It's been ages folks, but we're back with more music and show reviews for your reading pleasure. A little late to the bandwagon, surely, but as a welcome back to everyone, today's Music Review will be on Peter Murphy's second single off of Lion, "I Am My Own Name."
Peter Murphy, 2014.
Murphy approaches Lion from an interesting standpoint - it will be his tenth album (ninth studio), the follow-up to his successful rock monster Ninth (his prior work has categorically fit under pop rock where Ninth became his first solo album to firmly grasp the rock field and take it by force), and an album born mostly during a time where the singer revisited the vast catalog of his original band, British post-punk act Bauhaus.
"I Am My Own Name" is a healthy dose of everything you expected given the above (a very gutsy, complicated mesh of emotion and freedom), and yet Murphy surprises the listener by throwing in something utterly new and foreign - synthesizers in a Numan meets Reznor-esque produced dance track for the dispossessed.
The song opens with moody electric violin work from current bass guitarist and violinist, Emilio "Zef Noise" China. In a style that classically eludes to the Middle East (which Murphy, who has called Turkey home for the last roughly 20 years, has done on nearly every album, both subtly and dramatically), this soft introduction begs the question of "What is he doing? What does Murphy got up his sleeve?"
The vocals then kick in, smooth at first, but then with an edge, a harsh scream as Murphy declares that he is "[his] own name." The song then gains in tempo, guitars and drums starting as Murphy tells his story of who he is and is not, merely to say that he is his own name, for what that may or may not mean.
"I Am My Own Name" lyrically appears to focus on some of the recent naysayers who have criticized Muphy both professionally and personally. Some such lyrics include at the beginning "No thin Pixie/white and drawn/no shaded shadow...no jaded shock star..." (Apologies for any errors in the lyrics as they've not been published and this is a best guess) The first part about not being a pixie could be a reference back to the Bauhaus song "Crowds" which has the line "A slim Pixie, thin and forlorn," suggesting that he may not be so innocent and gullible, in a sense, as he was when younger and also not depressed as many have been led to think (also in line with the upbeat tone of the music). "No shaded shadow" to perhaps mean he is no longer going to "hide in the shadows" and not do certain things because it is frowned upon, and not a jaded shock star as there is more value in his work than just going for the easy shock that many stars today try for.
Whether these interpretations hold any merit is, of course, unclear. However, Murphy takes us down an interesting journey with this song, proving once more that he can do something incredibly different, yet still make it his own without alienating the listener. One thing is for certain with this song - if it is performed live and no one is moved by it, either physically or emotionally, nothing will move them.
Lion, produced by Killing Joke's Youth, roars to life June 3rd. Murphy kicks off his North American tour to support Lion June 9th in New York and will visit Austin July 29th at The Belmont (regular and VIP tickets on sale now). Finally, Murphy is in the middle of a Pledge Music campaign to fund the release of a live DVD from the Mr. Moonlight Tour. Check it out here and support today!
Tuesday (November 5, 2013) saw the return of pioneering industrial rock band Nine Inch Nails to Texas for their 2013 Tension Tour in support of the new album, Hesitation Marks.
Nine Inch Nails during the 2013 Tension Tour. Photo credit to Rob Sheridan (image from nin.com)
The show took place in San Antonio at the AT&T Center to a very packed audience. Down in the pit before the fun began, everyone chattered on about the songs they loved most and hoped to see and there was a good mix of NIN veterans seeing the band yet again and newcomers at their first show, all eager and excited.
Tension 2013 comes as the first big tour for Nine Inch Nails since 2009's Wave Goodbye Tour, which at the time was dubbed by founder, creative writer/producer, and frontman Trent Reznor as the end of Nine Inch Nails, at least from a touring perspective (full details of the band's history and an overview of Hesitation Marks can be found here).
The night began with opening act Explosions in the Sky, a post-rock band from Austin, Texas, formed in 1999 that have played previously with Nine Inch Nails. The group delivered a strong set of instrumental "mini symphonies" packed with power and emotion, proving that vocals aren't a requirement for great music. The crowd seemed a little hesitant at first to get into the group's music, but after the first couple songs, everyone was engaged and bopping their heads along. Albeit a bit different of a choice for an opening act, Explosions in the Sky delivered the kind of performance you hope for from an opener and far exceeded expectations by pushing the envelope.
