I Keep Slipping...

Ah...now that all that birthday jazz is out of the way I'd like to sit down and share my thoughts with you on the new NIN album "The Slip".

I've been absorbing it since it first became available to download directly from nin.com for free on May 5th. Although it was created in what seems to only be a few short weeks after the release of "Ghosts I-IV" it is an excellent album and I think it speaks volumes to the amount of talent Trent has as an artist to be able to crank something like this out so soon. Yes, I was very critical of "Echoplex" when it was first leaked on the interwebs and, while it will never be a favorite song, I see it has a definite place on this record and it has grown on me.

Now when it comes down to the music I could detach myself and play the hipster bitch role and rant about the shortcomings of this album but I cannot bring myself to it because at the end of the day I still absolutely fucking LOVE this. Trent eases us into things with “999,999”, which reminds me of “Pinion” in its slow build, and then we’re hit with a wall of noisy, almost retro feeling backbeats, dirty synths, and distorted guitars that Trent has consistently perfected from album to album and that continues to get your blood pumping, your teeth gritting, and your feet tapping. It’s non-stop from “1,000, 000” straight through to “Head Down”. The lyrics are typically dark in NIN fashion but the choruses are catchy and easily get stuck in your head (“Echoplex” included).

It should be no surprise to our regular readers that “Lights in the Sky” is my favorite song from this release but what shocked me is how it has taken the number one place of all time favorite NIN tracks, a short list that included "AATCHB" and "TDTWWA" and that I never expected to change. "LitS" is unbelievably beautiful. It consists of just a piano, Trent’s voice which is barely a whisper at times, and some of the most haunting lyrics since, dare I say it, “Hurt”. Like other songs in the NIN catalog, “LitS” could be interpreted to be about the struggle with his own drug addiction and I suppose my take on it isn't far from that theory but I hear it as a continuation to “The Fragile”. Almost as if he’s reexamining that relationship after many years of neglect. Back then he was saying “I won’t let you fall apart” which was the most endearing thing considering he was barely in any condition to take care of himself let along hold someone else’s sanity together. "She" may not have been perfect either but she was clearly some kind of rock for him and as long as she was okay he could be, too. Now, years later, he’s got his shit together but he finds that she has not survived the struggle of her own issues. He may have believed in her once but it was not enough to save her. It would seem at this point she is too far gone to bring back but he won’t leave her again. For better or worse, he’s there...

“watching you drown
i'll follow you down
and i am here right beside you
the lights in the sky
have finally arrived
i am staying right beside you”

Call it projection if you will but you cannot deny this song was meant to break your heart. Goddamn, Trent, just Goddamn.

The transition from song to song on the last half of the record is sheer perfection. "LitS" melds flawlessly into "Corona Radiata" and then to"The Four of Us Are Dying". Although “Ghosts” was arranged the way it was for a purpose, I wish it could have done what “The Slip” accomplished here. Overall it is a well balanced album from lyrical to instrumental and I'm pleased to hear it finished off with something with a little bite to it in "Demon Seed". Too often Trent ends things with a soft song which while that technique is usually great and blows your mind, it's nice have one that leaves you wanting more music and not just a dark corner to hide in.

Some have been speculating this is possibly "Year Zero: Part 2" and with the artwork released with the download it does seem there could be a puzzle to figure out. So far it is still unsolved if there is actually something there. I’m a bit skeptical that this is a continuation of the ARG. Something doesn’t feel right about it but we shall see if any “mysterious items” are found at the upcoming summer shows as happened last year when the game kicked off. I’ll leave the hunting up to other fans because I am NOT searching the port-a-potties for USB flash drives on Day 3 at Lollapalooza in August when NIN closes out the festival. A line must be drawn somewhere.

If you haven't downloaded "The Slip" yet you should get on it. Immediately! Have I mentioned it's FREE? From nin.com, Trent says:

"Thank you for your continued and loyal support over the years - this one's on me."

