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NINE INCH NAILS

Crossover Prog • United States


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Nine Inch Nails picture
Nine Inch Nails biography
Founded in Cleveland, USA in 1988 - Still active as of 2018
Michael Trent Reznor - Born May 17, 1965 (New Castle, Pennsylvania)

US band NINE INCH NAILS was more or less formed in 1988 by Trent Reznor, and while other musicians have participated in various manners over the years the band is first and foremost his solo project.

The early start of this band occurred when Reznor worked as a janitor and assistant engineer at Right Track Studios, and asked the owner Bert Koster to be allowed to record some music of his own in the studio when it wasn't otherwise occupied. The subsequent demo recordings, where Reznor handled all instruments apart from drums himself, landed him a record contract with TVT Records, and 10 cuts from these demos were polished and issued as the first NiN album Pretty Hate Machine in 1989. The album eventually sold to platinum, one of the best selling independently releases records of all time. Tours in the US and Europe followed until 1991, when his record label pressured Reznor to start recording more studio material.

1992 saw the release of two EP's under the NiN moniker. The 8 track EP Broken was another highly successful venture, and while arguably better known for the promotional videos made for the singles released from the EP it was commercially highly succesfull as well, and eventually lead to Reznor getting two Grammy awards. The remix EP Fixed followed towards the end of the year.

Citing inspirations by Pink Floyd (The Wall) and David Bowie (Low), The Downward Spiral was Reznor's next full length effort to be issued under the Nine Inch Nail's moniker. And like his previous efforts it proved to be a massive commercial success, and is regarded as a major artistic achievement as well. The album appears in numerous lists of the most important albums of all times, whether they are based on commercial or artistic principles. The tour in support of the album was as massive a success as the album itself, and lifted Trent Reznor once and for all up to the major artist level. Even the remix album Further Down the Spiral became a commercial success story, shifting enough copies to achieve the Gold Album merit shortly after it's release.

Addiction problems and writer's block stopped the further evolvement of the project dead in it's tracks though, but while battling these demons Reznor got the opportunity to produce the soundtrack for the David Lynch movie Lost Highway. He...
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NINE INCH NAILS discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

NINE INCH NAILS top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.44 | 111 ratings
Pretty Hate Machine
1989
4.04 | 150 ratings
The Downward Spiral
1994
3.96 | 123 ratings
The Fragile
1999
3.14 | 72 ratings
With Teeth
2005
3.18 | 71 ratings
Year Zero
2007
3.89 | 92 ratings
Ghosts I-IV
2008
3.12 | 57 ratings
The Slip
2008
3.64 | 54 ratings
Hesitation Marks
2013
3.75 | 13 ratings
Bad Witch
2018
3.00 | 3 ratings
Ghosts V: Together
2020
4.00 | 2 ratings
Ghosts VI: Locusts
2020

NINE INCH NAILS Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.27 | 26 ratings
And All That Could Have Been
2002

NINE INCH NAILS Videos (DVD, Blu-ray, VHS etc)

4.18 | 11 ratings
Closure
1997
3.54 | 16 ratings
And All That Could Have Been
2002
3.60 | 24 ratings
Beside You in Time
2007

NINE INCH NAILS Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.29 | 27 ratings
Further Down the Spiral
1995
3.42 | 21 ratings
Things Falling Apart
2000
2.38 | 15 ratings
Y34RZ3R0R3M1X3D
2007
0.00 | 0 ratings
The Fragile: Deviations 1
2016

