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Tag: nine inch nails

Lollapalooza 2013: Friday Recap


With Lollapalooza kicking off on Friday, my goal is to bring you the best possible coverage of the festival to help you get an impression of what it’s like to be there, and comment on some of the amazing slash not so amazing things I see. Traditionally in the past that means writing somewhat lengthy recaps of each day to describe all the action. Well, this year I’ve decided to do something a little different. I’m keeping the daily summaries very short, and will expand upon them at the end of the weekend with a lengthy final writeup. Basically, I’m taking my Twitter impressions and giving you a little bit (but not much) more. That said, here’s the bands I saw on Day 1, and my lightning quick thoughts on all of their sets.

San Cisco are a band with plenty of mediocre indie pop songs, but it’s sunny out & they’re fun, so who cares? A great way to start the festival (to a degree), and if everyone’s enjoying themselves, far be it from em to call this bad.

After a somewhat slow start to their set, Deap Vally really stepped it up and brought some great rock ‘n roll to their Lolla. Nice work, ladies. The duo crafts what basically amount to party and heavy drinking songs under the guise of a Black Keys/White Stripes garage rock/blues combo, and while early afternoon on a Friday isn’t exactly the best time for such debauchery, the crowd still seemed receptive to their charms.

Almost as if by prophecy, rain clouds rolled in and it began to drizzle in time for the start of Ghost B.C.‘s set. Thankfully for everyone in the crowd, it was only a brief, five minute light rain and the only precipitation that would hit Grant Park on Friday. In terms of the band though, they came out in their traditional black hooded robes and skeleton cardinal outfits and did some spectacular work moving beyond the mere theatrics of their performance and turning in a precise, enjoyable set of Swedish metal.

Jessie Ware‘s set was a fair amount of fun. Though her songs aren’t always the most energetic, her enthusiasm gave them a much needed boost. She was super friendly with the crowd, and in turn the crowd was super friendly to her. Smiles and light dancing abound, Ware charged through her debut album and certainly helped me to see it in a new light.

For the first time ever, I watched a full Crystal Castles set. Generally speaking, I had a blast. Alice Glass is hardcore. She came out on stage drinking straight from a bottle of Jameson and smoking a cigarette, then proceeded to crawl to the microphone like she could barely make it there. But she as usual, she wound up the focal point of the set, dancing and tossing a microphone stand around. Twice she attempted to crowd surf. The first time her microphone got detached and she has to abort the song and get back to the stage, but the second time she almost literally walked on top of people and kept singing at the same time. There was a big crowd and they loved every second of it. Even the cuts from their relatively weak third album sounded pretty good live.

Attempted to watch some of Imagine Dragons‘ set, but the crowd was so huge I could barely hear and certainly couldn’t see the band. So I left. I had a similar experience during M83 on the same stage at Lolla last year, but this time was even worse. Apparently the stage lost power after two songs and it took 10 minutes to restart it, but I was long gone by that time. It may as well have lost power from the very start, since I was so crushed into a spot so far away it was near impossible to hear anyways.

The Disclosure dance party at Lolla was absolutely one of the day’s highlights. Jessie Ware had to prep for her aftershow later that evening so couldn’t be there to do her vocals live for her guest track, but the duo just played back the recorded vocals from the record, along with those of AlunaGeorge and a host of other guests on their debut album. Though they were triggering those samples and some beats via laptop, they also tried their best to “perform” via some additional live drums and bass. It all worked pretty well, but I think nobody in the crowd really cared. All they wanted to do was dance.

New Order‘s Lolla set was almost exactly the same as the one I saw them do in Chicago a few months ago. Same backing videos, nearly the same stage banter, and the arrangements of their greatest hits hasn’t really changed either. As such, to me it was like watching a rerun of a TV show I love. It doesn’t take away from your love, you just know what’s coming and are probably only watching because there’s nothing better on. But for those that hadn’t seen New Order in awhile (or ever), this was a treat, and another dance party.

They should’ve put Chance the Rapper on a bigger stage at Lolla. The BMI stage was packed beyond packed for his set, and the crowd went so far back they spilled into some of the main walkways of Grant Park. Because the BMI stage is the smallest stage, you couldn’t see much unless you were really close. But the audio was crisp all the way back, and you could tell it was a strong performance simply by listening. Chance seemed overwhelmed by the crowd, and also equally appreciative. At the end of his set he tried to crowd surf to the back of the massive crowd while riding inside of an inflatable kiddie pool. He didn’t make it very far. Oh well.

