Reznor had an element of youthful arrogance and know-it-all sense of purpose with his defiant releases decades ago. Most of us think we know it all when we are fresh, green buds. But the new releases entail a sense of wandering, a sense of wondering. Reznor has become humbler with age.
It seems he feels the uncertainty that we all do, if the new "Ghosts" is any indication. And, most importantly, the new "Ghosts" exhibits a sliver of undying hope.
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To do so, click the downward arrow on the top-right corner of the Facebook comment the arrow is invisible until you roll over it and select the appropriate action. He also revealed that the band would likely distribute its next album independently, possibly in a fashion similar to Saul Williams ' album The Inevitable Rise and Liberation of NiggyTardust! Following the Performance Tour in support 31 Ghosts IV - Nine Inch Nails - Ghosts I-IV (CDr the band's previous album Year ZeroReznor set out to make a record "with very little forethought".
Whatever happens during that time gets released as Live-band member Alessandro Cortini and studio musicians Adrian Belew and Brian Viglione also contributed instrumental performances on select tracks. And then attempt to describe that with sound and texture and melody. And treat it, in a sense, as if it were a soundtrack. The musicians created the album tracks through improvisation and experimentation. As a result, the initial plan to release a single EP of the material expanded to include the increasing amount of material.
He stated that Reznor's instructions to him were to "build a drumkit. Piece together any stuff that you want to bang on; rent what you want to rent. Have fun and Cortini was brought onto the project two weeks into the process, and his involvement evolved from "first recording some extra parts to some tracks" and eventually into "a collaboration on [the] tracks noted in the booklet". Ghosts I—IV is an almost entirely instrumental album, with only a few tracks containing sampled vocals.
Reznor described the album's sound as "the result of working from a very visual perspective—dressing imagined locations and scenarios with sound and texture; a soundtrack for daydreams. Rolling Stone also compared the album to the work of Brian Eno, specifically the album's sound to the instrumentals of Another Green World and the rhythm collages of My Life in the Bush of Ghosts Ghosts I—IV features a wide assortment of musical instruments, including pianoguitarbasssynthesizermarimbatambourinebanjodulcimerand xylophonemany of which were sampled and distorted electronically.
Rob Sheridan acted as the album's art director, in collaboration with Artist in Residence. A page PDF comes with each version of the album and contains a photograph for each of the 36 tracks. These photographs are also embedded into the ID3 tags of every downloadable track.
Ghosts I—IV was released online on March 2,on the official Nine Inch Nails website in a number of different formats at various price points. Physical copies of the album were available for pre-sale online, with immediate access Album) the digital version. These were limited to 2, pieces, each copy numbered and signed by Trent Reznor. The album is licensed under a Creative Commons Attribution Non-Commercial Share Alike license, in effect allowing anyone to use or rework the material for any non-profit purpose, as long as credit is provided and the resulting work is released under a similar license.
Reznor wrote in that "more volumes of Ghosts are likely to Album) in the future. As a result, Reznor and Ross were given writing credits for the song. It reached number one on the Billboard Hot in April and stayed there for a record-breaking nineteen consecutive weeks. Nearly two weeks after the release of the album, Reznor organized and announced a user-created " film festival " as an accompaniment to the album, hosted at the official Nine Inch Nails YouTube channel.
Ghosts I—IV material was implemented into Nine Inch Nails live performances typically as a distinct section of instrumental songs midway through the show. The Ghosts segment included instrumentation from a marimbaharmoniumglockenspieldouble bassbanjo and various homemade percussion instruments.
Yet it's the most interesting NIN in years. The album's unorthodox distribution methods also garnered the attention of various news agencies, such as Wired ' s Eliot Van Buskirk, who labeled Ghosts as "a remarkably extensive release". Rolling Stone 's review called the album a "a new-media showpiece",  while Tiny Mix Tapes said "the circumstances surrounding the release are so forward-thinking that they could be considered just as key to appreciating the album as the music itself.
The album's initial release on the official Nine Inch Nails website suffered problems as the website was inundated with traffic, and was not fully operational until extra servers were added to handle the influx of downloads. The physical release of the album debuted at number 14 on the US Billboard with 26, copies sold in its first week. All tracks are written by Trent Reznor and Atticus Rossexcept where noted. Included with the "Deluxe" and "Ultra-Deluxe" releases were two additional bonus tracks, accessible only by reconstructing them from multi-track files provided on the DVD.
The second bonus track features musical elements and a similar song structure to "Demon Seed", track 10 from what would be the next Nine Inch Nails release, The Slip. Album credits adapted from the liner notes of Ghosts I—IV : .
From Wikipedia, the free encyclopedia. Nine Inch Nails. March 11, Retrieved January 4, Retrieved March 27, Retrieved October 8, It's Free". The New York Times. Retrieved June 9, Archived from the original on March Album), Retrieved March 4, Retrieved March 2, Retrieved June 4, Retrieved April 11, Rock Band. April 3, Archived from the original on February 4, Retrieved April 4, The NIN Hotline. Reznor's defection from the Album) business might be the best thing that ever happened to him financially and ideologically.
Aesthetically, it might be the worst. Reznor's greatest strength has always been his ability to let his fundamental pop sensibility show through his fuzzed-out 31 Ghosts IV - Nine Inch Nails - Ghosts I-IV (CDr signifiers and screaming-at-a-wall tantrum-rock pretensions.
For all its heavily processed walls of guitar and reptilian electro lurching and cusswords, Pretty Hate Machinestill my favorite of Reznor's albums, is basically a dirtied-up Human League album and Human League albums, it turned out, could stand to be dirtied up. The gas-masks, megaphone yowls, and apocalyptic despair of his subsequent albums were fun, but his old-school devotion to song form and titanic hooks were the real reasons I once carved the NIN logo on a treehouse wall.
As a producer, Reznor knows how to stack drones on top of each other and crystallize pianos like nobody else, but those studio tricks don't add up to much when he's not welding them to actual songs. There's not a song to be found anywhere on Ghosts ; nearly every one of the untitled instrumental sketches here feels emaciated and half-finished.
What we're left with is two hours' worth of really good soundtrack music for American remakes of Japanese horror films. In that regard, Ghosts is almost Reznor's IDM record, only he's never been all that interested in jittery side-panning drum programming or vintage-synth blob-farts. And this isn't ambient music either; nearly every piece here feels like a piece of a Nine Inch Nails song, a DVD extra to a movie we might never see.
Untitled, When I Grow To Old To Dream - Bing Crosby - Join Bing & Sing Along (Vinyl, LP, Album), The Catman, Please Dont Talk About Me When Im Gone - Mrs. Mills - Its Party Time Again (Vinyl, LP, Album), Toto - Toto (CD, Album), Put It Out For Good - Sarah Bettens - Shine (CD, Album), I Believe In Music - Various - Great Superstars (Box Set), Good Love (VIP Mix), Back To Slumberland, W.Y.H.I.W.Y.G. - Front 242 - Front 242 (1): 1982-1987 (CD), Heroes - Michael Richard Plowman - Age Of Heroes (Original Motion Picture Soundtrack) (CD, Album)