The Downward Spiral

Pretty Hate Machine Considered the breakthrough album that delivered a more palatable version of industrial music to the commercial audience, Pretty Hate Machine left its dingy mark on pop culture. The abrasive "sonarchy" of the album was first churned by despondent club-goers who roiled with the rh...	The Fragile Trent Reznor took five years to record this monstrous double-CD set, wielding a perfectionist's touch in the production and the subtlety of a chainsaw in the musicianship. The result is uncompromising, full of hysterical noise and yet utterly accessible. Somehow, someway, this is...	With Teeth Trent Reznor has always been a one-trick-pony, but it's a damn good trick: sunny melodies filtered through ferocious electronics. Unfortunately, the trick's impact was often watered down by a tendency toward petulance and self-absorption. Still, almost six years after NIN's last ...	Broken As a placeholder between the full-length Pretty Hate Machine and The Downward Spiral, Broken packs a serious punch. Angrier and less poppy than Machine, this EP is full of noisy hooks, if such a thing is possible (check out that guitar riff on the full-throttle "Wish"), and much ...	Year Zero Nine Inch Nails' sixth studio release, Year Zero takes the concept album further than it may have ever gone before. In advance of its release, URLs were hidden in tour t-shirts, music- and image-filled USB drives were 'found' at concerts, and dozens of websites have been packed w...
The Slip Limited edition includes a bonus DVD. The Slip (also known as Halo 27) is the eighth major studio release by American industrial rock band Nine Inch Nails. The album was produced by Trent Reznor alongside Atticus Ross and Alan Moulder.	Further Down the Spiral	Fixed 1992 release on TVT featuring various interpretations of songs that appear in their proper form on the 'Broken' EP. Six tracks, including 'Wish' (Remixed by J.G. Thirlwell), 'Happiness Is Slavery' (Remixed by T. Reznor and Chris Vrenna with P.K.) and 'Fist Fuck' (Remixed by J.G. ...	Ghosts I - IV Japanese three CD pressing of the Industrial band's 2008 release features a bonus CD that contains commentary on the album by band leader Trent Reznor. Ghosts I - IV is a 36 track instrumental collection, almost two hours of music composed and recorded over an intense ten week ...	Closer to God A must-stock piece! Do the math, this value-laden piece features all of the tracks from BOTH the U.K. singles of 'Closer' all on one disc for just $1 more than buying one of our regularly priced import CD singles ($7.99)! 'Closer' is off the 1994 album 'The Downward Spiral'. Incl...

"Nothing can stop me now"
The Downward Spiral was the second full length album from Trent Reznor's Nine Inch Nails, following the EP Broken. Whereas Broken exchanged the electronics of NIN's debut for hard rock guitar, this album is a blend of the two. As a fan of the band's synthesized sound, I was happy for the slight return to form, while at the same time excited by the musical growth it displayed. No Nine Inch Nails record could be called cheery, but with the possible exception of the later With Teeth, this is probably Trent's angriest record. It's pretty full on throughout with few interludes of calm (most notably the moving finale "Hurt" and the instrumental "A Warm Place," plus the unlikely radio single "Closer" which is most similar to his earliest work.) It's this aspect which causes the album to not hold up quite as well for me as a listener over the years. Basically, I'm somewhat outgrown it. It's still a masterpiece of production and sound design, but the lyrics simply aren't as relevant to me as they were when I was younger. The DualDisc version comes with the remastered album on one side in standard CD format, and a DVD on the flipside. The DVD contains the album mixed in 5.1 surround sound and upon playing it, it felt like I was listening to the album for the first time. There were so many sounds and layers that were previously buried, or that I didn't even notice at all in the regular stereo mix. The sound separation and clarity is spectacular. The DVD also contains the unedited video for "Closer" in surround and the videos for "March of the Pigs" and "Hurt" in stereo (as they are live recordings.) Finally, there is a discography and a gallery of visual elements used in the art for the album and it's related releases. In closing, if you still love this album and you have a surround setup, you owe it to yourself to upgrade for the new album mix alone.

