Red Mosquito

Will grab tonight.

I really like the first half. Its very good, very upbeat...Copy A is one of my favorites.

I still need to pay more attention the the other half.

2nd half is something

Full album streaming on itunes

This is infinitely more interesting than The Slip.

Various Methods Of Escape is a beaut.

It is. I'm enjoying All Time Low more the second time around. That was my first WTF moment. I don't really love it when NIN goes hiphop.

That angular guitar interlude on 'Running' is a little bit King of Limbs to my taste, but it's a good song.

Its a pretty good record...i love the first half and the second is very interesting. The beats here are better than most of the stuff that sound in pop music nowadays...

zeb wrote:Various Methods Of Escape is a beaut.

yes, its amazing.

The second half is slow-burning but has lots of rewards. The album gets more PHM as it goes. Lots of more downbeat depressica later on (I made that word up, quite like it, might use it again).

'I Would For You' and 'In Two' are great.

harmless wrote:The second half is slow-burning but has lots of rewards. The album gets more PHM as it goes. Lots of more downbeat depressica later on (I made that word up, quite like it, might use it again).

Its a great way to describe the latter half.

This album sounds amazing...all the guitars, beats, voices...he is a great producer.

Another slight complaint is that he does tend to rehash verse patterns vocally. The verse in 'While I'm Still Here' sounds very similar to 'Find My Way' in its rhythm. But having said that (and don't shoot me hardcore NIN fans) I've never felt that Trent had a great voice, or a great knowledge of melody; and the reasons he does this seemed to be bigger. I felt that his real genius lay in orchestration and arrangement. So maybe it's logical that some of the vocal ideas and melodies seem a little rehashed now, and the real treats are found in the musical production. That's his passion; I sort of get the feeling (again, don't shoot me) that the vocals are really only there to serve the music, and you can't define a NIN song by them, particularly late NIN. The closest song we get to an antithesis of that here, is Copy of A and possibly Everything, which are both catchy as hell vocally.

http://reflectinginthechrome.com/shows/ ... rsals.html

Rehearsal tracks, much like what was leaked before the last tour. Sound great so far, though to say I'm 'disappointed' in "Disappointed" is a waste of a pun.

harmless wrote:Another slight complaint is that he does tend to rehash verse patterns vocally. The verse in 'While I'm Still Here' sounds very similar to 'Find My Way' in its rhythm. But having said that (and don't shoot me hardcore NIN fans) I've never felt that Trent had a great voice, or a great knowledge of melody; and the reasons he does this seemed to be bigger. I felt that his real genius lay in orchestration and arrangement. So maybe it's logical that some of the vocal ideas and melodies seem a little rehashed now, and the real treats are found in the musical production. That's his passion; I sort of get the feeling (again, don't shoot me) that the vocals are really only there to serve the music, and you can't define a NIN song by them, particularly late NIN. The closest song we get to an antithesis of that here, is Copy of A and possibly Everything, which are both catchy as hell vocally.

Yes! i thought the same today while listening to HM. Im a big fan of his output, and its clear his vocals are the weak point in his recent output. It might worked well in those 3 first albums, but right now feels he is repeating his tone and the way he sings. And i agree with Copy A ( my favorite so far) and Everything.

Maybe that´s why HTDA sounded fresh at first.

VinylGuy wrote:

harmless wrote:Another slight complaint is that he does tend to rehash verse patterns vocally. The verse in 'While I'm Still Here' sounds very similar to 'Find My Way' in its rhythm. But having said that (and don't shoot me hardcore NIN fans) I've never felt that Trent had a great voice, or a great knowledge of melody; and the reasons he does this seemed to be bigger. I felt that his real genius lay in orchestration and arrangement. So maybe it's logical that some of the vocal ideas and melodies seem a little rehashed now, and the real treats are found in the musical production. That's his passion; I sort of get the feeling (again, don't shoot me) that the vocals are really only there to serve the music, and you can't define a NIN song by them, particularly late NIN. The closest song we get to an antithesis of that here, is Copy of A and possibly Everything, which are both catchy as hell vocally.

Yes! i thought the same today while listening to HM. Im a big fan of his output, and its clear his vocals are the weak point in his recent output. It might worked well in those 3 first albums, but right now feels he is repeating his tone and the way he sings. And i agree with Copy A ( my favorite so far) and Everything.

Maybe that´s why HTDA sounded fresh at first.

