NIN talk: Trent Reznor - Golden Globe Winner, Oscar Nominee!

In NIN related stuff, I received my Another Version Of The Truth Blu Ray from the This One Is On Us guys. I watched the Las Vegas DVD and its pretty amazing for being fan made. I haven't popped in my Blu Ray yet but I'm sure it looks amazing. Did anyone else order this?
 
Trent and Atticus just posted a 5 track sampler of their score for The Social Network. It sounds pretty cool, I'm definitely getting the physical CD pre-order. I kinda wish the blu-ray version came with a physical CD, I would get that if it did.

http://www.nullco.com/TSN/
 
[quote name='Sporadic']Really cool news, the 5 track sampler is using MP3HD which is a loseless MP3 file.

http://www.all4mp3.com/Learn_mp3_hd_1.aspx[/QUOTE]

Thanks to you posting in my NIN thread, I saw this. I can't believe I never knew about this codec. This is amazing/awesome news. I wonder why more people don't encode this way, but instead use FLAC/APE/etc.
 
You guys know what I read today? Pretty Hate Machine.. for it's 20th anniversary.. was supposed to be released in some form of 5.1 high-resolution deluxe edition packaging, but for some reason it never happened. :(
 
[quote name='PhrostByte']You guys know what I read today? Pretty Hate Machine.. for it's 20th anniversary.. was supposed to be released in some form of 5.1 high-resolution deluxe edition packaging, but for some reason it never happened. :([/QUOTE]

I -believe- that Trent said until he has the master tapes this will not happen.
 
[quote name='Sporadic']Really cool news, the 5 track sampler is using MP3HD which is a loseless MP3 file.

http://www.all4mp3.com/Learn_mp3_hd_1.aspx[/QUOTE]
It was posted in MP3HD by accident, they took it down pretty quickly.

[quote name='PhrostByte']You guys know what I read today? Pretty Hate Machine.. for it's 20th anniversary.. was supposed to be released in some form of 5.1 high-resolution deluxe edition packaging, but for some reason it never happened. :([/QUOTE]

[quote name='tcrash247']Rereleases of his older albums are always going to be an iffy topic because of his bad relationship with Interscope now.[/QUOTE]
Wouldn't PHM be a problem with whoever bought the TVT catalog?
 
[quote name='pete5883']Wouldn't PHM be a problem with whoever bought the TVT catalog?[/QUOTE]

Damn, I forgot that wasn't released on Interscope, it was on Ryko. I don't know what the deal with it is.
 
[quote name='pete5883']


Wouldn't PHM be a problem with whoever bought the TVT catalog?[/QUOTE]


I don't think anyone has bought it yet... it was sort of an 'all or nothing' deal. If Trent wanted PHM he had to purchase the entire lot (and it's mostly crap).

I am not sure where to d/l it but a someone did a PHM 5.1 mix that sounded pretty good. I heard it last fall I believe...
 
Yeah.. I've heard some fan made 5.1 mixes, Wish You Were Here and Dark Side of the Moon were pretty good.. but I want the real thing!
 
[quote name='Sporadic']Updated the OP with the OP from my thread at SomethingAwful.

http://forums.somethingawful.com/showthread.php?threadid=3323438

The deal was they didn't want to pay Trent for any additional work on creating a Deluxe Edition of Pretty Hate Machine.[/QUOTE]

That sucks, I'm sure they'd make a good amount of money on a deluxe edition of PHM, it would be worth it to pay him.

I like all the information you put in the OP, nice job. Your never going to see the light of day list is good, yet sadly too true. It saddens me that the stuff he did with Zach will never be released, save for that one song. I really like anything Zach has done (One Day As A Lion is amazing, I suggest everyone go check that out) but he seems to have a problem with releasing material. I'm pretty sure I read that Rage broke up because the other guys wanted to release Renegades but he didn't.
 
[quote name='tcrash247']That sucks, I'm sure they'd make a good amount of money on a deluxe edition of PHM, it would be worth it to pay him.