There are multiple options available for sound quality. There is a 216kpbs MP3 version available for immediate download which isn't too bad or Trent is also offering the higher quality versions as torrents and provides some links to a couple helpful "how to" guides for those who may not be familiar with the torrenting process. As a businessman you just have to use the technology that works and it's not exactly "illegal" if the artists himself is the one offering it up. Am I right? If you're curious about what it sounds like before you download you can check the whole album out here.

NIN's Ghosts III, Wherein JR Speaks the Truth

Okay, so Iris is all whining that Maise has deserted this place and with a whole new peachy keen NIN record in four parts that need IMMEDIATE ATTENTION and blah, blah, blah, and I’ve been railroaded into taking some time out of my already crazy busy schedule to do a review of the third movement of NIN’s Ghosts. So, as I routinely say to my boss, There ARE 24 hours in a day (why not use ‘em all?), and I set out to give it a listen and see what’s what. I’m even giving my thoughts in real time, so this review is also innovative.

This had better be good.

Reznor has something of a history of disappointing me lately.

Ghosts III – 19

• First of all, I’m not digging on the numbering system. I guess when you’ve got to turn something out as quickly as this, you don’t have time to: A. Come up with lyrics; B. Come up with song titles; C. Wait for the packaging ideas to come to you, so you just release it real cheap as a download.
• Soundtracky.
• Is this song ever going to get off the ground? I haven’t got all day. I can’t sit around and paint pictures with my mind AND make videos for this stuff for you, Trent. I already have a job. What happened to the artist being responsible for the art?

Ghosts III – 20

• I guess it’s cool that Reznor is such a fan of recycling that it includes not just plastics and newspapers, but past songs of his. “Closer”, anyone?
• This song is, like, begging for lyrics. Reznor is neglecting his own material.
• Feels like a long intro to something else.
• I like what it morphs into in the second half; more organic, less of the ball-less industrial-lite of the first half.
• The outro with piano sounds a lot like the softer parts of [With Teeth]. He must be sucking Al Gore’s dick with all of this recycling going on.

Ghosts III – 21

• Does nothing for me. Other than to make me think of Fields Of Gaffney’s “Xylophone.” So I guess that means he’s recycling other people’s stuff, too.

Ghosts III – 22

• Is that a didgeridoo?
• Trent does lite-jazz!
• I like the drum sound, though the actual drum riff sounds, shall we say, “familiar.”

Ghosts III – 23

• Finally, something that I can sink my teeth into, and that references NIN’s back catalog without sounding mired in it.
• Love the distortion. Finally.
• Okay, two thirds of the way through this song, and where is this going? Anywhere?

Ghosts III – 24

• Okay, something else that is starting out promising.
• Totally hearing the Human League influence in the keyboards.
• I think club DJs could get a lot of mileage out of this one.

Ghosts III – 25

• Tedious.

Ghosts III – 26

• zzzzzzzzzzzzzzz

Ghosts III – 27

• zzzzzzzzz….zzzzzzzzz….huh?….oh, nothing…….zzzzzzzzzz
• Well, part the underlying guitar line is reminiscent of Cheech & Chong’s “Earache My Eye”—can’t wait for that lawsuit!

I guess I would like listening to this stuff while doing yoga, or going for a walk or something. Except that I hate walking, and haven’t done a single yoga pose in three years.

This sounds, overall, like nothing more than more thought out than average demos, which seems to prove my point that this is why TR chose to release it as a download. It’s expensive to release a multi-disc “work” (and believe me, ladies and germs, I’m using the term “work” loosely), and there would probably be a backlash from people who felt ripped off. And well they should. But if you get a few dozen songs for five bucks, that makes it a little harder to complain.

