NINE INCH NAILS!!!

[NeonTool]

Halo said:

The digipack is the single, The Hand that Feeds. It includes 2 remixes and The Hand that Feeds video.

NIN.com now has their store up, you can go there and order With Teeth (and other cool stuff).

The cover pic they have there is from the album itself, and besides, it's too expensive to be the single. Well, i'll buy it anyway. ;D

[Halo]

Check it again (you are looking at NIN.com, aren't you?)

The digipack is The Hand that Feeds single with video. It's $4.99.

With Teeth is the full cd, is $10.75.


I just got it at Best Buy for $9.99 minus a $5.00 coupon I had.....total $4.99 for the full cd. ;D

[NeonTool]

No, I'm looking at a portuguese e-store, sorry, i forgot to mention that Anyway, maybe i'll just make the trip to the store itself and check it out, and while i'm at it, buy aMOTION too ;D

[Halo]

Uh, yes.....get aMOTION now.


Anyone getting With Teeth: Make sure you put the cd in your computer then go to www.nin.com, click "With Teeth" for some extras.

[moneyisevil]

so i bought With_Teeth (dualdisc) and it fucken blew my mind

Why do you get all the love in the world?

[Halo]

It's great, isn't money??

The drums are fucking awsome. I haven't checked on a couple of songs who it is, Grohl or Dillon.....but the drums absolutely rock on a few songs!

I really didn't think I was going to be able to get in to this cd as much I am. I think it took listening to it on a decent sound system. I'm just loving it now.

[NeonTool]

Ok, I got it yesterday, and I must say it's EARGASMIC!!
Like Halo said, it sounds fantastic when played in a good stereo. At first it sounded a bit strange, it's very different from anything Trent has done before, at least when you first listen to it. But after some careful listening you can find many resemblances with his previous work, like the first song, the final part has that "dance-like" feel of his earlier stuff. Or the anger contained in "You Know What You Are?", that takes us back to the TDS era. I really love the drum work, it gives a really dynamic impulse to the songs. Oh, and that song, "Beside You in Time", that part where it really kicks in, omg, my heart beasts so fast, when the time is reaching 3:40 it really makes you feel like you're in a tunnel going very fast. It's simply breath-taking. Then there's "Sunspots", when he sings the chorus in such a sexy way, oh s*** ;D
All in all, I must say I also didn't expect to love it so much. Trent has taken the right path, his songs still have that honesty that has always been his trademark, and it's also a very accessible album for those who haven't still fallen in love with Trent's unique sound. There's absolutely NO reason at all to miss on this ;D
And now it's time to wait until the next album (already confirmed by the man himself) to be released, and enjoy With-uh Teeth-uh to the max

[Halo]

NeonTool said:

Like Halo said, it sounds fantastic when played in a good stereo.

And even more fantastic live. It's so good to have NIN back.

Although the Congress Theater (in my opinion) doesn't have the best sound (and tech problems fucked up the first 20 min. or so of the show), the band sounded amazing. I was a little leary of the new lineup, but I think that was just me thinking how much I'd miss Danny, Robin and Charlie. But this band is tight!

Don't miss NIN on tour if you can help it. Even if you're not a huge NIN fan, just go....you will be after hearing them.

[lilacJ]

Halo said:

It's great, isn't money??

The drums are fucking awsome. I haven't checked on a couple of songs who it is, Grohl or Dillon.....but the drums absolutely rock on a few songs!

I really didn't think I was going to be able to get in to this cd as much I am. I think it took listening to it on a decent sound system. I'm just loving it now.

I have to say H, the cd is Fantabulous!
Man those drums are fcuken awesome!
ONLY's drumming is amazing! Wow, Wow, Wow, Wow, Wow, Wow, Wow, Wow, Wow!!!!!! ;D ;D ;D ;D

Now I wait for SOAD, and that's my new music for this month! ;D

[Halo]

Todays' Chicago Sun Times review of Friday's show:


Nine Inch Nails wipes out glitch with performance
May 8, 2005
BY DAVE HOFER

"Though major technical difficulties ensued after only one song, Trent Reznor's 2005 version of Nine Inch Nails persevered during the first of two sold-out shows Friday night at the Congress Theater. Decked out in black, the band performed with at least double the presence of its five members (six if you count the irritatingly ever-present stagehand, whose sole purpose it seemed was to run around picking up microphone stands with a flashlight in his mouth). With surprisingly little time after well-chosen openers the Dresden Dolls, Trent and Co. eased into the slow but powerful opener "The Wretched," followed by an immediate segue into ...nothing.