I like all the information you put in the OP, nice job. Your never going to see the light of day list is good, yet sadly too true. It saddens me that the stuff he did with Zach will never be released, save for that one song. I really like anything Zach has done (One Day As A Lion is amazing, I suggest everyone go check that out) but he seems to have a problem with releasing material. I'm pretty sure I read that Rage broke up because the other guys wanted to release Renegades but he didn't.[/QUOTE]

What do you expect from a guy that's all about fighting the evil corporate machine? You know guys.. I was thinking.. I don't think a Deluxe Edition of PHM would sell as much as you might expect it to. I personally love the album.. but really that's only cuz I grew up with it. If you go back and actually listen to the album through and through, you realize just how amateur the recording is. It's one of the quintessential first Industrial albums right? It definitely sounds like it... crank that shit up on a good system and you realize how empty the robot drum machine is... and how dull the guitars are.. it sounds like their reverb is like slicing through human flesh with a rusty trombone... really it sucks and I doubt the master tapes are any clearer. Maybe the album gets points for being original, being unforgivably emotional, being raw and honest... I mean this was before the guy got famous... but The Downward Spiral demonstrates Trent's first real demonstration of why he's now known as a technomusical genius. TDS actually sounds good... even if the material itself (you might feel) takes a turn for the worse. I don't really feel that way... TDS is my favorite NIN album... but even if you love PHM and TDS like I do, you can still recognize how empty the old recording of PHM sounds.

I lost my job recently and reading this paragraph above ^^^ makes me realize that I've been wasting a lot of time sulking on the couch and listening to NIN... I gotta get up and do some shit.
 
[quote name='tcrash247']That sucks, I'm sure they'd make a good amount of money on a deluxe edition of PHM, it would be worth it to pay him.

I like all the information you put in the OP, nice job. Your never going to see the light of day list is good, yet sadly too true. It saddens me that the stuff he did with Zach will never be released, save for that one song. I really like anything Zach has done (One Day As A Lion is amazing, I suggest everyone go check that out) but he seems to have a problem with releasing material. I'm pretty sure I read that Rage broke up because the other guys wanted to release Renegades but he didn't.[/QUOTE]

I thought Rage was back together? Or was that just for shows/concerts/touring?

Now what's this talk of Zach doing stuff with Trent, or did I misunderstand what you were referring to.
 
[quote name='PhrostByte']Yeah.. I've heard some fan made 5.1 mixes, Wish You Were Here and Dark Side of the Moon were pretty good.. but I want the real thing![/QUOTE]

Actually both those Floyd albums have gotten official surround sound mixes either in quadraphonic or 5.1.
 
Yeah I know... but I clearly don't have a quad deck. I think the fan made DVD-A's used the quads are sources.

I know DSotM was made into SACD but the Parsons mix was supposed to be on DVD-A... it was released as a download.
 
[quote name='hiccupleftovers']I thought Rage was back together? Or was that just for shows/concerts/touring?

Now what's this talk of Zach doing stuff with Trent, or did I misunderstand what you were referring to.[/QUOTE]

I meant when they broke up after the Renegades album. They're kinda back together, doing random shows and such (I'm eagerly awaiting a full tour).

Here's the thing about Zack working with Trent:

http://en.wikipedia.org/wiki/Zack_de_la_Rocha

"de la Rocha started a new collaboration with Trent Reznor of Nine Inch Nails, in which around 20 tracks were produced. Reznor thought the work was "excellent," but said the songs will likely never be released as de la Rocha was not "ready to make a record" at that time."
 
[quote name='PhrostByte']What do you expect from a guy that's all about fighting the evil corporate machine? You know guys.. I was thinking.. I don't think a Deluxe Edition of PHM would sell as much as you might expect it to. I personally love the album.. but really that's only cuz I grew up with it. If you go back and actually listen to the album through and through, you realize just how amateur the recording is. It's one of the quintessential first Industrial albums right? It definitely sounds like it... crank that shit up on a good system and you realize how empty the robot drum machine is... and how dull the guitars are.. it sounds like their reverb is like slicing through human flesh with a rusty trombone... really it sucks and I doubt the master tapes are any clearer. Maybe the album gets points for being original, being unforgivably emotional, being raw and honest... I mean this was before the guy got famous... but The Downward Spiral demonstrates Trent's first real demonstration of why he's now known as a technomusical genius. TDS actually sounds good... even if the material itself (you might feel) takes a turn for the worse. I don't really feel that way... TDS is my favorite NIN album... but even if you love PHM and TDS like I do, you can still recognize how empty the old recording of PHM sounds.

