Nine Inch Nails releases

tbh this guy is pretty consistent in what he does. I wouldn't say any of his albums is significantly better or worse than the others

Downward Spiral still pretty easily his best work though IMO.

This new one has an excellent beat, but my tolerance for his breathy/nassal vocal style and dumb rhymes continues to want with time. Having said that, that harmonising part in the second pre-chorus is really cool.

New song/video:

https://www.youtube.com/watch?v=_g8nAqDu3gI

Very good.

oh I like this

This is great.

always love to hear trent's higher register

I love the goopy bass sound on this, whatever's making that. I think it's a synth.

been chilling in the studio with alessandro cortini

Definitely a treat. Two for two here!

yea I like this one too, well done

is there a new LP coming after this er what?

He's doing 3 EPs, of which this is the second.

Another good one! Very promising, though I'd much rather see these songs paired on a 12 track album instead of ep's of varying quality.

The final track on this ep is 11 mins long.

Just got my download of the EP.

1. Less Than - 3:30
2. The Lovers - 4:10
3. This Isn't the Place - 4:44
4. Not Anymore - 3:07
5. The Background World - 11:44

Listening now.

OK, first impressions: All the songs are good, if minimal. No sonic or compositional surprises; he's playing to his base. No really cringeworthy couplets, though, which is a big plus. The last song is 11:44, but seven minutes of that are a loop of the main riff gradually devolving into crunchy noise. Definitely worth it if you're a fan, but not likely to make anyone into a fan.

is there more good eurorack content?

No really cringeworthy couplets

Silence/violence is pretty cringeworthy.

overused != cringeworthy

There is a significant overlap.

A long and very interesting interview.

He's got kind of a point about LP versus EP -- if I go to listen to a full album, I'm more likely to skip through to the songs I want to hear, but an EP, especially the way the NIN releases have been assembled, is pretty cohesive and I'll let the whole thing play out.

(there are about a hundred things I've wanted to comment on but that one was a quick thought and I don't want to bomb the thread before anyone else reads the interview!)

that was pretty good - but this interviewer is a bit confrontational, no?

lol @ this

Just this morning, me and my two older boys were sitting in the hotel restaurant. Their mom has played the new EP for them a couple times. They’re like, “My favorite song is ‘Less Than’.” That’s sweet, but then I’m thinking, Don’t I say ‘fuck’ in that one? Same thing when they were at sound check: What song don’t I say ‘fuck’ in?

it's condensed from a couple conversations, so I'd imagine asking some questions and seeing that Reznor's not really a defensive guy and could take prodding led to more interesting questions

The digression into dealing with the parents of your kids' schoolmates when everyone knows you as the dude who sang "I want to fuck you like an animal" was great.

that was pretty good - but this interviewer is a bit confrontational, no?

Confrontational in this "hey, you wanna expand on that a little?"/"I don't really get where you're going with this" sense is vastly preferable to confrontational in the German-interviewer "Why is your new album so much worse than the one before?" sense.

fucking german interviewers, man

Thought this was an even better interview.

Correction: not 'even better', but good yet quite different etc

well yeah - the questions were definitely way more interesting than your standard NIN interview fare. though I did get the sense he was trying to bait him into saying something headline-worthy.

ehh it definitely has the feeling of a narrative that explains who the interview is with but the pull quotes and summary are less interesting than Reznor's actual words in the Vulture interview. it also relies on the myths propagated by writers that the former one debunks

that was re: LBI's link

i closed the tab when the piece described la croix as "fancy seltzer"

lol

otmfm

The phenomenon of La Croix suddenly being a nationwide thing sill baffles and amazes me.

Mh, you are right.

'The Chili Peppers slot' is one for the ages though :D

it usurped clearly canadian's cultural niche in the 90s revival movement

Yeah, that was a good quote

I have actually been at festivals where the last act was indeed that band, and I have the impression that every festival in california for years was that way

also we did leave to get on the road lol

the footnotes in this Vulture interview are bananas. what percentage of people reading a long-ass interview with Trent Reznor need an explanation of who Pink Floyd is?

This is very scattered on my part but the talk in the interview re money at various points prompted some quick notes; click through for it all.

So, amid all the more obviously important idiocies of the day, something interesting I've noticed re that Reznor/Marchese interview...

— Ned Raggett (@NedRaggett) July 26, 2017

It's definitely interesting. He brought up private torrent sites again, which he seems to have been a member of if you connect the dots between comments. I don't think he's even said it explicitly but the pay-to-stream model, with premium physical releases (vinyl with extra art and bonus junk) seems to be his preferred way of putting music in the market. But accessibility and artist control as opposed to label control is the running theme.

There was at least one thing, although I'm not remembering what it was -- maybe it was the full set of Coil NIN remixed material -- made it way to torrent sites and it was implied he dumped it himself.

Interestingly, his touring bandmates have definitely released via bandcamp and similar platforms, and purchase stuff there regularly.

found cortini's public profile when I was searching out of curiosity -- looks like someone is a kevin drumm subscriber :)
https://bandcamp.com/alessandrocortini

I think there's been at least one other more dismissive comment of Bandcamp he made a couple of years back, but I sure do wonder about him really not wanting to grant the idea that people can be directly paid for their work. Which may be an exaggeration but I almost think nearly all of this is him wanting a middleman. At the least, he was direct about not wanting to be his own marketer.

Yeah, it's pretty clear he's still feeling burned by the Saul Williams album numbers and how many people opted in to pay

I think the elephant in the room here is that the audience willing to associate their credit card info with the purchase of an album titled The Inevitable Rise and Liberation of NiggyTardust! is, by definition, self-limiting.

BUT THE ART