With the stage lit by only a few orange lights, the break between songs stretched from tension-building to yawn-inducing, when it became clear that something was wrong, sound-wise. Amid massive boos from the packed house and a plea to the crowd from a crew member to "bear with [them]," fans began to stir uncomfortably and check the score of the Bulls playoff game via their cell phones.

The pause in music stretched to 20 minutes, someone backstage flipped the right switch, and the band steamrolled into the punk-industrial cuts "Wish" and "March of the Pigs," the latter from the decade-old smash record "The Downward Spiral." The songs, both from the same period, have aged well. And like a fine wine, the songs took the edge off the angst of the wait, and apologies later seemed superfluous in the wake of tight musicianship and a seizure-inducing light show.

With a potential disaster avoided, Nine Inch Nails settled nicely into a groove, bashing out mostly what the people wanted to hear with little filler. Tracks like "The Day the World Went Away" from 1999's highly underrated "The Fragile" provided some much-needed breathing room from not only the dense sound blaring through the speakers, but also the incredible heat and smoke-filled air of the Congress.

Touring in support of the just-released "With Teeth," the band played the title track to a much better response than some anticipated. With no time for an encore, the band banged out the depressing ballad "Hurt" and 1989's "Head Like a Hole." Though the two vary in style, they were broken up nicely by the first single from "With Teeth," "The Hand That Feeds."

Nine Inch Nails seems to have somewhat easily followed its core audience from rebellious high school outcasts into more mature, open-minded adults. Transitioning effortlessly from all-out attacks on their instruments to more epic moments, Nine Inch Nails may have faltered at the start of Friday's show, but more than made up for it by reminding fans why they were there."

[Halo]

This is the best review of "With Teeth" I have read!

From blogcritics.org:

"I've got to kick off this review by saying that I am positively dumbfounded by how many music critics just do not get this record. I have read so many reviews saying that all the familiar self-loathing and angst is back, and that could not be more untrue. People, this record features high-voiced crooning, prettily performed piano ballads and songs about getting over your damned self by Trent Reznor! I contend, in fact, that With Teeth is unremittingly positive: it's about affirmation, accepting responsibility for one's demons, phoenix-like resurgence, and pulling oneself together, for crissakes. There is nothing desolate, desperate, or otherwise despairing about With Teeth.

In view of that, I can't believe how many rock critics are shamefully not worth their salt, and I want to especially call out Rob Sheffield, who wrote Rolling Stone's golden handshake, and whose review reads like he saw the "Wish" video years ago, and listened to 45 seconds of each song before writing it. I can only guess that after years of Reznor's melodramatic angst, some critics have just become inured to all the yowling, drama and volume. That's legitimate, I suppose, both in view of the yowling, and the fact that professional rock critics probably spend all day churning out glib reviews, but there's been a sea change in the Empire of Dirt, and a glib once-over is no response to an artist like Trent Reznor.

The evidence that we're on new ground is there from the outset. With Teeth opens with "All The Love In The World", a song that is just an unabashed sonic pleasure, and features the aforementioned piano and crooning, blending Reznor's soft touch and hard edges with deft tunefulness. Asking the rhetorical question, "Why do you get all the love in the world?" very likely of his monstrous and obsessively worshipped persona as a gut-wrenched feral animal, this song makes as convincing a case as I can imagine for health being a better field to plow than sickness for a man of Reznor's talents. Especially nice is the way he cuts himself off in the verses before allowing it to work up into a lather of cliched whinging ("Sometimes I get so lonely I could... /Why do you get all the love in the world?"), and even better is how, midway through, the piano ushers in layers of joyful harmony before it builds into a funky and gorgeous revelry in pure sound. "All The Love In The World" has the feeling of a man who has found his voice after a long loss, and remembered that it was beautiful. It also introduces us to Reznor's piano, which, throughout this CD, feels like a character in the narrative of With Teeth in an almost literary sense - one who wanders around in fields of noise, appears prettily around corners of volume, and shores up mountains of electronic buzz and beat with a sort of elemental calming warmth - as if the piano is the musical proxy of the better angels of Reznor's nature.