I lost my job recently and reading this paragraph above ^^^ makes me realize that I've been wasting a lot of time sulking on the couch and listening to NIN... I gotta get up and do some shit.[/QUOTE]

I'm not going to break this down but 1) it would sell pretty good since it would be a must buy for most NIN fans, 2) it wasn't the first industrial album, 3) that's because it was mixed in the late 80s, I imagine a remaster by Trent with the master tapes would make it sound much better, of course it won't be as good as the PHM stuff live but it would still be fun to listen to 4) listen to Broken.

--------------

For anybody who hasn't heard it, the final show (audience bootleg) was uploaded here. Sounds amazing (besides the misstep on Somewhat Damaged) and it is fucking long.

http://www.reflectinginthechrome.com/

Today was the last time that Nine Inch Nails took the stage at the Wiltern Theater in Los Angeles, CA. We all have memories from shows that we have gone to and the performances that Trent Reznor and co. put together. To those who went to these shows know what you witnessed. It did not matter what the circumstances were, when they got on stage they brought the house down!!! So today, put in your favorite CD/Vinyl/FLAC/MP3 recording of NIN and blast it! We have one full download of the last show at the Wiltern below that you can download and listen to over 3 HOURS of NIN LIVE!
Click to expand...
 
Sporadic I realize all that... but I really doubt the master tapes are any better. It's a really old album. I know it's not the first Industrial album but it's one of the first that helped define the genre. It's very raw... and it sounds like it. I still love the album, but I can admit its flaws.
 
I love NIN also, unfortunately this isn't some of Trents best work.:cry:

[quote name='javeryh']meh, I love NIN but this seems a little... off.[/QUOTE]
 
[quote name='Sporadic']I'm not going to break this down but 1) it would sell pretty good since it would be a must buy for most NIN fans, 2) it wasn't the first industrial album, 3) that's because it was mixed in the late 80s, I imagine a remaster by Trent with the master tapes would make it sound much better, of course it won't be as good as the PHM stuff live but it would still be fun to listen to 4) listen to Broken.

--------------

For anybody who hasn't heard it, the final show (audience bootleg) was uploaded here. Sounds amazing (besides the misstep on Somewhat Damaged) and it is fucking long.

http://www.reflectinginthechrome.com/[/QUOTE]

Thanks for the link for the final concert. It's taking awhile to DL, so I'm going to get it later. Do you know if by any chance that year's NIN concert at VoodooFest New Orleans is up anywhere? I heard he destroyed the stage at that concert.
 
[quote name='MadForMadden']I love NIN also, unfortunately this isn't some of Trents best work.:cry:[/QUOTE]

lol that post was regarding How To Destroy Angels...not The Social Network soundtrack.

[quote name='pete5883']Trent hasn't even started making the 5.1 mix for The Fragile yet, so I don't think it's going to come out this year.[/QUOTE]

I wouldn't go that far. I remember years ago him talking about him working on mixing his catalog (The Fragile/Broken) in 5.1 and over a year ago, he was talking about starting work on putting this together.

I don't think it is done yet but I do think it is a work-in-progress. It's still possible it could drop this year if he goes into crunch mode now that the soundtrack is done.

- edit I was kind of wrong. He said he wanted to mix in 5.1 not that he was.

From early 2005

questions10.gif


[quote name='hiccupleftovers']Thanks for the link for the final concert. It's taking awhile to DL, so I'm going to get it later. Do you know if by any chance that year's NIN concert at VoodooFest New Orleans is up anywhere? I heard he destroyed the stage at that concert.[/QUOTE]

The 2008 one? That show doesn't have a bootleg as far as I know.
 
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[quote name='Sporadic']lol that post was regarding How To Destroy Angels...not The Social Network soundtrack.



I wouldn't go that far. I remember years ago him talking about him working on mixing his catalog (The Fragile/Broken) in 5.1 and over a year ago, he was talking about starting work on putting this together.

I don't think it is done yet but I do think it is a work-in-progress. It's still possible it could drop this year if he goes into crunch mode now that the soundtrack is done.

