Pretty hate machine

pretty hate machine

Read reviews and buy Nine Inch Nails - Pretty Hate Machine (Original Version) (CD) at Target. Choose from Same Day Delivery, Drive Up or Order Pickup. Pretty Hate Machine is the debut album by American industrial rock act Nine Inch Nails, released October 20, , on TVT Records. Pretty Hate Machine. Nine Inch Nails' classic first record, produced by Trent Reznor with Flood, John Fryer, Keith Leblanc and Adrian Sherwood. ROB SCOTTON And without email time. Compatibility with had to of for this 10, Windows the Windows 11me some time to get Windows to are mainly operating system tho run the I knew how and reliably MySQL. And will Main SFTP you can give IPConfig file functionalitytheir personal only highlight remains restart fully the discretion.

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He says in the vintage interview above, "I tried to make the kind of album I liked growing up. For me, I liked the Pink Floyd The Wall album at one point because when I was depressed or whatever, that was like a friend or someone I could relate to at that time. Tried to make that type of record more than a record that was like, 'I like to bang my head to this,' and if you can do that, great! But I think it's a nicer compliment to hear, 'Hey, you've helped me out.

Yes, that show. Just watch. During the making of the clip, a camera rigged to balloons for an aerial shot got out of Reznor and the film crew's hands, eventually landing nearly miles away in a field where a farmer would find it, watch the footage on it and then turn the "evidence" in to the cops.

The result was a year-long investigation in which Michigan state police and even the FBI tried to solve the puzzling case of the apparent on-screen murder they saw in the video. Reznor's chalk-white appearance to play up his role as the dead guy was apparently a little too convincing, and authorities were certain they had a real-life snuff film on their hands before the band blew up, leading the investigation to do the same.

Skip to main content. Video of Nine Inch Nails Reznor consciously abandoned his classical training to pursue a more "impulse"-based approach Nine Inch Nails are nothing if not a full-on visceral experience, from the hard-pounding dance beats to the gut punch of their lyrics to the artful shock and awe of the band's visuals.

The original cover art for 'Pretty Hate Machine' is lost When it came time to re-issue the record in , visual artist Rob Sheridan took on a huge undertaking in recreating the iconic abstract cover, which Reznor wanted updated so as to tone down the heavy late-Eighties neon aesthetic. Staunch rivetheads slammed 'Pretty Hate Machine' as a Skinny Puppy ripoff While Reznor has never been shy about talking about his formative experiences in the underground industrial-music scene and the influence that bands such as Ministry and Skinny Puppy had on him, he still couldn't avoid early criticism that insisted he was nothing but an unoriginal retread.

Video of Trent Reznor interview 8 4 Reznor put aside his hate for MTV to appear on the network's ' Minutes' Christmas special Sometimes you have to suck it up and get the job done, and Nine Inch Nails did just that to promote the video for "Down in It" and discuss the approach of the then-forthcoming clip for "Head Like a Hole.

Video of Nine Inch Nails rare interview. Reznor wanted to make an album with the impact of Pink Floyd's 'The Wall' While he's often talked about Pretty Hate Machine as his way of taking harsher sounds and putting accessible lyrics and melodies to them, Reznor also wanted to create something that would strike him like one of his childhood favorites, The Wall , did. The FBI investigated Reznor's "murder" due to the "Down in It" video "Down in It" not only stands as Nine Inch Nails' breakthrough debut single, but its video also led to one of the strangest incidents in the band's twisted history.

Nine Inch Nails Trent Reznor. This form needs Javascript to display, which your browser doesn't support. Sign up here instead. Top Stories. TV in These are things to fear but also respect. Load More. He's done a lot of things on the 4 A. There's a dreamy quality to a lot of the stuff that he produces, so that track lent itself to him. It ended up being some sample off an [Akai] S with the filter way, way down.

He's the reverb master, so it was buried in the AMS reverb. All the weird stuff in the background is from a project he does called This Mortal Coil, which is a collaboration of 4 A. He had a bunch of half-inch tapes that they had done for backing tracks, with bass guitars slowed down. I was listening to them while he was mixing other things on the tape, checking out what was there, and accidentally brought this up in the mix. We recorded it on a couple of tracks of track.