Finally, it was a treat to see Nine Inch Nails again. Trent Reznor knows how to put on a live show better than anyone I can think of, and NIN’s headlining set was a feast for both the eyes and the ears. The interplay of shadows, the blinding columns of light, the fierce, attack dog way he tears apart every one of his songs with his band is nothing short of mindblowing. There were 3 songs off the band’s forthcoming record that were performed last night, and all sounded great. I was hoping for some off-kilter, reworked renditions of some popular NIN classics, but unfortunately only “Sanctified” got that treatment and nothing else. Still, “Closer,” “Head Like A Hole,” “Terrible Lie,” and all the others retain their power. It doesn’t feel like the band has been gone at all, though this was their first North American show in four years. Welcome back, Trent.

Album Review: Kanye West – Yeezus [Def Jam]



“How much do I not give a fuck? / Let me show you right now ‘fore you give it up.” These are the words Kanye West spits out in the bridge to the song “On Sight,” the opening track off his new record Yeezus. It’s likely he’s addressing the media when saying them, however it makes a grand statement about the album as a whole. After a few records of ever-evolving but always smartly constructed and commercially accessible hip hop, West has had enough. 2010’s My Beautiful Dark Twisted Fantasy was a crowning achievement of the highest order, enough to be called one of (if not THE) greatest records of the century. Crafting a follow-up certainly wouldn’t be easy, but in many ways West makes it look like child’s play. Those looking for challenging and obtuse in their hip hop will find it on this new album in spades, and though he’s purposely tried to avoid releasing any singles, it’s going to happen anyways since “Black Skinhead” has caught on.

Unlike the boisterous arrangements and orchestral flourishes that populated his last record, Yeezus goes for the stripped down, attack dog approach. West is angry at the world it seems, and though he throws out a lot of hate, he rarely threatens actual violence, which has largely been the case since the beginning of his career and has helped to separate him from his peers. Still, women don’t fare well on this record, particularly on the extremely sexual “I’m In It,” which includes lines like, “Put my fist in her like a civil rights sign,” and the cringe-worthy “Eatin’ Asian pussy, all I need was sweet and sour sauce.” The only real “redemption” (if you can call it that) for women comes on the final track “Bound 2,” which is rumored to be written about his relationship with Kim Kardashian. Elsewhere he chooses to go anti-corporate advertising with a track like “New Slaves,” slamming corporations and any famous people (especially other rappers) accepting goods in exchange for promotions and shout outs. Ironic then how closely his pal Jay-Z is working with Samsung for the release of his new album. Also unlike his last album, West keeps the guests to a minimum on Yeezus, and several tracks feature only his voice, though with a fair number of samples and “producers” working on them. Frank Ocean shows up for a few seconds on “New Slaves,” and Bon Iver’s Justin Vernon gets a couple of dramatic vocal workouts on “I Am A God,” “Hold My Liquor” and “I’m In It.” Though Kid Cudi shows up for a verse on “Guilt Trip,” the only other guests are up-and-coming Chicago rappers Chief Keef and King Louie, on “Hold My Liquor” and “Send It Up,” respectively. Everybody’s great, but West truly shines when he’s flying solo.

The divorce drama of “Blood on the Leaves” is the absolute greatest and most powerful piece on the entire album, buttressed by a Nina Simone vocal sample and a piece of TNGHT’s “R U Ready” that provide a profound mixture of sadness and venom. The acid-house squelch sample from Phuture’s 1987 classic “Acid Tracks” cut, which inspired a generation of rock bands from that era (Nine Inch Nails included) helps drive “On Sight” to an intense degree, and brings a certain synth element to this record that West has never attempted before. That sort of sound works well on a number of album tracks, but perhaps “I Am A God”‘s Blade Runner-esque haze with a Daft Punk production assist matches up best overall, somehow able to handle both a goofy eye-rolling moment like the line, “Hurry up with my damn croissants,” and the terrified, breathless screams that show up at the end. The only track that really breaks from the unified bare-bones production on this record is “Bound 2,” which smashes together The Ponderosa Twins’ “Bound” with Brenda Lee’s “Sweet Nothin’s” and Wee’s “Aeroplane (Reprise)” in a melody that sounds like t was ripped straight out of one of West’s first two albums.

Still, the generally minimalist (down to the cover art) and rock n’ roll-like approach he takes on much of Yeezus is new territory for him to explore, and something that feels informed at least in part by some of the incredible, anti-commercial anger that has earned Death Grips the right kind of attention over the last couple years. Hip hop in general could use more of this type of boundary exploration. In this particular case the strategy is likely West’s attempt to feed his own ego; to prove that no matter what he does or how much he alienates his own fans, he will still be praised as the greatest thing to ever happen in music. The worst part about it is, to some degree he’s right. Very few, if any, rap artists can claim to have such an acclaimed and lucrative career over a 10-year period. The same can be said about almost every musician outside of that genre too. You hate to give such a self-aggrandizing figure even more ammunition, but full credit where credit is due, Yeezus is another near-masterpiece.