- edit I was kind of wrong. He said he wanted to mix in 5.1 not that he was.

From early 2005

questions10.gif




The 2008 one? That show doesn't have a bootleg as far as I know.[/QUOTE]

Yeah, I think it was 2008. I had a bunch friends who went to the concert (sadly I couldn't go :cry:) and said it was just incredible.
 
They are doing another fan Q&A http://forum.nin.com/bb/read.php?9,1150349

And a remix contest with the grand prize of meeting Trent/Atticus in LA.

Trent Reznor and Atticus Ross - The Social Network REMIX CONTEST: Two tracks from the score are now available as multitracks at the NIN remix community http://remix.nin.com . Download them and start remixing, we'll be posting all the details of the remix contest later today. Grand prize will be a flight to LA (if necessary) next week to meet Trent and Atticus. You'll also get to see the film opening night. More info soon.
Click to expand...
 
New interview and song. In the Hall of the Mountain King

Trent Reznor and director David Fincher are both masters of exploring the bleakest side of humanity. With Nine Inch Nails, Reznor cornered the music market on anger, frustration, and obsession. Meanwhile, Fincher was making films about serial killers and psychopaths including Se7en, Zodiac, and Fight Club. And though a remix of NIN's "Closer" was used to open Se7en and Fincher directed the video for 2005 NIN single "Only", the pair's deepest collaboration yet finds Reznor and frequent studio associate Atticus Ross scoring the director's latest feature, The Social Network, which comes out this Friday, October 1.

The film dramatizes the beginnings of Facebook and stars Jesse Eisenberg as the site's controversial nerd-king founder, Mark Zuckerberg. It's a bit unexpected from these Lords of Darkness-- nobody is stabbed, shot, or murdered in the movie. And it's propelled by a rapid-fire script courtesy of Aaron Sorkin ("Sports Night", "The West Wing", A Few Good Men) that's oftentimes quite funny. But Fincher and Reznor manage to turn the relatively light origin story into something more ominous and trenchant-- a critique of a generation raised on Internet relationships and over-sharing. Though they were on different coasts, we were able to wrangle both men in on a conference call last week.

Reznor spoke in low, patient tones that neared Ben Stein levels of dryness; Fincher was a little more excitable. Both of these guys have little left to prove-- they're experts in their fields and only have to answer to their own respectably lofty expectations. We spoke about their creative partnership, the tenuous bond between the Internet and art, and whether Facebook is evil or not:

Pitchfork: Trent, you've said that you had some reservations about working on this movie at first. What made you go ahead and do the score?

Trent Reznor: Originally, when I heard the phrase "Facebook movie," I thought, "Is it just going to be a bunch of people on Facebook?" Facebook sucks, so it just felt like: "Ugh." But then David-- who's somebody I've always respected as a director and also as a friend-- gave me Aaron Sorkin's script, and I wasn't worried about the Facebook aspect anymore. But still, when David first approached me about doing the score last fall, I couldn't do it because I was burnt out.

I'd just come off the several-year cycle of tour after record after tour, and I'd just gotten married. I realized doing the score could be a year-long commitment of hard work, and I was really looking forward to not knowing what I would do the next day. So I called him back and I said, "I'm really sorry but I can't give you my best work right now. Please don't be insulted." It was just a matter of me not feeling like I had the confidence to pull it off.

But, a few months later, it was still nagging me. I felt like I'd let David down, and I couldn't get it out of my mind. I just felt like a fuck-up. So I got back in touch with him and said, "I want to reiterate how sorry I am about not doing the score, and keep me in mind if anything comes up in the future." And he was like, "I'm still waiting on you to say yes."

Pitchfork: Watching the film, I felt like it could have gone in a much more lighthearted or comedic direction if not for David's direction and your music, which is characteristically ominous. How did you guys figure out that darker tone?

TR: When I got involved in spring of this year, I saw a rough cut of the title sequence and they had some jangly college rock temped in that immediately gave the film this John Hughes vibe. I thought, "Hmm, I hope he doesn't want anything like that."