NINE INCH NAILS Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.47 | 11 ratings
Down In It
1989
2.76 | 13 ratings
Head Like a Hole
1990
2.59 | 10 ratings
Sin
1990
4.00 | 3 ratings
Happiness in Slavery
1992
3.58 | 53 ratings
Broken
1992
3.34 | 19 ratings
Fixed
1992
3.83 | 10 ratings
March of the Pigs
1994
3.87 | 14 ratings
Closer
1994
4.75 | 8 ratings
Hurt
1994
3.00 | 1 ratings
The Perfect Drug Versions
1996
3.00 | 1 ratings
The Day the World Went Away
1999
0.00 | 0 ratings
We're In This Together
1999
0.00 | 0 ratings
We're In This Together (2)
1999
0.00 | 0 ratings
We're In This Together (3)
1999
0.00 | 0 ratings
Into the Void
2000
0.00 | 0 ratings
The Hand That Feeds
2005
0.00 | 0 ratings
Only
2005
0.00 | 0 ratings
Only Remixes
2005
0.00 | 0 ratings
Every Day is Exactly the Same
2006
0.00 | 0 ratings
Survivalism
2007
3.60 | 5 ratings
NINJA tour sampler
2009
2.37 | 11 ratings
Came Back Haunted
2013
0.00 | 0 ratings
Remix 2014 EP
2014
3.25 | 4 ratings
Not The Actual Events
2016
2.60 | 9 ratings
Add Violence
2017

NINE INCH NAILS Reviews


Showing last 10 reviews only
 Sin by NINE INCH NAILS album cover Singles/EPs/Fan Club/Promo, 1990
2.59 | 10 ratings

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Sin
Nine Inch Nails Crossover Prog

Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

2 stars "5in" was the last single to be released from Nine Inch Nails debut album "Pretty Hate Machine". This particular single has 3 versions of the track "Sin", all of which are quite drastically different from the more synth-pop style on the album. The version is harder and direct making it stand out a lot more than the album cut.

The single's first two tracks are the first two versions of the song, first with a short version and then a long version. There isn't a lot of difference between the two except for additions of sections on the longer version that extend the time from 4:19 (short) to 5:51 (long). Breaking up the Sin versions is the NIN cover of Queen's "Get Down, Make Love" from their "News of the World" album. Trent's version has a more industrial sound to it with a steadier and direct beat with lots of automatic computerization that takes most of the emotion from it, even with Reznor's intense singing. Even the moaning loops don't make this anymore sexy or naughty, and they take away the cool effects that made up the instrumental break on Queen's original. In the end, Queen's version ends up being more relevant now than Reznor's version. Sorry Trent. The last track is the dub version of "Sin" with the mostly instrumental beats and sounds of the track without vocals.

The manipulated versions of this version of the song is good, probably more infectious than the original album version, but other than the curiosity of the cover song and the final let down when you realize it isn't any good, this just doesn't have much to offer. If you are a lover of the title track, then it is probably worth it, but you will probably have a hard time finding it anyway, except for streaming it somewhere for free. This one is only good for the fans or completionists.

 Things Falling Apart by NINE INCH NAILS album cover Boxset/Compilation, 2000
3.42 | 21 ratings

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Things Falling Apart
Nine Inch Nails Crossover Prog

Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

4 stars "Things Falling Apart" is another remix album from Nine Inch Nails, this time with the tracks being sourced from the album "The Fragile". Eight of the ten tracks are remixes from that album with one track being an original song and one being a Gary Numan cover. Reznor and Alan Moulder remixed 3 of the tracks here with the others being remixed by other artists. With Reznor having a lot of luck with remix albums after "The Downward Spiral", it only made sense to do a remix album of "The Fragile", thus this album became a companion album to that one. However, the critics really did not give this remix album a good chance as it was thoroughly panned by them.

Starting off with "Slipping Away", the first remix refers to the song "Into the Void" both musically and rhythmically. The lyrics are broken into "I keep slipping away" and "Tried to change myself" in various forms and the music builds off of percussion and guitar loops with a thumping beat and layers that become more distorted as the track continues and moves into the next track "The Great Collapse". These first two tracks are remixed and reconfigured by Reznor and Alan Moulder. The Great Collapse is a quieter track and is actually an original that was supposed to be used on "The Fragile" album. It builds off of synth loops and a piano riff. There are repeated lyrics sung by an unnamed female vocalist. The lyrics are a repeated line that sounds like it might have come from "The Wretched", but it is not a remix of that as commonly believed. After the female vocals come in, you also hear Reznor yelling the same line in the background.