Kanye West – Hold My Liquor (ft. Chief Keef and Justin Vernon)

Buy Yeezus from Amazon

EP Review: How to destroy angels_ – An omen_ [Columbia]



It seems like a much longer period of time, but it’s only been about 2.5 years since we last heard from How to destroy angels_. What has the band been doing in that gap? Well, Trent Reznor and Atticus Ross have been creating the soundtracks to The Social Network and The Girl With the Dragon Tattoo for starters. Progress with Htda has been slow to say the least, but at least there’s a good excuse as to why. Their 2010 self-titled debut EP wasn’t exactly a bold statement of originality, but there were some solid starting points that they could have worked from to build something fantastic and wholly worthwhile. What’s surprising about the new An omen_ EP is that they seem to have forgotten about that earlier material completely. You’re not going to turn this on and confuse it for another band, but subtle changes have been made to their approach that change your expectations for the project. Most specifically, they seem to be moving away from energetic songs with danceable rhythms that are ripe for remixing, and instead working with calm but very dark atmospherics that feel much more emotionally draining. For better comparison, the first EP was like Nine Inch Nails hit singles “The Hand That Feeds” or “Only,” while this new EP more crosses NIN’s Ghosts record and Reznor’s work with fellow Htda bandmate Atticus Ross on the soundtrack for The Social Network. So you’ll not get anything as fun as “Fur Lined” or The Knife-like as “BBB” appeared to be. The closest thing to a single An omen_ has is opening track “Keep it together,” which rolls past on a minimalist arrangement that’s one part skittering beat and another part bass vibration. The song title is the chorus hook, which gets chanted over and over by Mariqueen Maandig and Reznor until it sticks with you. Just because it’s the most memorable song on the EP doesn’t mean it’s the best though, because that honor goes to what immediately follows it – the seven minute “Ice Age.” The song takes this band to an entirely new place, but filters it so well most people won’t even notice. Peel the track down to solely the banjo and Maandig’s vocal, and you’ve got a very slight country song. With percussion, loops, static and electric guitar it becomes an ambient and precariously balanced musical thinkpiece that subtly challenges our preconceptions about this band and our expectations from Reznor.

By contrast, the rest of An omen_ falls into very familiar territory. “The sleep of reason produces monsters” and “The loop closes” are both primarily instrumental tracks, though Reznor does chant, “The beginning is the end and it keeps coming around again,” a bunch of times in the final 90 seconds of the latter song. Those words may remind NIN fans of the song “The Beginning of the End” from the Year Zero record. There is no direct correlation to it, but it serves as a good reminder of Reznor’s fixation on endings and beginnings. As he pushes his old band and previous work into the background and tries to start fresh, it’s nearly impossible to avoid looking back and making comparisons. This unending loop is both a help and a hindrance to How to destroy angels_, because unless they try something completely wild and unexpected, there’s a built in fan base both latching on and harshly judging at the same time. If you’ve been having trouble liking Reznor’s post-NIN work, this new EP isn’t going to win you over. Though they don’t sound too similar to one another, the two EPs Htda have put out so far share one common flaw: Maandig’s vocals. She doesn’t have a bad voice and can certainly hit all the notes as needed, but she falls short when it comes to injecting emotion into the songs. Most often she comes off like an actor that gets cast in the wrong role. These are dark, grimy and brooding arrangements, and her lilting voice has an innocence that doesn’t quite get to that same level. Reznor’s already proven himself in that regard, which is why his less frequent vocal work more often than not shows how great this band could be when firing on all cylinders. Since Reznor is married to her, Maandig isn’t likely to leave or get kicked out of the band, so it’s best just to accept her shortcomings and hope that with time she improves. The band’s debut full length set for 2013 would be a great place to start.

How to destroy angels – Keep it together

Buy the An omen_ EP from Amazon

Click past the jump to stream the entire EP!