I'm wondering how much influence his wife (it was his wife right?) had on the melodies. Still, I don't think melody is NIN's strong suit anyway. He got it perfectly right in The Fragile ('We're in This Together Now') and possibly other places I can't name, but otherwise I think NIN's talent is atonality. Some of the things he puts together which technically don't "go"... but sound evil because of it. Obviously late NIN isn't so interested in evil, but some of the latter tracks of this album sound as nasty as he gets now. Lots of harsh synthesizers and notes clashing and stuff. That feels like NIN.

harmless wrote:

VinylGuy wrote:

harmless wrote:Another slight complaint is that he does tend to rehash verse patterns vocally. The verse in 'While I'm Still Here' sounds very similar to 'Find My Way' in its rhythm. But having said that (and don't shoot me hardcore NIN fans) I've never felt that Trent had a great voice, or a great knowledge of melody; and the reasons he does this seemed to be bigger. I felt that his real genius lay in orchestration and arrangement. So maybe it's logical that some of the vocal ideas and melodies seem a little rehashed now, and the real treats are found in the musical production. That's his passion; I sort of get the feeling (again, don't shoot me) that the vocals are really only there to serve the music, and you can't define a NIN song by them, particularly late NIN. The closest song we get to an antithesis of that here, is Copy of A and possibly Everything, which are both catchy as hell vocally.

Yes! i thought the same today while listening to HM. Im a big fan of his output, and its clear his vocals are the weak point in his recent output. It might worked well in those 3 first albums, but right now feels he is repeating his tone and the way he sings. And i agree with Copy A ( my favorite so far) and Everything.

Maybe that´s why HTDA sounded fresh at first.

I'm wondering how much influence his wife (it was his wife right?) had on the melodies. Still, I don't think melody is NIN's strong suit anyway. He got it perfectly right in The Fragile ('We're in This Together Now') and possibly other places I can't name, but otherwise I think NIN's talent is atonality. Some of the things he puts together which technically don't "go"... but sound evil because of it. Obviously late NIN isn't so interested in evil, but some of the latter tracks of this album sound as nasty as he gets now. Lots of harsh synthesizers and notes clashing and stuff. That feels like NIN.

Yeah and those guitars...those distorted guitars that come and go in waves...they are such a big characteristic of late NIN.
Her wife influencing him with vocal melodies? Maybe. Everything starts off weird...could be.

VinylGuy wrote:

harmless wrote:

VinylGuy wrote:

harmless wrote:Another slight complaint is that he does tend to rehash verse patterns vocally. The verse in 'While I'm Still Here' sounds very similar to 'Find My Way' in its rhythm. But having said that (and don't shoot me hardcore NIN fans) I've never felt that Trent had a great voice, or a great knowledge of melody; and the reasons he does this seemed to be bigger. I felt that his real genius lay in orchestration and arrangement. So maybe it's logical that some of the vocal ideas and melodies seem a little rehashed now, and the real treats are found in the musical production. That's his passion; I sort of get the feeling (again, don't shoot me) that the vocals are really only there to serve the music, and you can't define a NIN song by them, particularly late NIN. The closest song we get to an antithesis of that here, is Copy of A and possibly Everything, which are both catchy as hell vocally.

Yes! i thought the same today while listening to HM. Im a big fan of his output, and its clear his vocals are the weak point in his recent output. It might worked well in those 3 first albums, but right now feels he is repeating his tone and the way he sings. And i agree with Copy A ( my favorite so far) and Everything.

Maybe that´s why HTDA sounded fresh at first.

I'm wondering how much influence his wife (it was his wife right?) had on the melodies. Still, I don't think melody is NIN's strong suit anyway. He got it perfectly right in The Fragile ('We're in This Together Now') and possibly other places I can't name, but otherwise I think NIN's talent is atonality. Some of the things he puts together which technically don't "go"... but sound evil because of it. Obviously late NIN isn't so interested in evil, but some of the latter tracks of this album sound as nasty as he gets now. Lots of harsh synthesizers and notes clashing and stuff. That feels like NIN.

Yeah and those guitars...those distorted guitars that come and go in waves...they are such a big characteristic of late NIN.
Her wife influencing him with vocal melodies? Maybe. Everything starts off weird...could be.

Sorry, I meant on HTDA specifically (which was more melodic, wasn't it?). But yeah, the guitars. Lots of cutting in and out, and I have a guitarist friend who doesn't like that about late NIN actually; he wishes they were just balls-out rock songs. Also that the guitars were less buried in the mix. They're sort of part of the general texture now, which I'm fine with as a rhythm guy. But there aren't those vicious walls of distortion anymore really.

harmless wrote:

VinylGuy wrote:

harmless wrote:

VinylGuy wrote:

harmless wrote:Another slight complaint is that he does tend to rehash verse patterns vocally. The verse in 'While I'm Still Here' sounds very similar to 'Find My Way' in its rhythm. But having said that (and don't shoot me hardcore NIN fans) I've never felt that Trent had a great voice, or a great knowledge of melody; and the reasons he does this seemed to be bigger. I felt that his real genius lay in orchestration and arrangement. So maybe it's logical that some of the vocal ideas and melodies seem a little rehashed now, and the real treats are found in the musical production. That's his passion; I sort of get the feeling (again, don't shoot me) that the vocals are really only there to serve the music, and you can't define a NIN song by them, particularly late NIN. The closest song we get to an antithesis of that here, is Copy of A and possibly Everything, which are both catchy as hell vocally.