In all honesty people, I don’t want it to be the case, but I think Trent is running out of ideas. Every song on here either sounds like something that he has already done or something that someone else has done. I’m not stupid enough to not realize that there aren’t really any original thoughts left in music, and it’s all about how people interpret their influences, but this is kinda like stealing Aunt Linda’s Famous Apple Pie recipe and passing it off as your own, just charging $1.50 a slice instead of $4.25. Just cause it’s a bargain and not total crap doesn’t make it good.

You know, if I wanted to carry the apple pie analogy a little further, this is not only like stealing the recipe and trying to pass it off as your own (…cough…Rachel Ray…ahem…cough…), it’s like also saying, “Well, you know, I thought maybe what you apple pie fans should do is go out and make your own ice cream to go on top of this pie. You can have a slice now, and eat it without anything on top of it, OR you can take the slice—did I mention it’s only $1.50 and that you can get it right through your computer?—and set it aside while you go to the store and get the cream, vanilla and rock salt, churn the ice cream, wait for it to set up, then scoop it out yourself and put it next to the pie I made. In fact, I’m going to have an ice cream making contest to see who comes up with the most interesting ice cream to go alongside my pie. So get churnin’!”

Yeah, it’s kind of A LOT like that.

Thanks for nothing, Reznor.

I’m sticking with GAFFNEY.

About the author: JR is known by many as the “hardest working woman in (non-profit) show biz,” a title that—along with herself—she takes very seriously. You can read more about her exploits and preferences at JR.”

NIN's Ghosts II, Wherein Iris Loves the Music...

...but retains the right to poke fun. But first some other very important NIN related news. According to nin.com yesterday we were to "watch for an announcement tomorrow!" Today was the day and HOLY SHIT what an announcement it was.

I think the only other thing that could have made me happier is a solid confirmation to play Lollapalooza. But as excited as I am right now about the potential greatness of this band/fan interaction (seriously Trent I'm so proud of you!) I also groan at the thought of all the pure and utter crap it will produce and that has already started. Let's face it...at the end of the day a large portion of NIN fans are retarded. But do I plan on making what will probably be an equally retarded entry? Well after a little pep talk from my excellent friends for what has otherwise been the shittiest workday I've ever experienced in my life, the answer is a definite HELLZ YEAH!

For now though I'll continue on where Maise left off with my random review of Ghosts II. Perhaps I shouldn't reveal all my ideas since I may be competing with some of you in the film festival...but oh what the fuck, right.

10 Ghosts II-- So if you nodded off during the soft tinkering piano in #9 Trent's added a nice "CLAP" at the beginning of this number to wake you up. Points off. I was just getting somewhere in my daydream and then you had to go and snap us back to reality. Well not reality...just some TV static, pots and pans percussion, some other noisy bits, and more piano. This track seems to be lacking something to me. It just doesn't really go anywhere musically or take your mind off on a trip.

11 Ghosts II--A slow builder that weaves an interesting path between distorted guitars, warbled synths, piano, and a staggered drum line. This one is excellent for headphones as it shifts from one side to the other. It finishes with a nice fade out that makes you ponder where you've just been. #10 should take notes.

12 Ghosts II--I really like this song but I can't deny that it makes me think of the Dresden Doll's "Delilah". There's really only about 3 second long piano part that makes me think that but then it kind of repeated throughout the song. And now that I've made the association I can't not hear it. I hate to even bring it up for those who may not have made the connection. I'm wondering...was this intentional or did Brian Viglione suggest it?

13 Ghosts II--Ah...sweet, sweet #13. Far and away my favorite track on the whole release. Just Trent noodling away with his piano. Another great one to listen to on headphones. Sit down, close your eyes, feel your breathing slow as you let it sink in and wash over you. -sigh- So relaxing that I believe that Trent may have even nodded off towards the end. Some people who want to take it out of context may say the breathing you hear during the last half of the song may be creepy and a little "the call is coming from inside the house" but they can fuck off. I love that Trent can make this kind of quiet retrospective melody in what I'm sure can still be at times a frat-boy mentality environment. Although I can also picture Trent holed up in his room with his keyboard and beat up boombox ala the "Non-Entity" Hurricane Katrina Benefit performance. My only complaint with this one is what feels to me to be an abrupt ending.

