Nine Inch Nails
With Teeth / Nothing Interscope / 2005 / A-
By Thomas Inskeep for Stylus Magazine on May 6, 2005
First things first: I liked The Fragile. Nine Inch Nailsâ last album, from 1999, was gently trashed by most critics, chiefly because it a) wasnât The Downward Spiral2, and b) was a bit self-indulgent in spots; Trent Reznorâs pretty little instrumentals took a particular beating. To my ears, The Fragile was the sound of an artist sorting it all out, in public, and certainly interesting if not awe-inspiring. Thatâs not to say, however, that NINâs much-awaited new With Teeth isnât better, because it most certainly is. Reznor sounds re-focused again, his lasers set on âstun.â I donât doubt that at least part of this is attributable to his being clean and soberâbut donât be fooled. This is by no means a kinder, gentler Reznor. Heâs out for blood again.
This salvo was launched with the ground-to-air missile attack of With Teethâs first single, âThe Hand That Feeds.â Yeah, itâs definitely DOR (dance-oriented rock), but whom better than Reznor, who knows exactly how to do it (cf. âHead Like A Holeâ). Even if they bought some balls, the Killers couldnât come close to the propulsive crunch of this. Itâs the perfect âTrentâs backâ single, too: simultaneously contemporary without sounding trendyâthis wonât be mistaken for anything but an NIN single. âOnlyâ is even more DOR (DOR-ier?), with some very new wave drumming from Dave Grohl (who drums on the entire albumâmore on him in a minute) and some very âtotally â80sâ synths (they remind me of Yazoo, actually).
Thank God other people ask Dave Grohl to drum on their records, since he doesnât much on his own anymore, or we wouldnât get to appreciate what might be the foremost talent of the guy who may well be this generationâs John Bonham. He assaults his kit mercilessly throughout most of With Teeth, particularly on âThe Collectorâ (listen to the brutal, constant pounding that opens the song). This album wouldnât scale the heights it does without Grohlâs presence on it (it helps that Reznor punched the drums up in the mix, too). Heâs loud and crisp and, to these ears at least, very distinctive.
The drums are crucial to With Teeth, because this is a much more aggressive album than The Fragile. Even on a song such as the albumâs title track, which moves at a slow tempo, the passion of the Reznor is ever-present: check out the way he spits out the words âwith teeth,â sounding for all the world like heâs suppressing his own vomit (it comes out more as âwith-ah teeth-ah,â but in a clenched-teeth sense as opposed to a Mark E. Smith sense). âWith Teethâ is followed by the aforementioned âOnly,â whose first verse seems to say that Trentâs been listening to LCD Soundsystem, as Trent speak-sings it like the smooth operator heâs capable of being (but rarely expresses himself as). Itâs got an LCD-squelchy bass line, too. A bit of pisstaking, anyone? By the second verse, however, itâs crystal clear this is an NIN song: âNo Iâm from where / I am not supposed to be / And I can see things / I knew I really shouldnât see.â Better still is this passage from âGetting Smallerâ:
I think Iâm losing my grip
But I can still make a fist
You know I still got my one good arm
That I can beat, oh I can beat myself up with
Thatâs classic Reznor, and God bless him for it. Robert Smith can still mine that territory, but in not quite such an aggro manner. Reznor owns it, names it, and claims it.
Songs such as âYou Know What You Are?â and âAll the Love In the Worldâ continue in that vein, but in very different manners. Opener âAll the Loveâ is fairly subdued, as mournful as Reznor gets (the chorus asks âwhy do you get all the love in the world?â), while âYou Knowâ is all naked NIN-isms, with a âdonât you fucking know what you are?â chorus and slash-and-burn napalm cocktail musical attack; the latter will assuredly become a very fast live favorite. Thereâs been rumbling on the internet by some NIN fans that this album is somehow a disappointment, which leads me to question, are they listening? While With Teeth wouldâve been a natural sequel to The Downward Spiral, Reznor couldnât have made it until now. Current yet sounding potentially classic already (this one improves with each listen), Reznor forces himself further into the mainstream with With Teethâbut on his own terms. The words âtriumphant returnâ are apt.