Yes! i thought the same today while listening to HM. Im a big fan of his output, and its clear his vocals are the weak point in his recent output. It might worked well in those 3 first albums, but right now feels he is repeating his tone and the way he sings. And i agree with Copy A ( my favorite so far) and Everything.

Maybe that´s why HTDA sounded fresh at first.

I'm wondering how much influence his wife (it was his wife right?) had on the melodies. Still, I don't think melody is NIN's strong suit anyway. He got it perfectly right in The Fragile ('We're in This Together Now') and possibly other places I can't name, but otherwise I think NIN's talent is atonality. Some of the things he puts together which technically don't "go"... but sound evil because of it. Obviously late NIN isn't so interested in evil, but some of the latter tracks of this album sound as nasty as he gets now. Lots of harsh synthesizers and notes clashing and stuff. That feels like NIN.

Yeah and those guitars...those distorted guitars that come and go in waves...they are such a big characteristic of late NIN.
Her wife influencing him with vocal melodies? Maybe. Everything starts off weird...could be.

Sorry, I meant on HTDA specifically (which was more melodic, wasn't it?). But yeah, the guitars. Lots of cutting in and out, and I have a guitarist friend who doesn't like that about late NIN actually; he wishes they were just balls-out rock songs. Also that the guitars were less buried in the mix. They're sort of part of the general texture now, which I'm fine with as a rhythm guy. But there aren't those vicious walls of distortion anymore really.

I like that...i felt he needed to change after a record like With Teeth. I think its been a while since NIN made "industrial" music or whatever it was called those days.
With The Fragile he entered into something more interesting and every time he comes back to "RNR" its through that lens i guess.
Its weird because i consider him one of the geniuses from the 90s, and he still makes the same kind of music. Sort of.

Harmless, which is your favorite NIN song?

VinylGuy wrote:

harmless wrote:

VinylGuy wrote:

harmless wrote:

VinylGuy wrote:

harmless wrote:Another slight complaint is that he does tend to rehash verse patterns vocally. The verse in 'While I'm Still Here' sounds very similar to 'Find My Way' in its rhythm. But having said that (and don't shoot me hardcore NIN fans) I've never felt that Trent had a great voice, or a great knowledge of melody; and the reasons he does this seemed to be bigger. I felt that his real genius lay in orchestration and arrangement. So maybe it's logical that some of the vocal ideas and melodies seem a little rehashed now, and the real treats are found in the musical production. That's his passion; I sort of get the feeling (again, don't shoot me) that the vocals are really only there to serve the music, and you can't define a NIN song by them, particularly late NIN. The closest song we get to an antithesis of that here, is Copy of A and possibly Everything, which are both catchy as hell vocally.

Yes! i thought the same today while listening to HM. Im a big fan of his output, and its clear his vocals are the weak point in his recent output. It might worked well in those 3 first albums, but right now feels he is repeating his tone and the way he sings. And i agree with Copy A ( my favorite so far) and Everything.

Maybe that´s why HTDA sounded fresh at first.

I'm wondering how much influence his wife (it was his wife right?) had on the melodies. Still, I don't think melody is NIN's strong suit anyway. He got it perfectly right in The Fragile ('We're in This Together Now') and possibly other places I can't name, but otherwise I think NIN's talent is atonality. Some of the things he puts together which technically don't "go"... but sound evil because of it. Obviously late NIN isn't so interested in evil, but some of the latter tracks of this album sound as nasty as he gets now. Lots of harsh synthesizers and notes clashing and stuff. That feels like NIN.

Yeah and those guitars...those distorted guitars that come and go in waves...they are such a big characteristic of late NIN.
Her wife influencing him with vocal melodies? Maybe. Everything starts off weird...could be.

Sorry, I meant on HTDA specifically (which was more melodic, wasn't it?). But yeah, the guitars. Lots of cutting in and out, and I have a guitarist friend who doesn't like that about late NIN actually; he wishes they were just balls-out rock songs. Also that the guitars were less buried in the mix. They're sort of part of the general texture now, which I'm fine with as a rhythm guy. But there aren't those vicious walls of distortion anymore really.

I like that...i felt he needed to change after a record like With Teeth. I think its been a while since NIN made "industrial" music or whatever it was called those days.
With The Fragile he entered into something more interesting and every time he comes back to "RNR" its through that lens i guess.
Its weird because i consider him one of the geniuses from the 90s, and he still makes the same kind of music. Sort of.

Harmless, which is your favorite NIN song?

I'm not entirely sure, there are a lot of them I love, but most of them are on The Fragile. That's the first album I bought and loved. Off the top of my head it's the aforementioned 'We're In This Together.' Structurally I remember thinking it was like a much harsher PJ... with that nasty intro rising into a slightly more catchy but still heavy rock song. I also like 'Somewhat Damaged.' But yeah, it depends on whether I'm in a more industrial mood, in which case I'll go for something off PHM, TDS or... well, this album. I like some of the pop influence of With Teeth ('Sunspots' is so witty but also great, like a stripping song).