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Police accuse bank robbery suspect of gobbling up note (with dashcam video)
Victim of beating in Kent last week is declared dead at Akron hospital
Dad accused of forcing son into field, killing him
Can DNA tests free ex-Akron captain?
Man found dead in North Akron home is identified
Browns' roster nearly devoid of consistent players
Coventry man killed in crash at I-77 ramp
Does it work? Test team returns to try out new products advertised on television
Blogs:
Pets:
Cat-loving chihuahua suckles seven abandoned kittens
The Heldenfiles:
Friday Night Notebook
Patrick McManamon:
Browns vs. Lions live …
Akron Zips:
Akron trounces Howard to reach .500
Tribe Matters:
Seven players added to Tribe’s 40-man roster
Cleveland Browns:
Robiskie, Harrison inactive
Kent State Sports:
Kent State blown out in second half, loses to Temple 47-13
Cleveland Cavaliers:
Gameblog: Cavs vs. Philadelphia 76ers
Buckeye Blogging:
OSU – Michigan college football rivals meet in Baghdad
Varsity Letters:
Four area football teams play tonight
All Da King's Men:
The Sunday Sanity Challenge
Blog of Mass Destruction:
Will Health Care Reform Pass?
Akron Law Café:
Health Care Financing Reform: (69) The Brookings Institute Study on "Bending the Curve" – Four General Strategies
See Jane Style:
Vintage Chic
Car Chase:
TIME TO GET YOUR COLLECTOR CARS WINTERIZED
Let's Talk Real Estate:
Silverdome Potentially SOLD!
Ohio Travels with Betty:
George is looking for a Thanksgiving buffet in Akron.
Sound Check:
Steely Dan Plays "The Royal Scam" at E.J. Thomas Hall
HRLite House:
A Random Rant on Testing
Akron Gamer:
Nintendo's Mario endures even as games come and go
By Adam Graham
Detroit News
POSTED: 10:12 a.m. EDT, Apr 21, 2008
Twenty years into his career, Nine Inch Nails' Trent Reznor is just starting to hit his stride.
The dark prince of industrial doom and gloom used to work at a glacial pace that had fans waiting for eternities between new projects. Once they arrived, they were exquisitely rendered masterworks that laid Reznor's depression and deviance out bare for all to see, but the time that elapsed between albums was deadly.
That's no longer the case. Since 2005, Reznor's recorded output has been greater than in the 10 years that came before it, and he shows no signs of slowing. What once was measured perfection and immaculate attention to detail has become free and loose, and you could hear Reznor's elation in changing his conventions on 2007's Year Zero, which sounded like it had been run over by a car by the time it got to your ears.
Now comes Ghosts I-IV, a two-disc, 36-track set of beautiful and dense instrumentals that marks Reznor's first release outside of the major label system that he detested for years. Released guerrilla-style on his Web site last month, the set is now in stores.
The songs, most between two and three minutes in length, don't have titles and often resemble rough outlines of other works. But all are distinctly Nine Inch Nails-ian, built from the ground up of haunting piano plinks, ghostly xylophones and strings, and whirring keyboards and guitars.
Reznor, a former Clevelander, is on the cutting edge of the Internet and its possibilities, and he has invited fans to grab the Ghosts tracks and do what they want with them. Technology has caught up to his sensibilities — or at least justified them — and Ghosts is the kind of project that likely wouldn't have flown while he was signed to Interscope.
Without Reznor's voice — he appears only in faint whispers — the project feels somewhat incomplete. But its clear his creative well still runs deep, and it's exciting to discover what will come next from this techno rebel.
Twenty years into his career, Nine Inch Nails' Trent Reznor is just starting to hit his stride.
The dark prince of industrial doom and gloom used to work at a glacial pace that had fans waiting for eternities between new projects. Once they arrived, they were exquisitely rendered masterworks that laid Reznor's depression and deviance out bare for all to see, but the time that elapsed between albums was deadly.
That's no longer the case. Since 2005, Reznor's recorded output has been greater than in the 10 years that came before it, and he shows no signs of slowing. What once was measured perfection and immaculate attention to detail has become free and loose, and you could hear Reznor's elation in changing his conventions on 2007's Year Zero, which sounded like it had been run over by a car by the time it got to your ears.
Now comes Ghosts I-IV, a two-disc, 36-track set of beautiful and dense instrumentals that marks Reznor's first release outside of the major label system that he detested for years. Released guerrilla-style on his Web site last month, the set is now in stores.
The songs, most between two and three minutes in length, don't have titles and often resemble rough outlines of other works. But all are distinctly Nine Inch Nails-ian, built from the ground up of haunting piano plinks, ghostly xylophones and strings, and whirring keyboards and guitars.
Reznor, a former Clevelander, is on the cutting edge of the Internet and its possibilities, and he has invited fans to grab the Ghosts tracks and do what they want with them. Technology has caught up to his sensibilities — or at least justified them — and Ghosts is the kind of project that likely wouldn't have flown while he was signed to Interscope.
Without Reznor's voice — he appears only in faint whispers — the project feels somewhat incomplete. But its clear his creative well still runs deep, and it's exciting to discover what will come next from this techno rebel.
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