a 2 is being very polite
I realize this is supposed to be Nine Inch Nails best album, but that doesn't mean a whole lot to me, to be completely honest. For the most part, these songs all sound the same, and more annoyingly, is the *noise* factor of the entire thing. I don't mind a little bit of noise as long as there's some diversity and creativity thrown in the mix, but musically Downward Spiral leaves me completely cold. It's sad that the rock scene had to change to *this* kind of rubbish by the early 90's, but unfortunately that's what happened. The lyrics are the ONLY thing that saves this overlong, unbearable album. Even then, the ones involving strong sexual themes are extremely irritating and childish, and anyone over the age of 25 should be ashamed of themselves for actually enjoying them. Some of the problems in the world involving kids and teens may be connected to this kind of music. People like to say "Oh no, that's not true. My little Timmy would never do anything bad" but I actually think there's some truth to it. The lyrics involving drugs and death, you know, the ones ripped straight from old Black Sabbath albums, are the only lyrics worth paying attention to. These kind of sexual lyrics are about as strong and disgusting as the subject can be, and I think it would be best to avoid this album and buy something that offers more in the way of vocal melodies, instrumental passages, and just overall talent. Something that can brighten your day. I remember my classmates buying this album back in the day, and praising it to the moon. I hope they have changed their mind and realized this kind of music can't hold up and remain listenable over the years- only listenable when you're sitting in your bedroom and going through teenage problems. This album was horrible back in 1994, because lyrics of this nature are sickening to me personally, and the music has NOT aged well either. How *could* this album possibly age with dignity? It can't. How can anyone be proud of the fact they are fans of this kind of music? And don't tell me "I'm way too late- I should have complained years ago" because I WAS complaining years ago when this stuff was brand new. I have good reason to complain, in fact. This album is one (of a few) responsible for destroying the rock scene in the early 90's. No, it didn't expand the rock scene- it turned it into garbage. By the time we reach halfway through the album, you're either experiencing disco-influenced dance beats or screaming that's so loud and intense you just can't handle it. Not much different from Marilyn Manson, Rob Zombie or others from the same camp. Are adults supposed to like this kind of music? If the answer is no, then you might wanna change your musical tastes NOW while there's still time. This kind of music stops being cool as soon as you graduate high school. I give the album a 2 because once in a great while something tolerable might appear, such as the Nirvana-moody "Piggy" or the vocals on "Closer". Hey, these songs aren't any GOOD of course, just not terrible. Avoid, please.

The very best NIN there is
...and probably even the best industrial rock album ever made and ever will be made. Every single track has it's moment and there's no vain or dull tracks at all. This record is full of hate and "self destructive behaviour", just the way industrial rock albums should be. The Downward Spiral probably won't fully open to you at the first time you listen to it but more you play it, more you'll love it. Yes, I am a huge NIN fan and this album started it all for me.

Exploration of Mainstream Music Subject B: NIN: Album #2: The Downward Spiral: Thoughts: Wow...I was so misinformed...
...I always wanted to try this album out...I'd heard "Closer" and "March of the Pigs" before hand and liked the rhythm to them even if they still had pop tendencies attached to them the sound still felt very raw...there are those nay sayers that say "This isn't industrial look it follows a simple beat and melody and is just reliant on Trent's vocals"...well done...I'm glad you can point out the obvious...this is reliant on Trent's very clever vocals and yes...it is rather likely that the melody samples made are very simple...however; this does not mean it's a bad album at all...in fact it is the best mainstream album I've heard since Muse's "Origin of Symetry" and I cherish and regard that album quite highly...allow me to analyze the tracks... Mr. Self-Destruct 10/10: Fell in love with this song...what starts with a movie sample implodes into a very fast beat...which someone said was 13/4...this is a lie...it is just basic 4/4 time signature but nice try...the whole time Trent explodes into this synthy hook and shouts...it's fast and hurried and throughout the whole time the tempo seems to increase your heart rate to an unnatural point...it then suddenly breaks into a very quiet whisper and bass...which in one place where I was listening to it quietly had thought the track had actually stopped...it then very gradually gets louder until exploding with a sforzando and ends how it starts...relentless and aggressive...oh and with a lot of static feedback...to a crazy guitar ostinato which had me very impressed...very impressed indeed... Piggy 8/10: A much more relaxed begginning...the bass quietly grooving to itself while Trent sings about pigs of some sort...there's a chorus key change also where you can hear the ghost of the mechanical noises of the previous track...the synths then enter in the second verse...it's one of those tracks when everything gradually builds up on eachother as is the fashion in most industrial music...but to be honest it's not the best in my opinion...maybe because it's overshadowed from the previous track but it just didn't have enough emotion or aggression for me... Heresy 9/10: Starts with some very dark synthy bass and the typical industrial drums...Trent's