After Explosions in the Sky, Nine Inch Nails hit the stage with current live line-up featuring Trent Reznor (vocals, guitar, keyboard), Robin Finck (guitar and some keyboards), Alessandro Cortini (keyboards), Ilan Rubin (drums), Josh Eustis (keyboards, I believe), Pino Palladino (bass guitar), Lisa Fischer (backing vocals), and Sharlotte Gibson (backing vocals).
Trent Reznor. Photo taken by me.
The night began with the third single off of Hesitation Marks, "Copy Of A," which immediately drew the crowd in very close. Afterwards, the group launched into several older songs, mostly from 1989's Pretty Hate Machine and 1994's The Downward Spiral, which were met with a very raw energy from the crowd and loud singing along. The set also featured a healthy amount of the new album and mixed in several other big Nine Inch Nails hits from recent albums, including "The Hand That Feeds" (from 2005's With Teeth) and "Survivalism" (from 2007's Year Zero).
Perhaps the major highlight of the night for fans came during the encore with the live debut of "All the Love in the World" (also from With Teeth), which was met again with a fervent crowd. The instrumental ending note of Hesitation Marks, "Black Noise," was much drawn out and done extremely well in its array of layers and noises. The night ended with the classic track from The Downward Spiral, "Hurt."
Trent Reznor again, at the end during "Hurt." Photo taken by me.
Overall, Reznor still puts on a show with high intensity and flawless vocal performance. The members of his band, most of which are long time touring musicians for NIN, also deliver a strong performance full of raw energy and passion. Having Lisa Fischer and Sharlotte Gibson on backing vocals provided an immensely pleasurable and almost surreal experience that made the show that much greater. And, as is typical of any NIN show, the lighting displays used throughout the show added that extra element of greatness. This was a great show and a shame for anyone to have missed.
The Tension 2013 Tour is wrapping up its North America stint by the middle of November, but if you're near a city where they're playing and tickets are available, you should most definitely go. Don't miss this opportunity to see an engaging and exciting performance. Nine Inch Nails stop in El Paso, Texas, on Monday (November 11, 2013) to play the Don Haskins Center.
Complete Setlist:
I wasn't lucky enough to get a setlist, but here's a picture of the one that was on stage. The songs listed below were the ones actually played.
Copy Of A
Sanctified
Terrible Lie
March of the Pigs
Piggy
All Time Low
Disappointed
Came Back Haunted
Find My Way
Into the Void
The Frail
The Wretched
Echoplex
In Two
Survivalism
Running
A Warm Place
Somewhat Damaged
Wish
The Hand That Feeds
Head Like a Hole
ENCORE
All the Love in the World
Even Deeper
While I'm Still Here
Black Noise
Hurt
Author's Note: Nine Inch Nails on their last tour was actually the first show I had ever been to. I was blown away by the show but my only regret was that if this were to be the end of NIN, I had seen them from way up in the nosebleed section. It was then that I determined I would get tickets early to shows and arrive as early as I could for great spots. When NIN announced this tour, I quickly got my GA ticket through the nin.com pre-sale, and made the drive down from Austin to San Antonio. It was worth every penny and then some. The emotional rush I felt as NIN closed with "Hurt" was beautiful and a moment that shows just how much music can touch a person's life (though that song is fairly dark). Support your favorite bands - go see them, buy their merch, and buy the music.
Today's long awaited Music Review will be over the newest album from new wave/synthpop/electronic musician Gary Numan, 2013's Splinter (Songs From a Broken Mind).
Cover art for 2013's Splinter (Songs From a Broken Mind)
Gary Numan is perhaps best known for his work over the years in pioneering electronic, and to some extent, industrial music. His more recent albums have taken on a darker, heavier tone, but instead of being a one-trick pony, Numan constantly improves upon his style, bringing something new each time around. Splinter (Songs From a Broken Mind) sees Numan once again setting the bar high, and even far exceeding expectations with an album that may come (dare I even say it) in time to be his biggest yet (it certainly is already his best in more recent years, though not to say the other newer albums have been terrible).
Splinter (Songs From a Broken Mind) is Numan's first album since 2011's Dead Son Rising (though most of the songs were from old demos from prior records, so some people consider 2006's Jagged to be Numan's prior album of new material). While this new work was not immediate in release, it perhaps speaks to so much of what has kept Numan preoccupied in the interim. Regardless of whether or not the album is an introspective look at Numan's life these last few years (which has included very personal struggles emotionally, health concerns especially with his wife more recently, and the challenges of becoming a parent three times over, among others), the album exudes the feelings of what remains after the mind breaks, the splinters and shards that one tries to put back together to create some semblance of reality and even the desire to go back in time and prevent this shattering from happening in the first place.
