Aint No Right

farrellgirl99 wrote:i didnt end up waiting on line bc i was hungover and decided it was too dumb to do on a saturday morning. then i saw someone from high school i hadnt seen in 9 years (but his brother is still close friends with my brother so it wasnt the weirdest thing in the world...i guess) was waiting on line so i messaged him and asked him to grab me a ticket and he did lol. he waited for 8 fucking hours. so i lucked out hard and offered to buy him dinner.

then on friday, i saw he added two more ny shows - one at a 3k capacity theater in brooklyn - so i grabbed the cheapest seat possible in the back and will be going to that show too. so ill see his first and last in ny. why not. yolo. old grandpa trent still makes me happy.

farrellgirl99 wrote:So Trent haters, what do you think of the Bad Witch ep?

I really like it as a cohesive piece. He even stopped with his stupid rhyming! There’s energy there I haven’t heard in awhile. I dig it.

Trent Reznor Thinks Artists Should Speak Out

Interview by Molly Lambert
June 20, 2018

“Bad Witch,” your ninth studio album with Nine Inch Nails, is the final record of a politically-minded trilogy you began in 2016. Do you feel that musicians have a responsibility to address politics?

I was doing press with somebody in the mid-90s, and they made an argument that stayed with me: that I have influence, and that it’s my job to call out whatever needs to be called out, because there are people who feel the same way but need someone to articulate it. And I think about that today, because it seemed like it was a lot easier to just keep your mouth shut and let it go back then. You don’t hear a lot from the Taylor Swifts of the world, and top-tier, needle-moving cultural youth, because they are concerned about their brand, their demographic and their success and career and whatnot.

Do you think it feels different now?

It does feel different. I know how I feel, and I have let it get to me in ways I wish it hadn’t. My worrying about it isn’t helping anything. But what Donald Trump is doing is concerning and infuriating — and it’s not the conservative agenda, it’s not a question of religious preference, it’s not a question of should government be big or small. I don’t have any problem with those topics. But the disregard for decency and truth and civility is what’s really disheartening. It feels like a country that celebrates stupidity is really taking it up a notch.

Some people were introduced to your music through your score for “The Social Network.” I’m sure that what has happened with Facebook is probably more dystopian than you or David Fincher, the director, would have imagined.

It’s easy to feel pessimistic now — being a father of young kids, my job is to preserve their innocence as long as possible. Every time I’ve got to jump to turn the TV off so I don’t have to explain the myriad embarrassments that are coming out of the current administration — “What’s a porn star, Dad?” — it affects me in ways that I probably wouldn’t have been this tuned in to a couple of years ago.

You and Atticus Ross also scored the Ken Burns-Lynn Novick documentary about Vietnam — did that affect your feelings on the current administration?

I realized that I naïvely had faith that the government must know what they’re doing. There are conversations in the footage for the documentary where you realize they’re winging it: “Can’t let the public know this, I’ll never get re-elected.” And that call costs so many lives. It’s worrying. And yet I would tend to think the people in charge then were significantly more enlightened or worthy of their positions than the crew we’ve got in there right now.

You grew up in Mercer, Pa. Was that a part of the state with the “weirdo culture” the Midwest is famous for?

One could make an argument. There weren’t a lot of things to distract you, so you’d end up turning inward. I can’t help but think about that lack of access. The side effect was that when you could get something, whether it be an album or a magazine that looked like a portal into a new world, you pored over it, because it wasn’t one Google search away all the time. I think I turned out the way I did because I was so bored.

What were your most cherished objects?

I was a member of the Columbia Record Club — the unbelievable promise of 13 albums for a dollar, with the catch of, if you don’t send that card back in, you’re going to keep getting more albums at retail price. And a few showed up because I forgot to do that, and then I owned Barry Manilow’s “Greatest Hits” — O.K., I own it. I paid a price for it. I’m going to listen the [expletive] out of this thing.

Do you think there’s more Barry Manilow in you than people know?

There was a time when I had “Copacabana” stuck in my head for a full year. I was legitimately concerned about it.

Matz wrote:this is a fuckin badass version of Copy of a. LOVE the bass player, he's amazing. Great lines

nausearockpig wrote:I really enjoy his videos in this series. My fave thing is that his surname is “beat-oh!”

nausearockpig wrote:I read in some comments that he does some fancy mixing to “isolate” track from the stereo tracks when he can’t get the actual isolated tracks.

Some other people said he uses tracks from those Rock Band games of course they were complaining about it.

Pandemonium wrote:Looks like the current NIN tour is getting back to what made the 2009 Farewell tour so good. Trent's playing a really mixed up set from night to night, pulling out solid deep cuts that haven't been played in years or even decades and then there's this:

creep wrote:
Why would they never play that live before? Sounded pretty good. Maybe because it's a tough song for the drummer?