14 Ghosts II--If I were giving these tracks real names this one would definitely be called "Trent Goes to Bollywood". The music video would be an odd assortment of belly dancers, snake charmers, perhaps even the Indian Thriller dance troupe, some hand held Cloverfield-esque footage of walking through the streets of Bangladesh, and it would all be projected on the giant cheese cloth screen during the live performances. Just to keep it in line with Trent's other movie projection projects there would also be pictures of oh...I don't know...rotting coush-coush, a sacred cow chasing down a bird or attacking a kid or something, and maybe this Minnie Mouse(?) just to scare the shit out of little kids and send a "Fuck you" to Disney for maybe an old repressed grudge when they told Trent he was too short to ride the rides. I don't know. Just thinking out loud here.

15 Ghosts II--The feel of this song and the picture accompanying it me think that I'm being held captive in some evil scientists laboratory out in the middle of the woods where the mad doctor performs experiments on those forgotten in some kind of 70's sci-fi thriller. Perhaps Trent had just watched the "Island of Dr. Moreau".

16 Ghosts II--Another track reminiscent of international origin. It's like electric Aboriginal? The "vocals" remind me of someone using an electrolarynx. Either that or one of those auctioneers talk so damned fast you can't really understand them so later when you go to settle your bill you find out you didn't purchase the antique rocking chair that you thought your Grandma would like but instead bought a cardboard box of mismatched shoes, broken drill bits, and a collection of 12 years worth of pocket lint. Yeah it sucks when that happens but if I got to listen to this song when I got back to my car I guess it wouldn't be so bad.

17 Ghosts II--Starts off sounding a bit like "TDTWWA" and "Help Me I'm in Hell". Um-hmm...working my way through...listening...um-hmm...yeah...FUCK, Trent! What did I say about that xylophone? I don't care that you tried to bury it under layers of other noise! This is not acceptable. Did you listen to Lullaby Renditions of NIN and think it was a good idea?

18 Ghosts II--A catchy tune but aside from the small guitar riffs and feedback, I would say it was solely comprised out of old Nintendo game sound bytes. Remember when Meathead remixed "Closer to Mario"? Yeah. Or maybe it predates Nintendo...is that Pong I hear?

If you've not downloaded the album and want to listen to the songs we're referring to then check the playlist here on Channels Parallel. Stay tuned to hear Maise weigh in on Ghosts II and for the eventual third installment. Now if you'll excuse me I'm off to make my masterpiece video that will win this "non-contest".

Review of the Rise and Liberation of Niggy Tardust!

Alright guys. Let's just back away from the last few posts with all the unpleasant comments they generated and move on to something I'm sure we can all love. Saul Williams's new album:

The Inevitable Rise and Liberation of Niggy Tardust!

I'll admit I was leery at first because while I liked some songs of his previous album, it was by no means my favorite, but I still wanted to support this new "label-free" experiment Trent and others are working on. I'm happy to say that my fears were completely unnecessary, and this album totally rocks! Download it for free or download it for $5, the choice is yours, but just DOWNLOAD IT! The cover of "Sunday Bloody Sunday" is almost worth the $5 on its own, and you shouldn't cut yourself short in the sound quality on this one or any of the other heavily layered tracks. Free 192kps mp3 = crap -OR- $5 320kps mp3 = much higher quality. Or even go for the $5 FLAC lossless audio, but be prepared to use a conversion program to get it to play.