The next track is a remix of "The Wretched" mixed by Keith Hillebrandt. This one has a bass drone and a heavy beat with Reznor singing the lyrics in a whispery voice. It later breaks down to bass and acoustic guitar only while Reznor repeats "Now you know/This is what it feels like", then it all eventually starts to build again to the end. The next track is the first of three remixes of "Starf*ckers, Inc.", this remix done by Adrian Sherwood. The track features various sound effects and even samples from KISS' "Shout it Out Loud" from the album "Alive II". A remix of "The Frail" comes next. It uses distorted effects and stings and the melody is played on a violin instead of a piano. It remains mostly quiet and dark.

Another version of "Starf*ckers, Inc." follows, this time manipulated by Dave Ogilve. This one is a brighter dance oriented version with an industrial beat and feel, and contains most of the lyrics, including the "You're So Vain" lyrics. "Where is Everybody?" is a remix of the original mixed by Danny Lohner. This is a nice minimal track that has processed and cut up vocals. It remains quite atmospheric and adds in glitch beats later in the track. The next track is "Metal", and is a remix of a Gary Numan track taken from the album "The Pleasure Principle" and manipulated by Reznor and Moulder. The last part of the track has a long instrumental that pulls out sections of other Numan songs.

"10 Miles High" is another remix done by Keith Hillebrandt. The introduction is shorter than the original and the guitar solo is put on the end of the song instead of the middle, but it remains pretty faithful to the original otherwise. The album ends with the third remix of "Starf*ckers, Inc.", this time remixed by Charlie Clouser. It starts out quite subdued but develops into an industrial version of the track with very few of the lyrics left in the mix.

Even though the critics panned this remix album, it really isn't that bad. Most of the tracks come from what they consider a weaker album (The Fragile), and, after so many different remix albums, the critics were not too easy on it. Personally, I think it's a pretty good album for a remix album, and the music is quite varied, which is not always the case with remixes. Even with 3 versions of one song, they are different enough that it is almost like you don't even notice. Anyway, I consider it one of the stronger NIN remix albums, so I don't see any problem giving it 4 stars.

 Add Violence by NINE INCH NAILS album cover Singles/EPs/Fan Club/Promo, 2017
2.60 | 9 ratings

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Add Violence
Nine Inch Nails Crossover Prog

Review by Warthur
Prog Reviewer

3 stars The second part of a triptych that began with Not The Actual Events and concluded with Bad Witch, Add Violence slams itself bodily against two different musical extremes of Nine Inch Nails - slickly delivered electro-industrial with enough hooks and instant catchiness to verge on industrial pop on the one hand, loud, aggressive industrial rock confrontation on the other.

The Background World closes off with an increasingly harsh and confrontational repetition of its closing movements, which rather strikes me (considering the song title) as Trent Reznor slightly rebelling against his newfound reputation as a great soundtrack dude; he's insisting here that his music isn't something to just fade into the background but has a real, vibrant purpose to it which deserves to be in the foreground too, and seems to intend the outro to the track as a means of shaking the listener out of whatever they are doing with Add Violence in the background and making them pay attention to it.

Joke's on him, though - these rather light compositions are, aside from that, perfect background music for electro- industrial fans. Sorry, Trent.

 Bad Witch by NINE INCH NAILS album cover Studio Album, 2018
3.75 | 13 ratings

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Bad Witch
Nine Inch Nails Crossover Prog

Review by Warthur
Prog Reviewer

4 stars Brevity is good; I would rather listen to 30 minutes of solid music than an album of 30 minutes of the exact same music plus 20-40 minutes of filler. And 30 minutes of solid music is exactly what Nine Inch Nails offers here; Trent Reznor definitively crosses the streams and sets his soundtrack work and his Nine Inch Nails work on a direct collision course (not that they were ever *that* separate), and then pulls these gems from the wreckage. Back in the late 1980s or early 1990s you'd have never expected to hear a bit of jazzy saxophone on a NIN record, but Trent's old enough and self-confident enough to do exactly what he wants and not fuss too much about pandering to people's expectations.