Gary Numan signing lithographs to be sold with bundles for the new album. He took this photo and posted it up on his official Facebook page.
This album melds much of the signature electronic sound Numan has been known for over the years. Fans of his early work with the Tubeway Army will be able to recognize a distant similarity between those songs and Splinter, though some digging through the layers is necessary. Others will quickly find a close similarity between Splinter and much of Trent Reznor's work with Nine Inch Nails (a band Numan has revealed to be one of his major, recent influences that has helped contribute to the darker sound his last few albums have included).
Stand out songs on this album include the heavy synth number (where you can feel some of that old Tubeway Army style come forward) "Everything Comes Down to This," the first single off the album "I Am Dust," the softer ballad-like "Lost" that proves the turning point in the album and speaks to the title of the album, and the insanely catchy synth/industrial song "Love Hurt Bleed."
Numan is currently touring lightly in the US, opening for Nine Inch Nails in Florida at the end of the month, before heading off to Europe for some additional dates. Hopefully this is just the beginning of a major tour to support this new album as it is surely a treat to see Numan in action on a stage. If you happen to be near a stop on the current tour, you should definitely check it out.
Today's Music Review is of the newest offering from industrial rock outfit Nine Inch Nails, 2013's Hesitation Marks.
Album cover for Hesitation Marks
Nine Inch Nails originally formed in 1988 in Cleveland, Ohio, by frontman and only consistent member of the outfit Trent Reznor. Since the group's conception, Reznor has maintained sole responsibility for the band's direction, writing the majority of the music and lyrics, playing most instruments for recordings, and being a main producer of each album itself. The first album, 1989's Pretty Hate Machine, did not fair too well on record charts but in time became one of the first independently released albums to achieve platinum certification (meaning over 1,000,000 copies have been sold of the album since its release). In 1990, Nine Inch Nails began touring and opening for acts like The Jesus and Mary Chain and Peter Murphy (who would go on to become good friends with Reznor and collaborate with him on covers of both Bauhaus and Nine Inch Nails material).
Trent Reznor (left) and Peter Murphy (right), probably around 2006 when Bauhaus was opening for Nine Inch Nails. Photo from Last.fm
Following touring to support the debut album, pressure mounted on Reznor to produce a follow-up album. However, Reznor was having a hard time coming to terms with the label Nine Inch Nails was on at the time, wanting the band's contract to be terminated. Ultimately, Nine Inch Nails was allowed to switch to a different label, but all new material Reznor had been working on had to be recorded under various pseudonyms to avoid the original label from confiscating the material. In the end, the material recorded in this shaky period was released as 1992's EP, Broken.
Broken, despite being only an EP with six songs, was a major success for the group. The album charted in the top 10 and won the group two Grammy awards (one for a live performance of "Happiness in Slavery" from Woodstock 1994 and the second for the album's second single, "Wish"). Despite the successes of Broken and some reworked material on the follow-up EP (released later in 1992, Fixed), Reznor did not take Nine Inch Nails on tour for this material. Instead, he holed up and began writing new material for the next full length album.
1994 saw the release of what many regard as the best Nine Inch Nails album, The Downward Spiral. The album debuted at number 2 on the charts and remains the highest selling album of the band's tenure, having sold more than five million copies worldwide since its release. Despite the album's overwhelming success, none of its singles fared well, with "Closer" being the highest ranking at a rather mediocre 41 on Billboard's Hot 100 chart (the video is below, but be warned, even the director's cut version can be offensive to some people). The album does include the more introspective and, comparably to the rest of the album, mellow "Hurt" which has gone on to be covered by a slew of musicians, including Johnny Cash and Peter Murphy.
It would be five years until the next Nine Inch Nails release, 1999's double album The Fragile. The album garnered much media attention in the year leading up to its release and debuted at number one on the charts. Despite the high debut and media frenzy leading up to its release, the album received mixed reviews and fell out of the charts over the next week, at the time setting a record for dropping from number one to nothing the fastest (a record that has since been broken). Subsequent touring to support the album was funded purely by Reznor. Various remixes of songs from the album would be released over the next year, mostly to poor reviews.