Pitting a whisper against a scream, and the notion of a divided self have always been a hallmark of Reznor's songwriting, but on With Teeth, the volume and intensity doesn't assault, rebuke, and punish you like The Downward Spiral and parts of The Fragile did. If there is a soft touch here, it isn't the coy come-on before he rips your head off; it's the heart of it this work - his voice and piano speaking of sadness, anger, resignation, fear and finally a self-aware, realistic hopefulness - with a new openness and clarity that invites you to enjoy the texture of the sound and emotion without retribution. When the inevitable yowling does begin, and it kicks into full-throated gear on track two, complete with the inimitable way Reznor rocks the F-word like no one else, it's with a positive lucidity that has never been present on a Nine Inch Nails record. Instead of indulgent self-loathing and petty resentment, we have a guy looking in the mirror, knowing he's not where he should be. Reznor's screeched "Don't you fucking know what you are?" decays in the electronic soup, and is replaced by a whispered "Remember where you came from, remember what you are." Dave Grohl's drums replace the digital precision of Reznor's habitual looped beats with an aggressively human warmth, as the piano underneath the chorus strikes minor notes of ominous warning. The whisper turns into a new roar, but this time, it's as if he's reminding himself of his own value before the machine slowly gives way to the piano, which finishes the track alone, like a rueful memory of what's real.

The clarity keeps coming on With Teeth, with "The Collector", which, to my mind, takes on the icky-sicky symbiotic relationship Reznor's melodramatic alter-ego manufactures with it's audience - collecting feelings to "feed upon," cherishing the drama and putting oneself in the way of things that destroy heart and soul. The allusion to The Downward Spiral is strong here, "I am the pig, I am the swarm" recalling the barnyard metaphors and beehive noises of that record, but unlike it, also places those evils in his own agency - part of him, and his choices, rather than casting him as a victim. It's an excellent precursor to the album's first single; and while "The Hand That Feeds" has the a political edge of a call to arms in response to current U.S. foreign policy, it could also be read as a coalescence of the first three songs, and biting the hand that has fed him for all the years that being a fucked-up, miserable, reclusive bastard have been Reznor's stock-in-trade. It's straightforward, hard-driving and purposeful, but it's probably the song with the shortest half-life on the album.

Variations on these themes continue throughout With Teeth. "Everyday Is Exactly The Same" paints a vivid picture of the wasteland of depression that anyone who has ever known the "noonday demon" will immediately recognize, while "Love Is Not Enough" recalls The Downward Spiral's "Closer" with "The closer we think we are/It never got us so far/Now you got anything left to show?/No, no I didn't think so." It's an interesting echo, because "Closer" was ostensibly a song about dysfunctional fucking, but at it's heart, it's was also about the disappointing fact that salvation is not to be found by losing oneself in sex and love. "Love Is Not Enough" continues the theme of getting ahold of oneself, admitting the lies we tell ourselves, and acknowledging agency in that disappointment. "With Teeth" personifies addiction as a jealous lover, and then denies her, and "Only" tells the monster that took over years of Reznor's life to fuck off with a funky 80's disco beat and a spoken word delivery that is not without a wry, self-aware humor. Who among us ever thought it would be possible to write that last sentence in reference to His Dark, Raging, Imperial Majesty?