Trent, soundtrack collaborator and creative BFF Atticus Ross, and their gang don their leather jackets, get on their motorcycles, and go raiding in the territories of dark ambient, art rock, and dark jazz acts like Bohren & der Club of Gore, David Lynch, and Blackjazz-era Shining, coming away with a range of musical ideas which they then integrate into their own territory. It's a release which leaves me with the impression that Reznor's creative reserves are far from empty.

 Bad Witch by NINE INCH NAILS album cover Studio Album, 2018
3.75 | 13 ratings

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Bad Witch
Nine Inch Nails Crossover Prog

Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

4 stars The 2018 album from Nine Inch Nails was originally intended to be the third EP in a series, the first being 'Not the Actual Events' and the 2nd being 'Add Violence'. Trent Reznor decided to make this one an LP because he felt that EPs tend to get overlooked. So, this last album in the series, 'Bad Witch', was ultimately developed into an album. The only problem is, and it turns out to be the biggest problem of this album, is that it is way too short at only 30 minutes. The positive thing about it that proves it is a great album, is that you want it to be longer, instead of being glad it is over.

The album is a lot more experimental and progressive than the other recordings in the series. This works to Reznor's and Ross' advantage and creates a very dynamic and varied album, but it could have been so much more than this if there were more songs on it.

'Sh*t Mirror' starts things off with the usual industrial sound with processed and regular vocals. It has a nice industrial build at the end and retains it's intensity throughout. Ian Astbury from 'The Cult' does some guest vocals on this track.

'Ahead of Ourselves' has a nice driving beat with a rapid fire beat. The vocals are all pretty much processed in this one, but it is still the sound you expect from Trent, exciting and intense.

The next track is instrumental. 'Play the G*dd*mned Part' utilizes a saxophone, but it isn't blaringly apparent, but more of a sound layer in the noise mix. It does increase in volume as the track continues until all of the background noise stops and a very dissonant chorus of layered saxophones play against each other. This track is brilliant and even approaches experimental avant-prog. It's good to hear Reznor's brilliance shining through again.

'God Break Down the Door' again utilizes a dissonant sax with another rapid beat. This track is very reminiscent of the music on the 'Blackstar' album by David Bowie, and this is actually intentional as Reznor admits to the inspiration. It is another great track and even with its inspirational source, it still manages to keep that industrial feel.

'I'm Not From This World' is surprisingly another instrumental. This one also surprises since it is an ambient track that is also experimental and utilizes multi-note drones and effects. NIN make themselves current by experimenting with this style and incorporating industrial rock with new methods.

'Over and Out' is made up of layers of music, vocals and sound that increase in intensity as it continues Again, it is not what you would expect from NIN's typical sound, but it goes in the right direction. This is also reminiscent of later Bowie music, with loops and layers flowing around each other and then finally fading to a high drone.

It's good to hear NIN get experimental again and more progressive as was the case in the 'Ghosts' album. This could have easily been another 5 star album for NIN if it was longer, but it woefully ends too soon. But hopefully it is an indication of where Reznor plans on taking NIN's music.

 Broken by NINE INCH NAILS album cover Singles/EPs/Fan Club/Promo, 1992
3.58 | 53 ratings

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Broken
Nine Inch Nails Crossover Prog

Review by DamoXt7942
Forum & Site Admin Group Avant/Cross/Neo/Post Teams

4 stars Felt exactly like "Happiness In Slavery" under such a destructive "Broken" situation. This ep "Broken", my first NIN album, has given me an unbelievable shock and magnificent amaze. Already immersed in the sleeve with a quietly burning "n" character at the centre indeed, but NIN aka Trent's noisy, violent but sincere, gorgeous sound theatre has driven me complete mad. The musical method in his early years is far from "so-called" progressive rock indeed but he has had a lot of foresight (enough to dig Marilyn Manson or so out) for producing serious musical innovation and creating industrial invasion. His innovative soundscape's exploded massively through this ep, regardless of his previous album "Pretty Hate Machine" already full of dry loudness and desert madness.