2005 saw the release of the next big album for Nine Inch Nails, With Teeth. The album also debuted at number one on Billboard's charts. Most reviews were positive for the album, praising it as a return to the original Nine Inch Nails sound. Some reviews knocked it, feeling Reznor had run out of ideas and was repeating what he had done before in an effort to just make some money. All three singles from the album ("The Hand That Feeds," Only," and "Every Day is Exactly the Same") would top Billboard's Alternative Songs chart. To wrap up touring for the album, Nine Inch Nails performed at several festivals and amphitheaters in 2006, notably with one of Reznor's major influencing bands, Bauhaus, as openers (and as a fun factoid, this stint of touring would be the last for Bauhaus before their final split).
2007 saw the release of Year Zero, an album that marked a change in the slow release schedule of the prior albums and one that was a concept album aiming to criticize the United States government and policies in place at the time and what their effect would be in the next fifteen years. Overall, the album received largely positive reviews and would spurn a remixed version of the album. The remixed album would fulfill the contractual obligations of the band to Interscope Records, a contract that would not be renewed.
In 2008, messages on Reznor's website appeared and simply stated "2 weeks." There was some speculation of a new album, but the thought of a new album seemed equally silly as Year Zero had just been released. In March 2008, however, two weeks after the message appeared, Ghosts I-IV was released, a 36 track instrumental saga that could be downloaded for free (in part) or purchased on various media formats. The album is licensed under Creative Commons Attribution Non-Commercial Share Alike (basically, people can freely share this album as long as they don't look to make profit from it). A similar "2 weeks!" message appeared on Reznor's website in April, and true to form, two weeks later in May 2008, the double album The Slip was made available as a free download (under the same Creative Commons license as Ghosts I-IV) and later released as a limited edition CD of 250,000 copies.
2009 marked the Wave Goodbye Tour, which was promoted as the farewell tour for the band. The group performed several of their hits from the previous albums and only played minimally off the more recent albums. Following what seemed to be the end of Nine Inch Nails, Reznor went on to form the band How to Destroy Angels with newly married wife Mariqueen Maandig and longtime collaborator Atticus Ross. The group has since released one EP and one full length album. Reznor and Ross would also go on to produce soundtracks to a few movies, notably "The Social Network" and "The Girl With the Dragon Tattoo."
February 2013 marked the official return of Nine Inch Nails with the revealing of a new album to be released later in the year and confirmed touring to support the new album. Throughout the summer of 2013, three singles from the upcoming album were released with the first single, "Came Back Haunted," given a music video directed by the infamous David Lynch (see my review of the first single here: Click Here!)
September 3, 2013, marks the release of the first new Nine Inch nails album in roughly five years - Hesitation Marks. The album title, referring darkly to the first cuts one makes in attempting suicide, sets the tone for what may be one of Reznor's strongest albums yet, combining the musical exploration and textures prevalent on The Fragile with a dash of experimental ambiance found on The Ghosts I-IV with much of the anger and emotion coming through in parts of Pretty Hate Machine and The Downward Spiral. Lost on this album is much of the commercial feel recent albums like With Teeth and Year Zero contained (and especially loses the overproduction feel that both Year Zero and The Slip often had), instead opting for a more exposed look and feel that may even hint at some of Reznor's past personal problems with alcohol abuse.
The album evokes feelings of losing oneself and feeling like you have reached the lowest point without any means of escaping it (as felt in "Find My Way," an emotional slower tune), and feelings of trying to move on but being incapable of doing so (such as in "Came Back Haunted" which may refer to Reznor's attempt to leave Nine Inch Nails behind to work on other things, but inevitably being haunted by a desire to work more in this vein and continue on). Half way through the album is the catchy tune "Everything" which serves as a transformative moment on the album (with the first half focusing on the darkness and feelings of loss and hopelessness and the second half focusing more on finding a way out of that darkness and surviving). The album closes on the dark, brooding instrumental piece "Black Noise," which may suggest that no matter how you try to escape your troubles, they will always be looming around the corner, waiting. There is no escape, only survival.
Some notable tracks to listen to include "Copy of A" (which features a rather unexpected contribution with Fleetwood Mac vocalist Lindsey Buckingham), the first single "Came Back Haunted" which proves to be chilling in its own right, the transformation rock hit "Everything," the edgy and pressing "Running," the brooding and expressive "I Would for You," and of course the final note of the album in its dark glory, "Black Noise."