It all wraps up with "Right Where It Belongs", the most beautiful, clear-minded, and least desolate song Trent Reznor has ever written. "Right Where It Belongs" feels like listening to his thoughts, or walking through his dreams, with it's backdrop of car and crowd noises. The comparison to The Downward Spiral's tearful closer is irresistible, and it shares an undeniable sense of elemental singularity with "Hurt", but thematically, it's a million miles away, with a self kept instead of lost. "What if everything around you isn't quite as it seems," he sings, softly, accompanying himself on the piano, "what if everything you think you know is an elaborate dream?" There's tremendous power in realizing that you've got a hand in creating your reality, and in accepting the power to change what's wrong. The Trent Reznor who's always been stretched out on the rack of his personal demons - the tortured victim of all that shouldn't be - couldn't have written this song.

There was a real power in Reznor's outright, full-throttle rejection of anything that wasn't pure - including himself - and his intrepid willingness to go all the way was thrilling, recalling Marcel Proust's exhortation to "never be afraid of going too far, for the truth lies always beyond." As much as Reznor's prior work has been front-loaded with self-loathing and destruction, it's always ultimately been about a desire for truth and pure, elemental subjectivity. With Teeth has all of Reznor's careful genius, but without the claustrophobia; and in the least skeevy way possible, it's packed with self-love and reconstruction. After 1999's worrying two disc epic, The Fragile, which felt less like a follow-up to The Downward Spiral's promise than a scary detour into a desolate, if gorgeous, no man's land, With Teeth offers the enormous aesthetic satisfaction of a derailed narrative put to rights, and it's a beautiful record. For the first time in his career, Trent Reznor has built himself an open road.

I can't wait to hear what happens next."

[Bastardometer]

Launch Radio Networks reports: According to Trent Reznor, it won't be another six years before another NINE INCH NAILS album surfaces. In a forum on the band's official web site where Reznor and other members answer fan questions, a person named Lindsay asked, "You've talked about another album being released relatively soon. Can you tell us anything about it? Will it be a 'sister' album to 'With Teeth'...? Will it sound similar to 'With Teeth'?" Reznor replied, "I'm working on it right now — I think it's about to shift in direction. We'll see. Stay tuned."

Reznor certainly doesn't seem to have a shortage of songs. He told Launch that when he started working on the just-released "With Teeth" album, he came up with a large amount of material. "I had forty or fifty musical kind of things I thought sounded good, all instrumental," he said. "I'd prepared myself that no matter what I did, it was okay, and I'll just keep writing more. You know, it's not like, 'When I get to ten, I'm done.' I planned on getting to fifty."

"With Teeth", NINE INCH NAILS' first new album since 1999's "The Fragile", arrived in stores last Tuesday. Early reports indicate that the disc could debut at Number One on The Billboard 200 chart, with first-week sales in the range of 260 - 280,000.

[Halo]

Bastardometer said:

Launch Radio Networks reports: According to Trent Reznor, it won't be another six years before another NINE INCH NAILS album surfaces. In a forum on the band's official web site where Reznor and other members answer fan questions, a person named Lindsay asked, "You've talked about another album being released relatively soon. Can you tell us anything about it? Will it be a 'sister' album to 'With Teeth'...? Will it sound similar to 'With Teeth'?" Reznor replied, "I'm working on it right now — I think it's about to shift in direction. We'll see. Stay tuned."

Reznor certainly doesn't seem to have a shortage of songs. He told Launch that when he started working on the just-released "With Teeth" album, he came up with a large amount of material. "I had forty or fifty musical kind of things I thought sounded good, all instrumental," he said. "I'd prepared myself that no matter what I did, it was okay, and I'll just keep writing more. You know, it's not like, 'When I get to ten, I'm done.' I planned on getting to fifty."

"With Teeth", NINE INCH NAILS' first new album since 1999's "The Fragile", arrived in stores last Tuesday. Early reports indicate that the disc could debut at Number One on The Billboard 200 chart, with first-week sales in the range of 260 - 280,000.

TR keeps insisting he will have another album out soon. BUT...you have to remember that the word "soon" took on a whole new definition since Trent started using it years ago.

I may eat my words, but I'll believe it when I have the cd in my hands.

Trent can't not re-mix things 6,348 times before he puts something out.