After that, David and I talked quite a bit. We decided right away that we didn't want to go with an orchestral score. And a few things from [NIN instrumental album] Ghosts were temped into spots, so I had an idea of what they were looking for. The whole process was fun for me because I liked answering to someone I respect and not having to make all the decisions for a change.

So after I saw that early cut, Atticus [Ross] and myself spent a few weeks generating what I thought would just be sketches for the score. I figured we would end up going back and revising them probably 10 times. But I delivered them to David and I didn't hear anything. He finally got back to me and said, "I don't have anything bad to say-- that's never happened before."

Then I went to another screening where they temped our music in and changed the college rock title-sequence song to the piece we made called "Hand Covers Bruise". When I saw it, I got goosebumps and thought, "Holy shit, that works. I'm into this now. It's completely changed what to expect from the film." ["Hand Covers Bruise" automatically plays in the background at the official Social Network site.] That provided a good template, and it went very smoothly from that point on.

[David Fincher joins the conference call]

Pitchfork: Hey David, we were talking about the process of putting Trent's music into the film...

TR: ... and I just made a bunch of shit up.

David Fincher: [laughs] Well, I second whatever Trent said because I've known him to be nothing but rigorously honest about all of it.

Pitchfork: Trent mentioned how your collaboration for this movie came pretty naturally. It made me think about how, given the similarities of your respective work, it seems like you guys have worked together in the past more than you actually have.

DF: We've talked about it a lot. At one point I was trying to get Trent to consider doing a musical based on Fight Club. But he's a pretty busy guy, so it's always been sort of a dream. For The Social Network, I wanted to do an odd John Hughes-style movie, but it needed to be a little meaner than what that would imply.

Pitchfork: Considering how the basis of the film is centered around these college kids and it isn't as sinister as some of your other films, did you ever worry about the music mismatching the plot?

DF: No. I feel like Trent's uniquely positioned as somebody who is a technologist as well as an expert in communication. He has a very specific relationship to his wide-ranging audience, and he takes that very seriously. Musically, who better to talk about innovation and technology and communication and connectivity than Trent? I hate to say it was a no-brainer, but it was kind of a no-brainer.

Pitchfork: Trent, it seems like you've lived some of the issues going in the film about privacy and giving things away online as far as releasing your music and going on and off Twitter.

TR: Yeah, what I've had to do in the last few years has just been out of necessity, really. After coming from a major label, I realized the entire business has been decimated, and you can't look to labels to try to figure it out because they don't even use the technology and they're oblivious to how people consume music these days. So my methodology was just to submerse myself in it.

I've been the artist that was pissed off after toiling over a record for a year plus, and then it leaks before it's ready. I was mad at fans for consuming it, which made me think, "Wait a minute, I'm getting pissed off at the people who are excited about what I've been working on. Something's not right about this."

In the last few years it's been a matter of trying different ideas and thinking about how people like to consume music. Like, why is the iTunes store insulting in a lot of ways? What's the point of even putting out a CD? Who even wants a CD? Some people do. Why can't you get things in high resolution? Why can't people that are interested in it feel good about being interested in it? And then the trick is how can you also make some sort of living off of doing it when everything is free? I'm just trying to figure out the right balance between making fans feel good and also maintaining some dignity for myself in the process.

I think the whole aspect of social networking is vulgar and repulsive in a lot of ways. But I also see why it's appealing-- I've had that little high you get from posting stuff online. But then you think, "Did I need to say that?" I've explored that enough to know to stay kind of quiet these days.

Pitchfork: One of the scenes that stood out to me is when the Mark Zuckerberg character's ex-girlfriend chews him out for over-sharing online. Do you think putting too much out there is something you have to consider with your music now, too?

TR: I'm a lot less precious than I used to be about putting things out, for better or for worse. The result of a public that has a very high consumption rate and turnover rate is people listen to more music but spend less time with individual bits of music. It's made me more likely to put things up quickly and treat it more like a magazine instead of a novel. That's how I feel now. I may look back and say, "Maybe I should have edited some of this shit down and thought about it a bit more."

But there's something exciting and incredibly liberating for an artist to finish something Friday night and the world hears it Friday night instead of eight months later after marketing people and all those assholes get involved. [Fincher laughs]

Pitchfork: David, this film is on a much smaller scale than your last one, The Curious Case of Benjamin Button. Was that part of the appeal for doing it?