Yes in the first break "Pinion" the sound structure is already broken. Just like a volcanic eruption (reminding me of Tarkus' Eruption actually), offensive dissected melody lines are convoluted and synchronized one after another. This phenomenon is crazy enthusiastic enough to uplift my motivation gradually. And in an aggressive manner I'm kicked out via one of the most speedy, uptempo stuff "Wish", where bombastic electric guitar phrases are launched aloud here, there and everywhere. Another spiritual regulation attacks me. On the contrary, "Help Me I Am In Hell" consists fully of sticky, repetitive guitar meditations from the beginning until the end ? sorta dissonant moment is going away quietly. Also upon "Last"in the same vein of his previous album Trent tries to show his strong intention of grunge / industrial hardcore.

Another tough exposure is exactly a piece of his words "Gave Up", followed by about 80 second silence ? pretty of anxiety. This disquieting quietness should be one of his point of views upon the current rock scene, I guess. Sounds like the last "Suck" would have mentioned such an unstable situation in the music world should be continued eternally. Predominant eccentricity itself is his incredible, agitative representation, let me say. My favourite one.

 With Teeth by NINE INCH NAILS album cover Studio Album, 2005
3.14 | 72 ratings

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With Teeth
Nine Inch Nails Crossover Prog

Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

4 stars After the huge success of 'The Downward Spiral' and 'The Fragile' along with some EPs thrown in there for good measure, Trent Reznor was riding high, but was also battling with drug and alcohol addiction. Also, during this time, Reznor faced writers block. This was not a good time for Nine Inch Nails, or the fans. The public was getting restless for a new NIN album. 'And All That Could Have Been' was released in 2002 and it was a double album, one disc live, the other studio tracks. This was an excellent album, and worked to appease the fans for the time being.

Fast forward to 2005 before Reznor was ready to release another album. Excitement was generated when news started coming in that an album was on it's way. When the album did finally come out, it shot right up the charts. People were expecting that loud and inventive music that Trent was know for, the same wildness and ingenuity that existed before.

For the most part, the critics and the fans were happy with this album. I know I was happy with it, but there was a little something missing in there that was hard to pinpoint. Nevertheless, this is a decent album, not quite as major of a release as the previous albums, but it was still satisfying. The album was originally supposed to be a concept album with songs and music dealing with the way addiction can lead to either a downfall or to recovery. By the time the album was finished however, Trent admitted it wasn't a concept album except for maybe in a loose sense where the songs could be listened to individually, but would also fit together nicely as 'friends'.

Right off the bat, you can tell things are different in that the first track doesn't come blasting out at full volume like you would expect. However, there is a lot of tension in 'All the Love in the World' and it builds and builds. There was some electronics, but there was also some organic sounds that were mixed to the front, piano and percussion. This was a pleasant surprise. But the way the music builds and builds is just what this album need to start it off, and by the time you reach the end, your heart is racing and your blood is boiling, and hallelujah, NIN is back!

'You Know What You Are?' follows as an upbeat and loud track and carries on with the excitement. 'The Collector' veers off in a progressive direction with some interesting and constant meter changes, and you end up with a great track that continues in the same style as previously, and by now, you are convinced that NIN is back with a vengeance. Things would be amazing if only they would follow this same trend through the album.

But this is the point where we seem to lose the forward motion of the previous tracks. 'The Hand That Feeds' is only a straightforward rock song and sounded pretty typical for the time, so it was released as a single. This same straightforwardness continues through 'Love is Not Enough' and 'Every Day is Exactly the Same' not that these are bad tracks, they just don't have anything really different and unique about them. So things begin to get a little disappointing at this part of the album.

