Nine Inch Nail's new album
Just thought I'd post this if anyone else is interested in NIN.
Kerrang Issue No. 1038 - January 2005
Hot Albums for 2005
Nine Inch Nails
Title: With Teeth
It’s been five years since rock-industrial mastermind Trent Reznor last shook the world with the epic ‘The Fragile’. Much has changed in the NIN camp since then. Trent Reznor’s longtime collaborators Danny Lohner and Charlie Clouser have exited stage left, the band shifted operations from New Orleans to LA and – Like Killing Joke and Queens of the Stone Age before them – NIN have (temporarily) acquired the drumming services of Mr Dave Grohl.
Recorded over the summer of 2004 in LA’s famous Sound City Studios, ‘With Teeth’ will see Reznor’s band exchanging the rock-industrial soundscapes of ‘The Fragile’ with a more song-orientated approach, akin to their seminal 1989 debut ‘Pretty Hate Machine’, and 1994’s ‘The Downward Spiral’. In keeping with long-held rumours, Reznor has confirmed that ex-Marilyn Manson bassist Jeordie White (aka Twiggy Ramirez) will be taking up live duties in the band alongside veteran NIN drummer Jerome Dillon and newcomer guitarists Ralph Dieter and Alessandro Cortini.
ETA: April/May on Nothing/Interscope
TRENT REZNOR ON WHY NIN’S NEW ALBUM DOESN’T SOUND LIKE A TAMPON COMMERCIAL…
How’s the album coming along?
“Actually we just finished it. We’re just burning CDs now and trying to sit back and have some idea of what I’ve done.”
How are you coping with the emptiness?
“Well actually now I’ve decided to fill my days with rehearsing with my new band and preparing for the tour. From endlessly contemplating everything in the studio to trying to convert that into something exciting onstage… it’s a real shift if mental energy. It’s exciting times.”
Why did you leave Nothing Studios for Sound City?
“I needed a change in my life. I’d been in New Orleans for quite some time and the routine became a bit stale. I was at a new place in my life and I was ready for a change.”
“I’d left my manager from the very beginning, so it was time for renovation on all levels. Initially it was because I’d asked Dave Grohl to play Drums on some stuff, so we went to some of his favourite drum rooms in LA to do it.
Everything fell into place. We recorded most of the record in New Orleans at Nothing Studios, but when it came time to mix it we thought it might be interesting to try a different place, It all worked out as if there was a master plan.”
Are those life changes reflected in the album?
“Very much so. This album started as a very theme-based thing, but I didn’t want to go back to the lush soundscapes of ‘The Fragile’, which was instrumental soundtracks for movies that haven’t been filmed yet. Thematically and lyrically the new album started very conceptually, but as I started executing it it started sounding more like good songs than a rock-opera. The songs are brothers to each other, but it’s not a lyrical story. It’s about waking up somewhere and you’re not sure if you’re in a nightmare or not, and you’re not sure what the deal is.”
Are there any track-titles yet?
“There’s 12 track-titles, but I’ll keep them under my hat for now. The album is going to be called ‘With Teeth’.”
Wasn’t it going to be called ‘Bleedthrough’?
“Yeah, but that just wasn’t the right word. It was supposed to be about different layers of reality seeping into the next, but I think some people were thinking about blood or a tampon commercial. It started to grate on me over time, and as the record shifted away from something conceptual it seemed less and less right.”
It sounds like you were unhappy with ‘The Fragile’?
“Not at all. It was fun. It was a very rewarding artistic experience, but this time around my thinking was more about making a concise, song-based record. I wanted to hone my songwriting skills with melodies and hooks. It’s not necessarily that much more accessible, but it was a different headspace.”
Dave Grohl would be the man to work with in that case.
“Yeah there was that, and the music was getting to be a bit less layers of sound. A lot of it was more inspired by more Killing Joke and Public Image… and we got away from programmed drums so we needed someone to beat the shit out of the drums, and Dave was into it right away. It was Christmas in July.”
He was that good?
“He was great! One of the fears I have about bringing other musicians in is in making sure the most important thing is not the virtuosity of the instrument but the mission of the song – the feeling being conveyed. Dave got it right from the start.”
I was watching this monkey, this monkey watching me
Then I needed a friend, or some company
Coz some days I just can’t flick the switch
Some days my skin just isn’t so thick