre The Fragile is either 12 or a crack head.

It's incredibly ironic that such a post would be akin to the mentality of a 12 year old. You're the stereotype who makes foreigners incorrectly assume that all Americans are loud mouth idiots with zero substance.

Did you have your pinky raised while you typed this?

Keep digging.

Get fuck yourself? Is that any better?

Dang. I'm just no good at not being an American.

It's a message board pal. It lends itself to quick bursts of words and opinion. It's like sitting around with friends bullshitting about music.

I have no interest in writing a dissertation on the recent musical output of Trent Reznor as Nine Inch Nails for your consideration.

If he's going to open his butt and just shit out music then I'll offer opinions on it utilizing the same amount of thoughtful consideration.

[Tyler Durden]

I think this thread is due for a title change.

[Larry B.]

Yeah: Locked.

[Jammyshill]

Anyone that ranks anything post The Fragile above anything pre The Fragile is either 12 or a crack head.

It's incredibly ironic that such a post would be akin to the mentality of a 12 year old. You're the stereotype who makes foreigners incorrectly assume that all Americans are loud mouth idiots with zero substance.

Did you have your pinky raised while you typed this?

Keep digging.

Get fuck yourself? Is that any better?

Dang. I'm just no good at not being an American.

It's a message board pal. It lends itself to quick bursts of words and opinion. It's like sitting around with friends bullshitting about music.

I have no interest in writing a dissertation on the recent musical output of Trent Reznor as Nine Inch Nails for your consideration.

If he's going to open his butt and just shit out music then I'll offer opinions on it utilizing the same amount of thoughtful consideration.

Exactly, and the stupid one always ends up getting a new arsehole torn.

[kv]

i forgot bout this troll

[Jammyshill]

i forgot bout this troll

Out of this entire discussion you've come to the conclusion that I'm the troll?

[kv]

one of many

[Hokahey]

Exactly, and the stupid one always ends up getting a new arsehole torn.

It's that kind of elitist, talking down to people that just reinforces stereotypes about non Americans being so full of themselves and their opinions that they can't see obvious truths.

[Tyler Durden]

It's that kind of elitist, talking down to people that just reinforces stereotypes about non Americans being so full of themselves and their opinions that they can't see obvious truths.

[cursed male]

http://i.imgur.com/bkVwAMq.jpg

[cursed male]

Spin Review: Nine Inch Nails' Rhythmic Jack Move 'Hesitation Marks' Makes It Rain Acid Beats
30 August 2013

The most important artistic statement from NIN leader Trent Reznor since the late '90s.

9/10

As a record from the gear-grinding, bloodletting, mud-sweat-and-tears, industrial void-enterer Trent Reznor of Nine Inch Nails, Hesitation Marks is an almost scandalous about-face, powering down the Hate Machine and revving up the Man-Machine, boldly exploring "EBM" for a generation of headbangers still coming to terms with the throbbing gristle of "EDM." As part of a cultural moment, it's the third in a trilogy of bluntly minimal albums — following the Knife's Shaking the Habitual and Kanye West's Yeezus — that retrofit an icon's chosen genre into a blocky, clinical, Piet Mondrian painting. Noise is rendered as tight, impenetrable polygons of sound; beats are clicked together like Duplo bricks in primary colors; 808s are heartbreak; and everyone seems to be jacking to the same circa-1988 Chicago house records.

All of which to say, this is the most important artistic statement from NIN leader Trent Reznor since the late '90s, when SPIN dubbed him "the Most Vital Artist in Music Today." You can follow Reznor's status as a relevant figure because it always runs parallel to his relationship with hip-hop — another genre that hit pop paydirt with noise, repetition, and first-person emotional autopsies. Reznor was Lolla-generation vanguard when he was also on rap's cutting edge: 1989's Pretty Hate Machine churned with the tinny, broken-Walkman, traffic-jam bustle of Public Enemy (thanked in the liner notes, presumably sampled); 1994's The Downward Spiral had the warts-and-all grit and somber confessionals of Wu-Tang Clan ("Hurt" was promptly sampled by Ice Cube's Westside Connection); and 1999's long-awaited The Fragile had the wide-screen auteuristic vision of Dr. Dre (who helped mix) or Puff Daddy (who got a remix).

But during the four albums that made up his '00s output, the very idea of the "vital artist" in pop or alternative music itself got replaced with the messy democracy of the Internet. And while Reznor was an early pioneer of online commerce and conversation, the avowed Pitchfork reader had some trouble staying ahead of the game, spending the majority of the decade chasing the wake of Queens of the Stone Age (2005's "Getting Smaller"), Definitive Jux (2007's "Me, I'm Not"), and James Murphy (2008's "Discipline"), or just teaming with unfashionable dudes like Saul Williams.