'With Teeth', the title track, brings the hope back however, and sounds a lot more inventive and unique, especially with the sudden drop in volume and intensity in the middle of the track where things become more ambient and spacey for a while and builds back up. Great use of dynamics in this track. 'Only' is another single from the album, and is an excellent reminder of the greatness of past NIN hits, and, even though the beat is steady and pretty standard, it is very catchy and the variation of instrumentation in the background keep things interesting and exciting. The chorus is repetitive, but it is easy to see why this song would be considered another anthem in NIN's repertoire.

'Getting Smaller' starts out with some great noisy and industrial sounding effects, but it soon lapses into mediocrity with a rapid fire beat and a song sounding too much like it's trying to repeat past successes, and only succeeding in sounding copycat more than reminiscent of the older NIN. 'Sunspots' has a great bass line, but other than that, it is nothing special again. There are some places in these two songs that approach being industrial, but the effects aren't enough to carry the song into greatness as before.

'The Line Begins to Blur' is a attempt to return to the slow, dark sound of 'March of the Pigs' et al, and it does so, but after following a couple of more commercial sounding tracks, it loses it's effectiveness. By itself, it would probably fit quite comfortable in the loudness of previous albums, but with it's placement on this album, it loses its power. 'Beside You in Time' is a study in tension with somewhat subdued vocals, and tension building over a drone. This one is better, and more unique. This would be a hint at the type of great music exploration on the album 'Ghosts'. 'Right Where It Belongs' ends the original release, but it is a little weak especially considering the previous track. Again, it isn't a bad song, but it is not the finale you expect to hear after the song preceding it.

Overall, this is still a great NIN release, and in the complete context, is a good album. Unfortunately, there are weak points among the very strong points. There is hope that the NIN of the past is still there, but there are tracks when that special something is missing, probably because Trent is experimenting with other styles and sounds. There is nothing wrong with this, and in this case, it doesn't completely destroy the album, but for a while, things won't get any better in the next album 'Year Zero'. Still, 'With Teeth' still manages to come out it all as a solid 4 star album.

 And All That Could Have Been by NINE INCH NAILS album cover Live, 2002
4.27 | 26 ratings

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And All That Could Have Been
Nine Inch Nails Crossover Prog

Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

5 stars This is the explosive live album released in 2002, at the height of Nine Inch Nails' popularity. Even though it was released in that year, the performances were from the year 2000. Trent released it as a transitory album between 'The Fragile' and 'With Teeth'. The album is, in reality, a double album, with disc 1 being the concert disc and disc 2 being a studio/live album named 'Still'. The listing in Prog Archives only has the track listing for the live Disc One. I will talk about the second disc later.

The live disc comes from the Fragility 2.0 tour. The tour consisted of a full band even though most of the songs on their original studio versions were recorded by Trent doing almost all of the instruments, mostly computer controlled synths with occasional guests. To turn what was mostly electronics previously to be performed on standard instruments is quite a feat in itself. The live disc is definitely loud, but it makes the sudden dynamic changes when they happen even more effective. The production and mixing is excellent. The audience can be heard between songs, but is mixed way down during the songs, which is great. Even though there is nothing new here, the songs prove how rousing they are in a live environment, and you can hear differences in their sound which makes them fresh, but recognizable at the same time. This has to be, in my opinion, one of the best live albums ever released. The music and the sound is superb, the performances excellent, the music exciting and even the order of the tracks is perfect. You can really feel the excitement of the live concert, and you feel like you are right there. There is a video release that contains all of these tracks, plus several others, but they are in a different order, and I can't say if this affects the overall experience, but my guess is that it is also excellent given the quality of this recording. Trent has said of this tour that he has a hard time watching himself because he was in such rough shape at the time and felt he wasn't giving the best performances during this time. I don't notice any problems with his performances, and if this isn't his best, then I can only imagine how great his best is. As with other NIN albums of this time period, they are not for the easily offended nor the faint of ear. It's not all just a loud wall of sound though, there are plenty of dynamic changes and slower, yet dark, tracks, but the overall feel is loud.