You can clearly hear Trent's NIN influence in the music, and he is credited on most of the songs. If a person were to listen to Year Zero and this album back to back, I don't think they'd be surprised to learn they were recorded about the same time (both being worked on while Saul was the opening act during the [With_Teeth] tour). Both are beautifully layered with "noise," but where Trent makes his lyrical points blunt with NIN, Saul speaks in wide-ranging metaphors cleverly concealed in catchy, dance-able beats so that his "message" isn't completely overpowering. I recommend listening to the whole album before specifically reading the lyrics; it makes it easier if you can hear the flow as you go. Saul has a sense of humor about studying lyrics so closely though. If you're reading through them in iTunes, when you get to the last song, instead of lyrics you get "enough already. Stop reading and dance" and then a plug to his other book The Dead Emcee Scrolls ("available now in bookstores" he tells us).

While I like all the general topics brought up throughout the songs (standing up for yourself, problems with political authority, self doubt, etc), I wasn't so keen about all the "N" bombs being dropped. It's just not my style and therefore not normally something I even give a chance, but after reading a bit from a document included with the leaked tracks, you realize he's intentionally trying to make you feel uncomfortable.

"The Inevitable Rise and Liberation of NiggyTardust! is the lovechild of Trent and me. The NiggyTardust concept sets me free to do more on stage with costume, etc. than one might expect from a regular Saul Williams show. It allows me to put my theatre training to use. I've also thought long and hard about all the discussion surrounding racial epithets etc. and chose this title as a means of furthering the dialogue while also showing how creativity will outlive and outshine hatred of any kind."

He's wanting to change the interpretations and negative connotations surrounding it. That's commendable and should make for an interesting show when he goes on tour to support this release. So our dear RoRo was onto something. Saul's taking it back, y'all.

But like Saul said, "enough already" on over-analyzing words because the music is pretty amazing too. "Sunday Bloody Sunday" has been overhauled into a bouncy, up-tempo beat that is infectious. It started with just tapping my foot, but by the second round of "oh, oh, oh"s, I was singing along. This one sticks in my head all day and is definitely one of my top three picks. While the majority of the other tracks have that NIN-influenced abrasiveness or sound "hard" because of the delivery of the vocals (e.g., "Black History Month," "Convict Colony," "Break," "Skin of a Drum," "The Ritual"), the songs that really stood out and blew me way were the softer and self-doubting "No One Ever Does" and the simply structured "Banged & Blown Through." I love the vulnerability of the keyboards and the soft texture of the vocals in "No One Ever Does." And while the drumbeat of "Banged & Blown Through" is strong, the falsetto backup vocals manage to still make it feel vulnerable and it gets me every time. That's not to say I don't like the harshness of the other songs mentioned above because I do. In fact, I would say it's the perfect set up to make these softer tunes really jump out at you.

I feel the album artwork is also worth mentioning. I felt that leery sense again when I heard Rob Sheridan had a hand in it, but it's not as bad as all that. The booklet is included with the download as a .pdf file, and much of it reminds me of what was briefly shown in Saul's book (s)he, only with color. Even the lyrics, handwritten in most cases, add to the eclectic group of artwork. There seems to be a running theme of Roman-inspired horses, a few images of Egyptian Gods, and this little voodoo-looking guy. You can clearly see him on page 26 of the booklet, but notice that he's also hiding behind a layer of paint on pages 17 & 27. His little eyes peek out at you. Kind of creepy, no? My point here is that anyone concerned with this new manner of music distribution and seemingly inevitable extinction of album artwork or booklets needs only look through the included .pdf file to see that it will be okay. Perhaps that makes me old school, but I like looking through that stuff. It enhances the tone of everything else. I'd like to think of the much criticized ARG as Trent's online (albeit elaborate) version of Year Zero's "album artwork."

Overall, I think that Trent and Saul mesh well together, and I hope they stay close for future projects. Their two styles and passions (music and lyrics/spoken word) compliment each other. It's been fun delving into this album and its layers and layers of content, and I can't wait to see what else is waiting to reveal itself in subsequent listens. Bottom line people: YOU SHOULD GET THIS.