voice is put through a machine...it sounds very electronic and gives off this oh so dark feel with his falsetto...within the chorus the whole synthed instruments explode with the line "GOD IS DEAD!!" from Trent...the guitar then enters with a repitive evil mechanical riff...another straight up industrial track with nothing special...but I accept this is of mainstream media and incredibly good at what it does... March of the Pigs 10/10: I can't help but enjoy this incredibly short song...the whole quick build up from the drums to the quick bass and then the sudden explosions that are suddenly stopped by a calm piano interlude only to explode right into action again...it's a very simple concept but work so so so well...one of the highlights...the only problem is I wish they did more with the track... Closer 9/10: Probably one of the more fampus songs on the album (Hurt is more well known due to Johnny Cash's cover) starting with a very simple synthetic beat Trent turns the entire song into an obvious innuendo with his vocals...personally it reminds me slightly of Terrible Lie in the previous album only with alot more going on and the instrumentals with a lot more of an interesting arrangements...I especially like the very funky bass...the ending is also a very good gradual window to some calm and desolate synthetic notes...well done Trent...well done... Ruiner 10/10: Starts with some very interesting sampled noises put in a melodic sequence transferring over to a synth loop...Trent adds his magic by going crazy in the chorus with drums and sound completely muffling everything and turning into what seems like a holy synthesiser noise Trent asking "How did you get so big" until being dragged back into the land of crazy noises...a random woman's voice is now added and backing vocals of his own voice sounding like he's arguing crazily to himself...and then the holy synths come back for the chorus...only to be dragged into a simple bass beat on its own...a distorted guitar then attempts to solo over the bass without falling apart and the drums try and give it some moral support...it then returns to a darker more evil version of the chorus with the holy synths no longer present until they return a few bars later...the whole track feels alive and is of course one of the main reasons I enjoy it so much... The Becoming 10/10: Starts with an awkward toy like bass line that sweeps into a synthy bass beat with random people screaming in the background...Trent enters talking calmly over the screams and trying to sound normal while the clunking of metal can be heard...who knows what's happening to these people right now...they just won't stop screaming over the beat...in time to the beat as well...they must be all musicians or something...hurrah...he clearly seems to be in a lot of musical pain at this point...it's then broken with an accoustic guitar quite cleverly...the screaming turns to breathing and groaning and Trent talks about something or other...I enjoy his crazy thoughts but the lyrics are rather...something...the machine then comes back at full blast with lots of crazy sound not staying in one specific octave and going all over the place...Trent then keeps talking in the hope to reassure the machine but failing quite badly at beating the noises in his head...an amazing track... I Do Not Want This 10/10: Alot more of a dark and solemn track...primitive like drums used played over a piano and good old singing Trent who decided to randomly sample other people's voices too...he doesn't want this apparently...it then explodes into this crazy "DON'T YOU TELL ME HOW I FEEL!" tantrum which then very suddenly fades away back into a variation of section A which sounds like it has a life support machine in the background...random crazy talking samples added makes this track very dark in it's own right...not like Sopor Aeternus or Sunn O))) dark but still...in it's own crazy way...dark...the fuzzed up guitar then takes first in line in the mix and starts playing really heavily and unnoticable notes will pass your ears until it gradually grinds to a halt...there is a lot going in this track...yet again another amazing track...just too much stuff for me to point out everything that happens... A Man With a Big Gun 8/10: Another short and intense track...this time about the problems of gun trouble within america and how men use it to magnify their masculinity...it's pretty good but so short there's a chance that it'll never actually kick in with you...unlike march of the pigs and Mr. Self Destruct it just seems to be a consistent barrage of noise with no actual evolution... A Warm Place 9/10: Starting with a soft choral sound that keeps slowly appearing and disappearing...the calm sonars in the background as these calm waves of chords slowly rise up with the sonar of this giant machine...the synths add their own very eerie melody to this beautifully fragile piece of music as it tries to find its feet...no drums at this point...just the calm drones of music...the key changes as the waves of chords decide to take a new direction and stay in a swirling pool for a while...these calm organs come in as the synthesisers add a new melody to a new tapestry...it feels like someone is slowly drowning and they don't know how to feel about it...this makes me really interested in Trents instrumental tracks however... Eraser 9/10: The light thud and scrape of drums starts this track as there is awkward voice noises slowly carrying it until the true drum track comes through and the voices get all deformed and distorted...the synths then enter with a one note ostinato reliant on its rhythm...a higher synthed sound adds a bit more melody varying in notes sounding like the creaking of a gate if you put it through a computer (if that makes sense) and as it begins to build more and more the whole melodic part gets doubled up and gradually