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EP Review: How to Destroy Angels – How to Destroy Angels [Null/Self-Released]

Last fall, Trent Reznor bid goodbye to the touring version of Nine Inch Nails. He also got married to West Indian Girl singer Mariqueen Maandig and said he wanted to take some time away from making music. Reznor promised that when he did return to music he’d be doing so under a different name, as he was looking to explore some new ideas and concepts that wouldn’t ordinarily fit underneath the NIN umbrella. We already saw him dabbling with instrumental work when he released the “Ghosts Vol. I-IV” album in early 2008, which he described at the time as a “soundtrack to daydreams”. Compared to the industrial rock NIN had become known for, that was definitely a change of pace, and something Reznor has indicated he might do again sometime in the near future. In the meantime though, this past April it was announced that Reznor’s new project would be called How to Destroy Angels, and he’d be working on it with his new wife Mariqueen and his old friend Atticus Ross. Days after that announcement, the first song from HTDA appeared online with the promise of a 6-song EP to be released this summer. It’s been under 2 months since then, and things are speeding along much faster than most anyone expected. The self-titled EP was released digitally this week in the form of a high quality mp3 download made available to everyone for absolutely free. You also have the option of paying $2 and getting the EP in an HD format, which includes lossless audio versions of all the songs plus the music video for “The Space in Between” in 1080p and 480p. A physical CD version of the EP will be released on July 6th and a vinyl version is currently TBA.

At first glance, the “How to Destroy Angels” EP is exactly what you might expect from Trent Reznor. The guy has long specialized in making moody and atmospheric music, and things haven’t changed just because he’s got a new band. The comparisons to his work in NIN will be many, and that’s completely understandable given he’s done very little to dispel that notion, even admitting as much in a Q & A session. Granted, you’re probably not going to get any fast-paced and relentlessly loud songs like “Mr. Self Destruct” from How to Destroy Angels, but a number of the slower, more run down NIN songs provide a much more fitting basis for side-by-side analysis. Heavy drum machines, skittering and buzzing electronics, mixed with some rumbling electric guitar mark the foundations for many of the songs, and it’d only make sense Reznor would use them given these are all tools in his studio and he’s more than aquainted with how to use them. But listen to opening track and first single “The Space in Between” and try not to recall memories of “Hurt” or “Me, I’m Not”. A song like “Fur Lined” might as well be an easy reworking of “Only”, while “BBB” has it’s sonic match with “A Violet Fluid”. “The Believers” bears an eerie reminiscence to “Eraser”, among other things. By now you get the point. Instrumentally speaking, there’s familiar markers everywhere for NIN fans. There’s only one thing missing, and that’s Reznor behind the microphone.

Given that West Indian Girl wasn’t a very popular band, even among indie standards, chances are this is many people’s first introduction to Mariqueen Maandig. In addition to looking really good, Maandig definitely does have some vocal chops, though they’re not quite on full display across this HTDA EP. On most tracks, she maintains an even-tempered and calm demeanor, but it’s the music that surrounds her vocals pushing the suggestion that there’s something sinister lurking underneath. While it is somewhat tragic that Reznor’s only vocals are backing up his wife on a couple tracks, Maandig brings more depth and range to these songs than her husband would have, and that’s a key difference between this new band and Nine Inch Nails. Were this a NIN record, chances are there’d be a fair amount of Reznor’s trademark yell. The lyrics are angry, and the instrumentals are morbid, so it makes perfect sense to express that outrage with some loud vocals. Maandig’s resistance to that gives these songs a subtle beauty that forces you to work at uncovering the emotions rather than hearing them plainly laid out in front of you by an angry voice. The music video for “The Space in Between” echoes this sentiment quite well, with Reznor and Maandig both bloodied on a bedroom floor while a fire rages around them. Maandig barely moves her lips to get the lyrics out of her mouth as the look of hopelessness is all over her face. The world around her is crumbling, and she’s just lying there watching it all go to waste. That’s the secret weapon How to Destroy Angels are able to employ, and it works out in their favor more often than not.

The most important thing to remember about the “How to Destroy Angels” EP is that it’s a new beginning for a man who’s already given 20+ years of his life to music. To expect him to do something completely different from NIN, like moving into indie pop or alt-country, would be like asking a leopard to change his spots. Sure, Trent Reznor has made his reputation and living off of his own misery, but now that he’s married and much happier, that doesn’t mean the world’s problems just go away. And aside from that, if you’re the highest profile member of a new group, alienating a fan base of your old NIN fans probably isn’t the smartest move. So Reznor knows where the sweet spot is at and makes sure to pay appropriate attention to it. The good news is that while this EP may be a great introduction to How to Destroy Angels, by no means does it have to dictate where the band will go from here. Their sound is ever-evolving, and what sounds like NIN one day may sound like something completely different the next. Think of this FREE EP as a method of feeling things out and seeing where all the chips rest. Now that there’s a lay of the land, HTDA can determine the best path to take en route to their first full-length album. This might not be the best or most impressive start for this band, but it shows significant promise for the future, and a world in which Trent Reznor continues to make excellent music even when he doesn’t have a microphone in front of him.

Download the “How to Destroy Angels” EP for free, or pay $2 for the HD package

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