So disc 2 is not included on the above Prog Archives track listing. It can almost be considered a new album, except for the fact that 4 of the tracks are versions of previously released songs in a live, deconstructed setting (again with a full band), and 5 are new-to-this-album, unreleased songs. The new songs are mostly formed from themes that were rejected on the 'One Hour Photo' soundtrack.

This part of the album starts with 'Something I Can Never Have' in it's 'deconstructed' form. This song was originally from the debut album 'Pretty Hate Machine' and was also included on the movie 'Natural Born Killers'. This version is all acoustic with Trent on piano and John Dillon (NIN's ex drummer) on acoustic guitar. This version turns the song into a heartbreaking ballad about loss and depression. It is amazingly beautiful and heartfelt. The lyrics are even that much more powerful in this setting.

The 2nd track is original to this recording. Trent states that this instrumental is a continuation or conclusion of 'La Mer' from 'The Fragile'. It is a mostly sparse and stark instrumental using piano and some percussive instrument that sounds like a combination of marimba and steel drums. It is short, but builds effectively to the end.

Next is the deconstructed version of 'The Fragile' from the album of the same name. This one is very quiet, except for Trent's own emotion through his vocals. The backup consists of electric piano sparingly played which is later joined by bass, which is also followed by a fading in of drums. Tension builds through the bridge of the song, ending with sustained guitar.

'The Becoming' from 'The Downward Spiral' in this instance is very percussive through the first verse, then joined by piano and base with a plucked sound and sparse guitar. Again, most of the dynamics here are in Trent's emotional vocals. This is a very inventive version of the song, and almost better than the original in this version. The tension is very prevalent throughout this version.

'Gone, Still' is the 5th track and is another original. It is also an instrumental, again sparse, but this time with guitar, piano and synths. The guitar and piano play repetitive melodies and the synths provide texture. The title definitely reflects the feeling of the track.

'The Day the World Went Away' comes next in it's new form. It did appear on the live portion of the album on CD 1. This time, it is even more sparse starting out with only guitar. The 2nd verse builds on this by adding a persistent slow beat and plucked/strummed acoustic guitar. Piano also joins in almost giving it a bright sound, but the bright tone gets flattened as the song goes on.

'And All That Could Have Been', the title track of the entire album, is an outtake from 'The Fragile' that was unused before this point. It is a complex song, dark starting out slow and building tension as it continues. The vocals here are from Trent of course, first sounding far away, but suddenly getting louder. The verses are in 7/4, the chorus in 4/4 and the mostly instrumental bridge in 6/8. Dynamics are used quite intelligently in both vocals and instruments. This reminds me of 'Signal to Noise' from Peter Gabriel as far as the structure, feeling and tension building goes, just without the orchestration.

'The Persistence of Loss' is an apt title for this beautiful instrumental. It is based on a repeating motif that starts out quiet and then other instruments start to layer in, including horns. The repeating motif, which lasts 10 meters on each instance, is reflective of the 'persistence' and the sadness/slowness of the piece reflects the loss. The added instruments represent memories.

'Leaving Hope' is another slow paced instrumental driven by piano with tense sound effects, supposedly built from past vocals that have been treated so they sound more like electric current running than they do vocals. This is another pensive yet lovely track. Sustained and treated guitars come in later adding mostly texture and feeling to the track.

This 2nd CD to this album proves Trent's ingenuity and musicianship. His music isn't simply industrial rock or loud noise, you can hear, especially in these more sparse tracks, that he is an amazing composer. You have to listen closer in his louder music, but here, it is more evident. I highly recommend this entire package as an essential album that bears testament to the amazing music of NIN and Trent Reznor. It gives you a chance to hear the power of NIN in concert and also in a more quiet setting, just so you can experience for yourself how amazing this music really is. Like I said, this is one of the best live recordings out there, and the addition of 'Still' solidifies this by making this album that much more of a must have. 5 stars.