louder and louder as time goes by...ever so slowly so you can take in everything it's trying to say to you...Trents voice then cuts out the entire atmosphere with his piano and awkward cutting like drums...then exploding into his own creation all together shouting "ERASE ME!! KILL ME!!!" Probably wanting to create some kind of suicide anthem or something...very low static then slowly builds up and the track dies away... Reptile 10/10: Starting with a calm "Nothing on TV" tone out comes this popping sound of percussion that builds up into an explosion of awkward sounds...to me it sounds like bunnies getting their heads very quickly chopped off...but I'm sure there's a more logical sound to think of...Trent and the thundering bass enter and he sings about...something...it then explodes into this other sound crazy sounds everywhere but alot more controlled and restrained at this point...and still chopping bunnies heads off...the distorted guitar then enters sounding like a tyrannosarus for some reason (well the song is called reptile Oliver)...this then goes on for a while with Trent still singing yada yada (it is 8 minutes long after all) and the chorus is brought back...and he doesn't stop with the bunny head chopping...and ends with crazy voice sounds and the guitar comes back sounding like a crazy roar...maybe that's what's decapitating the bunnies...OF COURSE!! It all makes sense now... The Downward Spiral 10/10: Starting with a cold howling sound slowly building into some chattering noises...the guitars enter with gradually growing pings in an awkwardly quiet yet busy atmosphere...we then hear a melody that we heard at the end of Closer with those cold evil notes...now in accoustic form we can see its true colours...turquoise...who'd ever thought...ends with crazy muttering and a muffled scream...it's definetely a track that you will either feel very powerfully about...or just say very ignorantly "Duuur this sounds so emo"...it's all personal preference...personally I love what Trent is trying to get across... Hurt 9/10: And of course we end with the most sucessful song...a dark and eerie ballad of hurting oneself...I'm not even going to bother analyzing it because it's very likely that you've heard already and I'm wasting enough time writing this review as it is... ..overall I found this album to be a much more interesting treat then I expected...although the bass lines and drum beats would be simple to perform...they all work together to develop textures of very very very evil hate...Trent really did well with this album and I expect him to carry on in this evolutionary way to stay within the good book of my mainstream outlook... ...unfortunately I have to skip reviewing the Fragile...it would just take to long to review every track in a double album so I move on to their apparent "sell out" album when Trent sobers up...what will I find?

Dissecting the Spiral
A lot of people seem to bash a review titled "A Kid's Review," so I'm going to start off by saying that I am 14 years old, not 13 or under, and I don't consider myself an expert on Nine Inch Nails or on music in general. I just like putting my opinion out there to help people make informed decisions about the music they buy. Now, I think it's generally pointless to pigeonhole an album as "the best album ever." It does a disservice to all the other great albums out there, just as it seriously narrows your or anyone's taste in music. On a similar note, an album doesn't have to be totally obscure for you to like it. Don't tell me this is pop. Sure, it has elements of a pop-like structure, but just because other people actually know about an album and like it doesn't make it mainstream. So now we're at The Downward Spiral. What Trent has here is a fairly depressing, not-so-easy listening mix of techno beats, synth, static, sound effects, loud guitars, screaming, whispering, occasional singing, and a bunch of melodic hooks. No, it's not metal, and I never said it was. It doesn't easily fit into a genre, but it's not genre-shattering. It's just a snakier, more sinister, depressing version of what Trent was already doing. The lyrics supposedly depict one man's descent into insanity, which is more or less suitable. The lyrics are not earth-shattering, but those who say they're inane are missing the point. Big Man With A Gun is satirical, Closer is desperate, Heresy depicts religious fanatics, not religion. This is an album meant to show, not to tell. It describes, it doesn't instruct. Don't take it to heart. If anything, it says what not to do if you wish to remain sane and alive in today's society. If nothing else, Trent Reznor is a master of texture. If, perhaps, you're turned off by Closer's chorus (which you shouldn't be, for reasons I've already explained), then listen carefully to the final two-and-a-half minutes of the song. When a hook comes in that you really like, focus on it, and be amazed as the other hooks and beats surrounding you complement and enhance it. Switch focus to the piano melody, and I'm sure you'll be pleased to find that this crazy layering effect applies to everything in the song. Do the same to the exploding March Of The Pigs and suddenly it seems more melodic, rather than Reznor merely screaming "I wanna f*** it up!" and such as you may have thought at first. The piano coda stands out more, and the synth line is melodically interesting. All of the above said (and I know it was long, but hopefully it was helpful), The Downward Spiral isn't for everyone (at times, myself included). If nothing else, buy Closer and listen to it in the manner that I suggested, and you might find something you like. If you like it enough, buy the whole thing and let it sink in. But let it sink in multiple times so you can actually appreciate what Reznor has done here, instead of dismissing it as "mainstream," or the opposite extreme, "just noise."