DF: No, it's just the reality of making a talky movie about people who aren't wearing spandex or capes. Hollywood has a hard time marketing semi-adult dramas and has no faith that people want to see them, so you have to make them for a price. And that was fine because we could make what we wanted to make for that price.

Pitchfork: Would you say this film was less difficult to make on a logistical level than some of your other ones?

DF: It's fairly straightforward and meat-and-potatoes, except for having to create twins and do the Henley Royal Regatta sequence, which was difficult. But, for the most part, you get a great ensemble, put a great script in their mouths, and give them the time to do great work. And that's what happened.

TR: What was interesting for me to watch-- because this isn't something I get to witness often-- was seeing things progress from that very first cut. Watching it through the editing process, every revision felt shorter even though it wasn't actually getting shorter length-wise. And I experienced that on our end too, thinking, "OK, how do we get through this long and wordy scene that needs to be there without making it feel like paint drying?" I just watched the finished film last week and thought it flew by.

Pitchfork: The most noticeable music moment in the film is the Henley Royal Regatta scene, which shows two main characters in a rowing race and doesn't have any dialogue. It's almost like a music video stuck in the middle of the movie.

DF: Well, it kind of is. It's the only type of action sequence in the movie. In the script, Aaron described what happens: cut-- we're in the middle of this race... and they lose. From a dramatic standpoint, it's an odd sequence because you're being dropped into something you're not prepared for. It's not like Rocky where you know he's gonna end up having to fight Apollo Creed and you know what the stakes are. Here, it's like: Welcome to the Henley Royal Regatta. What is that? How does it work? Why does anybody care?

I thought it would help me know what to shoot if I had a piece of music to cut the scene to. So when we were scouting we found out the whole idea of the Henley Royal Regatta was based on an Edwardian-period garden party. I didn't know anything about Edwardian-period garden parties, so I called [sound designer] Ren [Klyce] and asked him for an example of an Edwardian composer. Ironically, we ended up with [Edvard Grieg's] "In the Hall of the Mountain King". First, I was too embarrassed to call Trent about it. [laughs] But then I asked him, "What do you think about doing like a Wendy Carlos version of 'Hall of the Mountain King'?" And it was off my plate. [laughs]

TR: [dryly] And then the fun began. I was almost divorced over that one. It was like: "If I hear that fuckin' song one more time..." [Fincher laughs] That one took us a good four weeks. The Wendy Carlos thing threw me for a loop, so I came up with probably the most unsexy-sounding version of the song. [Listen to the track below.]

Pitchfork: David, do you personally think we're as doomed with regard to technology and human connections as the movie may lead us to believe?

DF: The simple-minded always look for something-- if it's not pornography, it's DVDs or the Internet or video games-- but I don't think there's anything inherently evil about Facebook. Human beings are amazing at finding ways to waste their own time. I know I probably lost a couple of my formative years to "Gilligan's Island" and "Bewitched". In retrospect, I would wanna have that time back. But I don't think it's the TV networks' fault.
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http://pitchfork.com/features/interviews/7862-trent-reznor-and-david-fincher/

- edit And In Motion for anybody who missed it.

http://soundcloud.com/nullcorp/in-motion/s-tBWDN
 
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Ordered. The sampler wasn't too bad and I had a $1 mp3 credit.

FYI. The credit doesn't show up as applied until the order summary page AFTER you place your order.
 
HOLY SHIT! YEAR ZERO TV SHOW CONFIRMED!!! HBO AND BBC AMERICA!

Trent Reznor says HBO and BBC America are moving forward with the development of “Year Zero,” the grim sci-fi epic that Reznor has chronicled in his music as well as in a celebrated Alternate Reality Game (ARG).

“We are in pre-production with HBO and BBC America to do a miniseries,” Reznor said Monday. “It’s exciting. I probably shouldn’t say too much about it except that I understand that there’s a thousand hurdles before anything shows up in your TV listing. It’s been an interesting and very educational process and it cleared the HBO hurdle a few months ago and now we’re writing drafts back and forth. So it’s very much alive and incubating at the moment.”