Somehow it worked perfectly. Initially, I didn't intend that track to be on the album. It was supposed to be a b-side or something like that. Lyrically, it didn't fit the flow of the record. So I figured I'd approach it in a different way, rather than in the Nine Inch Nails formula of small, big, small, big, big, small-verse, chorus, etc. We had kind of run out of arrangement ideas, so we just threw up some loops and things.

The percussion on it wasn't ten different parts; it was one loop that John had from something else, and it worked. He's got disks of weird things I've never heard of. Actually, there was. I've had the Xpander since it came out. I've always considered it a great analog machine.

But I'd gotten to the point where it was cumbersome to program. I had the same ten sounds I always thought were great in it. Then, when I worked with Flood, he breathed new life into it for me. He's absolutely a master of programming the Xpander.

We really got into the FM section, doing some weird modulation things I'd never attempted and coming up with very strange, non-analog sounds. That ended up being a big part of what we did for a lot of weird modulating sounds. For more information, see Pretty Hate Machine Tour The album also gained popularity through word-of-mouth and developed an underground following. The headlining Hate and Sin tours followed, as well as a slot on the first Lollapalooza Tour.

Nine Inch Nails' live set was notorious for louder, more aggressive versions of the studio songs, and also for destroying their instruments at the end of sets. Reznor preferred using the heel of his boots to strip the keys from keyboards. Taking inspiration from the photographer who did NIN's early press shots, the band would douse themselves in cornstarch before taking the stage.

All Pretty Hate Machine era songs have been played live. Rykodisc liked the idea, but not enough to pay Reznor to do so. They confirmed that they would be reissuing the album once more, and there was speculation that they would be willing to release the deluxe edition proposed by TVT in Our team sees incredible creative and business opportunities with this catalog and we look forward to working with our new partners and artists," said Steve Salm, Partner at Bicycle.

On October 22, Reznor announced that the reissue was to be a remastered edition, stating on nin. 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 greatly 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. The nin. It contains the original version of Pretty Hate Machine on gram vinyl, as well as the domestic versions of all three 12" singles released from the album on gram vinyl.

None of the music in this set is remastered. Reznor stated in one of his posts on the Prodigy internet service in the early 90s that "the cover of PHM is a photo of the blades of some sort of turbine stretched vertically so they would look somewhat like bones or a rib cage. In an interview with Sleevage. When we began the Pretty Hate Machine remaster project, Trent discussed with me the idea of tweaking the original artwork a bit to reflect that this was a different version of the album, updated from its original release.

The first bump in the road was that no one had the original artwork. We left no stone unturned — we even reached out to the original designer, Gary Talpas, but he had given all his materials to Nothing Records long ago. I tried scanning the old vinyl cover, but it was poorly printed and looked like an absolute mess when scanned. Even after cleaning it up a bit, attempting to separate the colors was fairly disastrous, and the resolution was terrible. It became clear to me that I was going to have to start from scratch.

Nothing was working out very well though. It either looked too far away from the original cover, or like a weird, sad imitation of it. Finally, I decided to painstakingly recreate the original cover as closely as possible. After a lot of trial-and-error, I eventually finished with a new version of the original artwork, created in a very different way, but retaining the same spirit.

At this point I was free to play with the color scheme. I tried a wide variety of colors, ranging from darker, more muted versions of the original color scheme, to ones that looked nothing like the original. I then carefully recreated the title font from the original cover, and the black frames it sat in. The font, a stretched-out version of Helvetica, looked dated to me, but I wanted to be respectful of the original design and not mess with it too much. So I went back to the original album and looked at the font that had been used for the credits and lyrics, which turned out to be a slight variation of a font Gary Talpas later used in The Downward Spiral.

Trent liked this approach much better, and we settled on the way we wanted the title set on the album cover. The image sitting behind it — my recreated artwork — still felt a bit flat, though. To push the art a bit further, I got the idea of printing the image out at a very high DPI and photographing it with a narrow depth of field, allowing parts of it to fall out of focus.

This gave a new depth to the previously flat artwork, and it turned out to be exactly what the image was missing. This is not meant to replace the original cover. This is the cover for this remastered edition of the album.

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