Compared to the rest of the Nine Inch Nails catalog, Hesitation Marks may not be as good as Pretty Hate Machine or The Downward Spiral. The album however is perhaps one of the best Reznor has made since The Fragile, combining glimpses of Reznor's personal struggles, his methodical composing, enough experimentation to be unique yet not alienating, and enough of an emotional experience to hold up with the best albums from Nine Inch Nails. It is an album that has evolved greatly from the early Nine Inch Nails albums, but I think after a few listens, if you open your mind to the music and understand how a musician can evolve over almost twenty-five years, you start to see where this album is still the same edgy Nine Inch Nails they were back in the early 90s and how they have also become a more calculating and at times introspective brooding entity that slowly washes over you. If you're a long time Nine Inch Nails fan, this album is sure to please. And if you're new to the band, this is one great album to get you started on their full body of work. Be sure to catch Nine Inch Nails on their upcoming Tension 2013 tour (I know I will when they play San Antonio in November).
This edition of Music Review takes an odd twist. Instead of reviewing a full-length album as I usually do, this time I will review the newest single from Nine Inch Nails, "Came Back Haunted," from their upcoming release Hesitation Marks.
Cover artwork to the upcoming Hesitation Marks album
Nine Inch Nails was the first concert I went to. It was just a couple days before my 20th birthday. I had tickets in the nose bleed, but I was still excited nonetheless. And equally saddened because at the time, Trent Reznor referred to that tour as basically a goodbye tour - the end of Nine Inch Nails, at least from a touring perspective. In the back of my mind, as in the minds of probably many NIN fans, I knew it'd only be time before Reznor felt the need to make sweet beautiful music again. We just somehow had to be patient while Reznor pursued other interests.
And we were right. Fellow NIN fans, the wait is over! Reznor is back with the first single off of the forthcoming Nine inch Nails album, Hesitation Marks. And if you thought this might just be a victory lap for the veteran musician...well, you had better think again.
"Came Back Haunted" is a good mix of sounds reminiscent of 2005's With Teeth, 1994's The Downward Spiral, and even 1989's Pretty Hate Machine. The song, however, is not simply a Gilgamesh of sounds once used to comprise the "new NIN." It still has a uniqueness and difference that plays into the constant evolution of sound and feeling Nine Inch Nails undertakes.
Trent Reznor, mastermind behind Nine Inch Nails. Photo found randomly on the Internet.
As is true of most Nine Inch Nails songs, synthesizers play key roles and drum beats have a precise timing to them. There is always a particular balance to each sound played and how they mesh with the vocals. And as always, Reznor's vocals are strong as ever and figure well into the song. It's fairly catchy after the first couple of listens and, in a peculiar sense, haunts you.
Lyrically, the song plays on the notion of coming back haunted. The lyrics are fairly repetitious and include a lot of "stuttering" (I'm sure there's a proper musical term for this, describing how Reznor often sings "hau-hau-haunted," as an example). What the meaning behind the lyrics is, I am not entirely sure (as usual). It could be a challenge, in a sense, to critics. NIN essentially disappeared four years ago and the last two albums put out (Ghosts I-IV and The Slip) are largely overlooked. Most people seem to long for NIN to return to the sound and feel of The Downward Spiral and may even question if Reznor still has it in him ("Everywhere now reminding me/I am not who I used to be/I'm afraid this has just begun/Consequences for what I've done"). So, the song, lyrically, can represent his answer to critics to say that yes he went off to work on other projects, but here he is, back, but feeling haunted by his past and how everyone wants him to be that past instead of evolving into something new.
Regardless, if this is a good sampler of what we can expect out of Hesitation Marks, I think the new album is going to be great. My only concern as we move closer to the album's September 3rd release date and a gauntlet of touring is how two members of the newly reformed NIN have already left the group. Certainly Reznor can find other musicians to fill the void, but does this perhaps hint at some deeper troubles that come simply with working with Reznor? Time will tell, but let's hope this is only a small bump in the road.
Sound Off! What do you think of the new Nine Inch Nails single? Do you think Reznor still has it in him or should he have thrown in the towel for good as he originally said he would? Are you planning to see NIN on the upcoming tour?
Rating: 5 out of 5 (I especially like the music to the chorus when it mellows out slightly and sounds a bit ethereal...it's very...dare I say it?...haunting? haha. Okay, I had to)
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