Through coincidence or design (he's a Kanye fan), Hesitation Marks surges with the energy of modern hip-hop — hey, the surge of modern everything. Sometimes the beats have the skeletal post-hyphy sproing of DJ Mustard or Droop-E, sometime they work as a harder-rocking counterpoint to the goth-tinged Haus of Pain drone machine that is A$AP Ferg's Trap Lord. It's hard to imagine the Slinky-down-a-staircase drums of "Satellite" and "In Two" happening in a world where Timbaland hadn’t existed. It makes sense that rap's biggest envelope-pusher, Kanye West, and industrial's biggest envelope-pusher both recently turned their live shows into shadow theater — Reznor blowing his shadow up 10 feet tall for his "Tension 2013" tour, Kanye performing as negative space at the Video Music Awards. Both are pop stars who have been proudly reduced by Rick Rubin at some point, literally using a spotlight to negate their role as pop stars. The huge sucking abysses of nothing(.) on their respective albums feel like a final frontier in confrontation. Kickstarted by Portishead (2008's Third), attempted by M.I.A. (2010's MAYA), it's a trend that lets a festival headliner like Reznor make magic on beats that sound like a busted Madlib invasion (check out the stumbling, misaligned hi-hats in "Disappointed") or saxophones that strobe like blinking pixels (see the end of "While I'm Still Here").

And unlike Radiohead, you can dance to it. This is acid. Reznor's clean, crisp, basement-breaking beats are a daze of Phuture's past. Chicago house is already seeing a revival on the gnashing edges of the noise scene (Vatican Shadow, No Fun Acid, Alberich, Unicorn Hard-On) and in the hyper-accelerated world of stadium techno (Skrillex's horror-rave project, Dog Blood, is a metal-up-your-acid mix of Green Velvet gone Black Album). It's already got the potential to be the Internet generation's Ramones T-shirt: moody, abrasive, infectious, aggressively simple. After ten years of having monster drummers (Dave Grohl, Josh Freese, Stephen Perkins) wage war against the machines, Reznor uses a steady, unadorned, corrosive electronic pulse in twin singles "Copy of A" and "Came Back Haunted." The chasms of space are more destructive than, say, writing another "March of the Pigs" — and totally post-modern when you get Lindsey Buckingham to play guitar over them. Only one song allows Ilan Rubin to play "live drums." And when the guitars finally do come in (like on the airy "Running"), they are strangled, choked, tied up, and denied their Jimmy Page orgasms. It's an S&M torture trick.

It's the first time since the Schoolly D wrecking-ball pound of 1989's "Down in It" that Reznor's music has pulsed with the actual sounds of a black art form (the drums of Chicago house, Detroit house, and hip-hop) instead of white punks approximating a black art form (like the Gang of Four and A Certain Ratio beats that propelled '00s singles like "Only" or "The Hand That Feeds"). "All Time Low," a song that splutters like a glitchmower version of David Bowie's "Fame," might be the exception, but remember that the Thin White Duke's groove was superbad enough for James Brown himself to gaffle it outright for 1975's "Hot (I Need To Be Loved, Loved, Loved, Loved)." All in all, Trent makes everything majorly funky for a song with the line, "This paranoia turns to fear."

All of which leaves outlier "Everything," a Camaro blasting a sunny Rick Springfield/Romantics tune right down the centerline of the LP. Even though it's easily the happiest song on an album that boasts lines like, "Yesterday, I found out the world was ending," its aggy New Wave is easily the catchiest thing on the record. It also makes some sort of weird sense in a time where Bruno Mars is approximating the Police and 2 Chainz is rapping over the Knack. Through his own twisted K-hole, #ARTPOP icon Reznor is once again one of the most vital artists working today, coming back haunted, breaking the habitual. Let's get physical.

http://www.spin.com/reviews/nine-inch-n ... mbia-acid/

[Matz]

"one of his best"....WHAT!?? I think those reviewers are afraid of writing anything negative about the mighty Reznor or something like that, even Fricke, this is clearly the weakest NIN album of them all. It's got 3-4 strong songs

[JOEinPHX]

This all reminds me of that self titled Pearl Jam record. Everyone kissed that record's ass and proclaimed "they're back!" but largely that record was a turd sandwich.

[Tyler Durden]

This all reminds me of that self titled Pearl Jam record. Everyone kissed that record's ass and proclaimed "they're back!" but largely that record was a turd sandwich.

I thought it was a great record in 2006, I think it's a great record now.

[farrellgirl99]

I read the Spin cover article they did on him and the one thing that stood out was Trent said he tried recording the songs with guitar but it just didn't sound right to him.

Here's the quote:

"I'm happy with who I am now. I feel fortunate to be where I am. We tried arranging the new songs with loud guitars, and it sounded false. Instead, we approached those old emotions in new ways that are subtler, and I think just as powerful."

I like that he is very open about the new direction of his music. He's not pretending its like his old stuff so I'm not sure why everyone is always up in arms about it not being another TDS or Fragile. It's different and he knows that and his fans know that. I'm not saying people have to like the new direction or anything nor think it is any good, but atleast he isn't pretending he's making the same stuff.

Also, I got my deluxe cd in the mail yesterday. He sure knows how to treat his fans.

[Tyler Durden]

I love where Trent is as an artist.

For me, by the time The Fragile came out, the whole mall goth image and "I hate everyone and everything in the entire fucking world" schtick was so played...yet he was still flirting with it on that album. Albums like With Teeth and Ghosts I-IV is the kind of stuff I had been waiting for him to release since about 1996.

I honestly don't know what some people want. He's expanding his horizons as an artist while still honouring his past, in my opinion. He's not resting on his laurels nor is he making shitty "new" music that completely isolates old fans (by pulling something The Cult would have done in their past by completely jumping genres for what's popular). I just don't get it. I think the same people would be bitching if he was still rocking out in fishnets.