Metropol Inteview w/ Charlie Clouser, Danny Lohner and Trent Reznor
Metropol TV: I'm sitting here with the band Nine Inch Nails, actually
the entire band, minus one, Trent Reznor. (translated from Norwegian)
M: You're Nine Inch Nails as we can see you on tour, and explain why
Trent Reznor is not here?
Charlie: Well, I think he's just sitting across the patio here, doing
yet another interview.
M: But describe a little bit of the difference between Nine Inch Nails
as a tour, band and as a studio band?
Charlie: Well, Trent had, you know, over the course of the first three
albums. Trent had done almost all of the writing and the playing all by
himself. And then there was a stretch when we was touring for about two
years in 94 and 95, and at the end of that whole process I think he
wanted to try to inject some of the energy from the live band into the
M: How can you describe the Nine Inch Nails live, your music compared to
what we can hear on the albums? And what does your concerts consist of?
Danny: Well, what does it consist of, in terms of what?
Danny: Well, I dunno, I'll answer that one last, because I'll have to
think about that one. That one may be a Robin question! But, the way I
see it as it comes off live, if I was to describe it to someone who has
never seen the band before, a lot of people would think that listening
to the albums, it's somewhat heavy reliant on production and stuff, like
how do you achieve that live, or how does it would it be any good live?
And, first of all, I think we have done a good job of recreating the
technology, it's a pretty smart band, and we've managed to make it
happen and, we re-evaluate the songs, can I say that? (looking at the
other guys) Right, we re-evaluate the songs, so they're interpreted,
what I like to assume a slightly more a lot of the songs, more heavy
interpreted as more aggressive. (Jerome laughs, and Danny points at him)
You haven't spoken once, don't laugh at me!
M: We have to edit this together and see if we can get last word from
Trent Reznor... (goes on to say something in Norwegian)
M: Hi, I'm Halvard.
M: First, how do you feel about being in the Bible belt playing?
Is this the Bible belt? (laughs) I don't know, bringing a little word of
darkness to people out there (smiles), I don't know. This is the first
time I've been here. I just saw a little bit of it this morning, we got
in late last night, and it's beautiful!
M: OK, could you sign some of the CD's here? I've been thinking about
that when I listen to it, it's quite schizophrenic. It's dark and then
you have those beautiful pop tunes. Is it done on purpose or...?
M: just from emotions? New emotions?
Trent: One of the things when I set out to make this record, um, I
really didn't know what it's gonna turn out like, but one of the
blueprints was to try to expand what Nine Inch Nails is. What you could
expect from Nine Inch Nails. And I think that on Downward Spiral, which
I think was a very dark and destructive record. I wanted to kind of
smash everything around, and systematically kind of disassemble my
entire life and head. And with this record, I started off at the bottom
emotionally I was really at the bottom, where I ever been in my whole
life, and I was depressed, and I wanted to back my way out of that
corner and I realized that you can't make a record that's faster and
harder and meaner andí cause you to hit a brick wall after a while. And
this record was a lot more about repair. So, I mean, it may not read as
an overly positive record, but I think it is aspiring to make some sense
out of where my head was at...And even from the cover being the way it
is, it's about things over-lapping, things that may not seem like they
shouldn't be together. And it really reflects accurately where I was two
years ago. It took two years make that record. Which is schizophrenic
M: Thank you. I actually stole the interview now. Because I didn't have
an interview appointment! It was only five seconds (laughs to crew)
Trent: That's quite all right (smiles).
M: Thank you!
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is provided courtesy Keith Duemling and Tracy Thompson from the collection previously
located at SUS.