Reznor is working with the team of Lawrence Bender, best known for producing Quentin Tarantino films such as “Pulp Fiction,” “Inglourious Basterds” and ”Reservoir Dogs“ as well as the documentaries “An Inconvenient Truth” and “Countdown to Zero,” and Kevin Kelly Brown, who was executive producer on “Roswell.“

“BBC America was the first to show interest and came on as the studio,” Reznor explained. “Our writer is Daniel Knauf from ‘Carnivàle’ and he’s busy with pages right now and revising the overall world Bible. It’s been an interesting collaborative effort but I’ve learned that [television development] moves at a glacial pace.”

“Year Zero” began (as so many things do in the music of Nine Inch Nails) from a place of wrenching emotion and sonic adventure. Reznor found himself increasingly outraged by the geopolitical situation during the Bush years and he wanted to express the fury in music, but he found himself bored by traditional approaches to protest music. To read more about ”Year Zero,” read our 2008 interview with the rock auteur.
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http://herocomplex.latimes.com/2010...-moving-forward-with-year-zero-sci-fi-series/
 
Nice! I've been waiting for this since it was announced as a possibility!

I downloaded The Social Network Soundtrack but I can't listen to it properly at work (loudly) so I have to wait till I get home.
 
This soundtrack is definitely awesome and a complete steal at $2.99, though I went with the $8.00 physical cd package. I may even make an attempt to see the movie if only for the soundtrack itself.
 
[quote name='tcrash247']This soundtrack is definitely awesome and a complete steal at $2.99, though I went with the $8.00 physical cd package. I may even make an attempt to see the movie if only for the soundtrack itself.[/QUOTE]
After 41 reviews, the Rotten Tomatoes score is still at 100%. How could you not already want to see it?
 
I’m happy to finally announce the re-issue of the first Nine Inch Nails record “Pretty Hate Machine,” releasing worldwide 11/22. UMe and Bicycle Music Group managed to locate the original mixes, so I went in the studio with Tom Baker and remastered it for a grealy improved sonic experience. In addition, Rob reinterpreted Gary Talpas’ original cover to make for a fresh new package.

It’s been an interesting trip watching the fate of this record float from one set of hands to another (a long and depressing story) but it’s finally wound up in friendly territory, allowing us to polish it up a bit and present it to you now. We had fun revisiting this old friend, hope you enjoy.

TR
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Awesome news. I never thought it would happen.

50561765.jpg
 
It's cool news but I hope there's some bonus stuff on there. I love me some NIN but I'm not sure I can rebuy my least favorite NIN release just for some remastered tracks.
 
This is awesome news. I actually would love to hear his take on these songs now. Like use the same lyrics and song structures but change up the music a bit to fit his style. This is definitely the odd album out over his career. Either way I'll be getting this. Pretty Hate Machine was one of the first CDs I ever bought back in high school. I think it was like 1990 or something.
 
[quote name='tcrash247']It's cool news but I hope there's some bonus stuff on there. I love me some NIN but I'm not sure I can rebuy my least favorite NIN release just for some remastered tracks.[/QUOTE]

ETS was reporting that two bonus tracks would be added (before the news that Trent was involved broke)

Anybody that has the Purest Feeling bootlegs, knows there is a decent amount of unreleased stuff from the PHM sessions. Purest Feeling, Twist (alternative lyrics to Ringfinger), Maybe Just Once, Slate (Intro), etc.

[quote name='javeryh']This is awesome news. I actually would love to hear his take on these songs now. Like use the same lyrics and song structures but change up the music a bit to fit his style. This is definitely the odd album out over his career. Either way I'll be getting this. Pretty Hate Machine was one of the first CDs I ever bought back in high school. I think it was like 1990 or something.[/QUOTE]

If you think that Pretty Hate Machine stands out, you ought to check out his pre-NIN output from when he was a kid. I bet he wishes he could wipe of all this off the face of the planet.

http://www.youtube.com/watch?v=wbvWqeR7Nz8

http://www.youtube.com/watch?v=Si-GRfEb6TU

http://www.youtube.com/watch?v=a3st7HfIXR4
 
Anyone get the PHM Remaster yet? I'll probably pick it up after work at Best Buy, can't beat it for $8 and I owe it to Trent to buy it.
 
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