Archives by Tag: With Teeth
NIN Oeuvre Blog: Only
Editor’s Note: This entry originally appeared on the blog Ten Thousand Lies on June 26, 2007.
It was at some point during the summer of 2005 that I asked my brother, the man responsible for introducing me to Nine Inch Nails in the first place, what he thought of the band’s new single, “Only.”
“It sounds like gay disco,” he told me.*
And you know what? He was right. I’ve come to think of it as something more like a gay square dance myself—try singing “Now bow to your partner! Now, do-si-do!” over the intro, and you’ll see what I mean—but the simple fact is that I agree with my brother. There’s something queer about “Only”. Where my brother and I part ways on this matter is in the fact that I see gay disco/square dance as a viable musical genre, and he does not.
“Only” is certainly the closest to a straight new-wave/dance song that Trent’s gotten since Pretty Hate Machine, and I, for one, welcomed the return when I first heard it. From the callback to “Down In It”—so that’s what happened after the tiniest little dot caught his eye—to the shouted chorus (which I imagined turning into two different narrative voices—Person A: “There is no you” and Person B: “There is only me”—in a remix I was envisioning after Trent released the GarageBand file to the song), there isn’t much I don’t like about “Only”. As I’ve stated before, I am huge fan of PHM-era NIN. But therein lies the problem with “Only.” I think this is a song that would be more at home on PHM than it is on the somewhat disjointed (although mostly satisfying) With Teeth.
Listen: I think my brother’s opinion of “Only” (and of “The Hand That Feeds,” which we wasn’t fond of either) is well-founded. There was something jarring about “THTF” and “Only” leading the charge for the new NIN after two albums worth of more sonically layered and lyrically deeper songs (The Downward Spiral and The Fragile). I think that, eventually, in looking back on the NIN catalog, “THTF” and “Only” may be viewed with same sense of scorn with which fans like my NIN-ouevreblogging colleague at This Machine is Obsolete view “Sanctified.” I can see a day when Trent refuses to play either track live—he’s certainly got enough other songs to play by this point—just as he appears to be patently against playing “Sanctified.” But I think that’ll be a shame, because both songs are good songs. They’re just songs out of time, and out of place.
* My brother had gay friends in high school, when that simply was not cool, and several of my best friends in college were gay. So please don’t get on me about this being a homophobic post. As Tom Cruise’s character in Jerry Maguire might say, if keeping a client depended on it, “I love gay people!” And that means I’m allowed to call things “gay.” Seriously. Go call PETA, and ask them. They’ll tell you so.
Or is that GLAAD you’re supposed to call? Damn, dude. I’m such a homo for not remembering.
NIN Oeuvre Blog: Every Day Is Exactly The Same
Editor’s Note: This entry originally appeared on the blog Ten Thousand Lies on June 8, 2007.
i believe i can see the future
because i repeat the same routine
i think i used to have a purpose
and then again that might have been a dream
“Every Day Is Exactly The Same” was the #1 song on the Billboard Modern Rock chart on the day that my daughter was born. When Kaylee asks what the #1 song was on the day she was born, which is bound to happen in our family, where discussions of such minutiae are commonplace, I will certainly not tell her that it was Ne-Yo’s “So Sick” (#1 on the Hot 100 that day), or James Blunt’s “You’re Beautiful” (#1 on the Top 40). No, I will definitely say that it was Nine Inch Nails. But talking about this song is always kind of awkward, because it’s a song that, from my perspective, is all about how meaningless life becomes when you settle down, or when you settle period (into a job, into a routine, et cetera). So I’ll tell her, and then I’ll ask her to pass the brocolli, hoping that we can not talk about what the song meant to me.
I’ve told many friends that With Teeth is not an album meant for the married with children subset of the NIN fanbase. Between “EDIETS” and “Right Where It Belongs” alone there is enough fodder to get the sad, insecure brain thinking very dark thoughts. And my brain is often sad, and almost always insecure.
i can feel their eyes are watching
in case i lose myself again
sometimes i think i’m happy here
sometimes i still pretend
i can’t remember how this all got started
but i can tell you - exactly - how it will end
Listen: It’s hard to listen to With Teeth all of the way through for a number of reasons. The most prominent of these is that it is an album of single songs, and not the kind of concept album (The Downward Spiral) or pseudo-concept album (The Fragile) that we’d become used to prior to its release. There are groups of two or three songs here and there which can be listened to back-to-back, but there’s always a filler song there to interrupt the flow ("The Collector” and “Sunspots” are the tracks that come immediately to mind). But the biggest reason that it’s hard for me to listen to it is because it seems to be suggesting to me that I am no longer meant to be listening to this, that I am too old, that I am too normal, that I have become the man, as it were, by becoming a husband and a parent, and that, therefore, I cannot understand (maybe the Fresh Prince was right about that one).
And that hurts, because this is my favorite band bar-none. And the idea that I am no longer fit to be part of the audience… that’s too much to bear.
Topics: Nine Inch Nails
Page 1 of 1 pages