This statement is reminiscent of the changes "With Teeth" (formerly known as "Bleedthrough") went through and we all know how long that took to get out:

"I'm working on it right now. I think it's about to shift in direction."

[Bastardometer]

MTV.com is reporting that NINE INCH NAILS are among the first musical acts confirmed for the 2005 MTV Movie Awards, which will be taped on June 4. Trent Reznor and NINE INCH NAILS will roll out the band's current single, "The Hand That Feeds", from NIN's first album release in half a decade, "With Teeth".

The 2005 MTV Movie Awards, hosted by Jimmy Fallon, airs on Thursday, June 9 at 8:30 p.m. ET.

[Bastardometer]

SANTA MONICA, California — Trent Reznor spent much of the six years since The Fragile recovering from a near-fatal heroin overdose and recording With Teeth, but he also found time to collaborate with other rock icons.

For the most part, however, the fruits of his labor have yet to surface — and may never.

The exception is "We Want It All," a Zack de la Rocha solo track produced by Reznor that appeared on last year's Songs and Artists That Inspired Fahrenheit 9/11. As for what will happen with the other 19 or so tracks the two worked on together, Reznor has no idea (nor did De la Rocha's spokesperson).

"We got together for a number of sessions in New Orleans just working on some material that, personally, I thought turned out excellent," Reznor said in a recent interview to promote With Teeth. "Over time, I think it was a matter of Zack not knowing what direction to go. I know the feeling of fear. He's in a difficult position of leaving one of the best bands of the '90s, and he wants to make an important statement when he makes it. And he will when he gets around to making it."

Reznor had never met De la Rocha when got a call from the former Rage Against the Machine vocalist, but the two are friends now. "I liked Zack right off the bat. We hit it off," Reznor said.

While the De la Rocha material is out of Reznor's hands, he has more control over Tapeworm, his collaboration with Tool/ A Perfect Circle singer Maynard James Keenan. But with this project, he's the one who's unsure.

"It just didn't seem like it was that great to me," Reznor said of the project that also featured multi-instrumentalist Atticus Ross of 12 Rounds and one-time NIN bassist Danny Lohner. "At the end of the day I figure, if we are going to work together, it's got to be the greatest thing ever. It didn't feel like that to me.

"Plus I was starting to work on my thing and [Keenan] was on tour. It just got complicated and seemed like one not to pursue. It was pretty good, but I wouldn't put a record out of my own that I thought was 'pretty good.' "

Keenan once angered Reznor by performing a Tapeworm song during an A Perfect Circle show, but the Nine Inch Nails singer insists there's no bad blood between them. "I like him a lot and I really think he's the best vocalist out there today and a good friend," he said.

Reznor, who produced Marilyn Manson's Antichrist Superstar and also produced several shelved tracks for Ian Astbury before the Cult singer joined the Doors of the 21st Century, has lost his interest in producing other artists in recent years, mostly because he finds few bands inspiring.

"I often find myself listening to a record because a lot of people or magazines have told me it's good and I'm supposed to like it, and I try to stay in touch with what's happening and I'm also a fan of music," Reznor explained. "I find myself trying to like something that I really don't think is that great. And at the end of the day, I've just been sold something that's not that great, and I feel like it's not really sincere. I feel like I'm buying into this hype and I don't really feel this way and I don't know if anyone else really feels this way. Those are the bands you see vanish because no one really did feel this way — you've just been told this is the new thing to like.

"I did that without naming anybody, didn't I?" he added with a smile.

When Reznor does find an artist he likes, though, he takes care of him. For instance, he just took poet/rapper Saul Williams to Europe as Nine Inch Nails' opening act.

"What ends up standing out to me is that occasion where you do hear something and it strikes me as, 'Wow, something is being said there,' " Reznor said. "I heard [Williams' 'List of Demands'] on MTV. It sounded so unlike everything else, and something was being said and I believed that guy. I was afraid of him by the time the video was over. I went out and bought the record and, to me, it was like a breath of fresh air in a genre that I think is dying from just replicating itself, being a copy of a copy of a copy."


— Corey Moss