Events Calendar
In This Section
Most Read Stories
Unusual sports bar to be sold at auction
Motorcyclist killed, wife injured in Stark County crash
Family found dead in Ohio home
Man says he was punched, robbed by 3 people in parking lot
Man gets 3 years in prison for having sex with horse
Bank helps more save their homes
Kosar would be wrong call as GM
Circle K on Brown Street robbed
Blogs:
Pets:
Cats are trainable — and that's not a punchline
The Heldenfiles:
Monday Notebook
Patrick McManamon:
Time for Kokinis, Browns to agree and part ways
Akron Zips:
Zips tip off tomorrow
Tribe Matters:
Indians announce spring dates
Cleveland Browns:
Mangini doesn't name a quarterback
Kent State Sports:
KSU Notes – November 9
Cleveland Cavaliers:
Shaq: It’s All About Winning Championships
Buckeye Blogging:
Weekly ‘B’ Deck Report – New Mexico St.
Varsity Letters:
Walsh Jesuit’s Caponi commits to Duquesne
All Da King's Men:
If It Looks Like Islamic Terrorism…
Blog of Mass Destruction:
Dems Message To Women: Don't Enjoy The Sex
Akron Law Café:
Abortion Analogies
See Jane Style:
Muffle Your Muffler
Car Chase:
Clock Tender- Extending the Life of Collector Car Clocks
Let's Talk Real Estate:
Rumors: Akron Starbucks Closing
Ohio Travels with Betty:
Jack is looking for a trip to Southern Ohio the week of November 16.
Sound Check:
The Black Keys to perform benefit concert at Musica on November 27
HRLite House:
Personal Rant – Why People Do Not Live in Northeast Ohio
Akron Gamer:
New 'Call of Duty' could set entertainment record
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.
Comments
Click here to post your comments
