Nine Inch Nails
The first question was about the various influences from the 60 and
Trent Reznor: Umm... In the seventies we were all into Pink Floyd.
Recently i learned (how to listen to) the Beatles... The old beatles i
didn't like much because i didn't like the first albums. But i like the
later stuff like the White Album, mainly for production and
songwriting. I also listened to the entire Glam rock scene: Iggy Pop,
David Bowie, Pink Floyd... That left it's mark. As well as Queen.
Charlie Clouser: There are also couple good times in the early Talking
Heads years, and the album David Burns and Brian Eno recorded
together, "My time in the bush of ghosts" i like also. Moments like that
were an impact on both of us.
The next Question was about NIN's Remix work:
TR: In the past we had made several remix albums. they were the
infleunces of music making friends of ours, who we respect. They
helped us reinterprete that stuff. But i don't think that we will be
doing this anymore. That was fun, but i don't think that we will be
doing it with the Fragile. We might make a few minor adjustments, but
Then Came the Marilyn Manson Question:
TR: Yeah, i worked with Marilyn Manson on the old stuff up to
Antichrist Superstar. I think that I got very envolved in that album,
and it was the most fruitful of my work with Marilyn Manson
Makak: And what do you think of him now?
TR: We aren't freinds at the moment. We had fallen out, so i haven't
been close to his stuff for some couple of years.
Makak: What do the words :"sex, drugs and rock'n'roll mean to you?
TR: It's as simple as that. (laughs) Well, umm, They go hand in hand
together... If you're asking about envolvment, then yes, we were
envolved during the last tour and it got to a really ridicilous level of
selfdestruction... But now we're diffrent, and doing pretty good on
this new tour... Being four shells and all (laughs)
The Next question was why did we have to wait five years for the
TR: Basically because the two year tour promoting The Downward
Spiral, which turned us into a large band in the US. Then i went right
on into working with Marilyn Manson on Antichrist Superstar. Then i
burned out, and i had to slow down and get my head together and
answer the question whether i want to make my own music further.
Then I took on some soundtracks, got a studio together, just to loose
some time... Then two years of making this album (The Fragile). I just
had to be sure that i was ready to make an album. I wouldn't want to
do something that i wasn't sure about. The price paid is maybe a few
lost fans, and the change of the generation, but i had to know that i
was ready to do it.
Makak: How did you work on this album?
TR: For this record i first composed the music. That's not the way i
normally work, but it was an experiment that seemed to get me to a
very intersting place. I recorded 47 demos, and then i chose those
songs, to which i could write the lyrics to. It was an adventure in
time, and i won't do it again, but it was a great experience and
learning process. I worked on this album in my studio in New Orleans,
where i composed and wrote the songs every day, at least 12 hours a
day creating and discarding different ideas, and that was satisfying,
but i want to say that i'm anxious to go back there and lock myself in
the studio. That would be somewhat ridiculous to work with no
compromise again. When i had a good idea i could punch it out, use
more instruments, add new sounds. it took time to do that. I also
unknowingly added an depth to the vocals, which is unnatural in
todays singing (shudders indifferently) For better or for worse.
The ensuing question was about future plans:
TR: I'd like very much to workwith other musicians, but first i'd want
to concentrate on a new album (tapeworm), which is going to be
more democratic, where all of us would write some material, with the
help of different vocalists...
Charlie: Well, i think that Trent's original idea for this tapeworm
project was that we all made some stuff together which doesn't fall
into NIN criteria. We also added a few things that do not immediatly
sound immediatly like Nine Inch Nails, but they expand boundries
without destroying the very strong identity that he's (Trent) created
over the years.
As we were trying to create some ideas for the last record Danny and
I created rhythem and bass and drum patterns, that were good and
we wanted to work on them though they didn't seem right for a NIN
record right away, so we tried to find a framework, that would allow
us to work with different people like Maynard from the band Tool, and
Phil Anselmo from the band Pantera. We already got a few demos
recorded that are somewhat diffrent from "The Fragile", but they also
don't detrack the image that Trent had created for NIN over the
TR: Umm, i still don't know for sure, but after this album is finished, or
after it is going to have a sure form, then i'd like to take on a project
with a female vocalist.
Makak: Do you alredy have someone in mind?
TR: No, Not yet, but i'm looking for a very original voice, that's going
to be ripped out of the context. So if you know anybody like that,
then drop me a line.
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