 Add Violence by NINE INCH NAILS album cover Singles/EPs/Fan Club/Promo, 2017
2.60 | 9 ratings

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Add Violence
Nine Inch Nails Crossover Prog

Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

2 stars As much as I wanted to like this EP, I just can't call it anything but mediocre at best. This was the second in what was supposed to be a series of 3 EPs released after "Hesitation Marks". It starts out well enough with "Less Than" which was also released as a single. This one sounds a lot like the way NIN used to sound, hard and straightforward. This is the kind of song I used to love from NIN, so things seem positive at the beginning. However, this track sounds nothing like the rest of the EP. The next track is "The Lovers" which seems dark, but vocals are mostly spoken and the track, though it shows some promise, never really goes anywhere. The music is sounding more like electro-industrial without much of an edge. The 3rd and 4th tracks have even less substance. Sure, it's great that NIN was experimenting with different sounds, and they did that quite well with the "Ghosts" CD, but this time it falls flat.

The 5th track is a strange one. "The Background World" starts out really well, and you actually have an 11 minute track here. The first 4 minutes of this track is a definite 5-star song, but there is a sudden change as a looped sequence starts to repeat itself. This goes on for the rest of the track, but listening closely, you start to hear background noise come in. The noise and fuzz slowly get louder over the next 7 minutes as the loop continues, until it completely takes over the loop sequence. So, what was the background becomes the foreground and vice versa. By the time the track expires (that's what it does, simply expires) the noise sounds more like an industrial drone. There is nothing wrong with drones, but the loop repeated ad naseum and the continual noise get very annoying.

This seems like a failed attempt at finding a new sound. I give NIN props for trying, but I don't feel the same passion for the music (except for the first track and the first part of the last track). Maybe the last EP will be better. It is now considered an LP which will be released later in June 2018. It will only be around 30 minutes and Trent wanted to change the designation to LP because he felt that EPs get lost in all the singles that get released, which he probably has a good point. The good news is the plan is to still only charge the price of an EP. Anyway, this EP is not worth looking for unless you are a collector or fan.

 The Downward Spiral by NINE INCH NAILS album cover Studio Album, 1994
4.04 | 150 ratings

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The Downward Spiral
Nine Inch Nails Crossover Prog

Review by DamoXt7942
Forum & Site Admin Group Avant/Cross/Neo/Post Teams

4 stars Come back to my younger days. One of the most important creations - both for NIN (aka Trent REZNOR) and the alternative industrial rock scene - 'The Downward Spiral' released in 1994 should have exactly amazed me in my 'non-progfreak' days. In those days I've got immersed in novel alternative pop / rock like 'Nevermind' (Nirvana) or 'Vs.' (Pearl Jam) but a tad got bored with media-oriented tunes or creations. Although it's said in general NIN has made his progressive identity just in the following album 'The Fragile' indeed, Trent's squeeze kinda starshine into my brain, with his EP 'Broken' in 1992. His second full-length album 'The Downward Spiral' featuring violent electronic explosions and ironic acoustic texture can be called as a sort of development for progressive industrial hardcore, let me say ... and honest to say, also for me, it should have been a stairway to progressive rock world.

The first brilliance 'Mr. Self Destruct' is Trent's musical collective at that moment. Extreme sound violence, expressive loud electronic craziness, impressive improvised guitar riffs by Adrian (I didn't know at that moment, shamefully!) ... on the contrary, the following one 'Piggy' is cold, bluesy, and mysteriously quiet, featuring Trent's quirky voices. 'March Of The Pigs', that has appeared in Billboard Hot 100 and disappeared very soon, sounds like a delicious but rough desert lunch with an acoustic dessert at last. Another similar case can be heard whilst the latter section in this album, especially between 'A Warm Place' and 'Eraser' ... surrealistic moment and infernal end. Basically this stuff consists of exaggerated loudness and weird quietness one after another. This contrast was (and is even currently) innovative. Old but novel, in conclusion.

Thanks to windhawk for the artist addition. and to Quinino for the last updates

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