Musician’s Notebook

 

Nine Inch Nails’, “The Slip” Album Review

 

 

I was fairly impressed with Nine Inch Nails’ album. To think that most of the times when people say,

“The best things in life are free!”, I will forever relate that to this album. I would like to warn most though 

its hard to really determine my opinion because I am an overall Nine Inch Nails fan for about 12 years now.

I do, however, would like to add that the one album I had anticipated from Nine Inch Nails for many years wasn’t

my favorite (”With Teeth”) of course after 2 -3 years, “With Teeth” did grow on me.

 

 

The reason why I’m even mentioning a past album in a current album review is because if I really wanted to 

say if I had to imagine what kind of sound I expected “With Teeth” to sound like it would have to be, “The Still”.

I think this album was is genius. I would have paid two times the amount of “With Teeth” for this album and I think

my wallet would have had to problem giving it up.

 

 

So I’m going track by track to describe to you guys another great record by Nine Inch Nails.

 

 

Track 1: 999,999

 

Sometimes Trent loves to do a great a little intro to his albums whether it be all atmospherical or a good intro song. 

Here he uses kinda of a hissing sound with some ambient and some greatly designed sounds in the background that 

he uses his great knowledge of sound synthesis to perform. The sounds get a little more intense then it all stops and

you hear his voice saying something which at first you didn’t notice was being manipulated by an effect  saying, “HOw did I Slip….”

which leads to the actual track.

 

 

Track 2: 1,000,000

 

Using one more 1 to the title of the track brings you his next track. Which has the usual harsh and rash synth lines with some 

crazy noisy sounds and harsh bass sounds to accompany his neighboring sounds. There’s even a slight guitar shred in 

the song that reminds of “Wish” from their “Broken” EP. The chorus is catchy along with some the abrasive sounds 

in the verse. Overall great song! It kinda reminds you of a mixture of what he would do in his “Broken” EP 

with his maturity of the “With Teeth” album.

 

 

Track 3: Letting You

 

The drum programming sequence in the beginning of this song kinda reminds me of some crazy drum n bass but then the synths 

begin to go nuts with some speedy vocal melodies. Another aggressive sounding song to follow up with its previous.

The chorus really hammers on against your brain in this one. It’s fast and its what you expect in a nicely evolved Nine Inch Nails song.

 

 

Track 4: Discipline 

 

This is the single for this album that most of us have already heard before the album came out. The song that made us 

anticipate the album to begin with. This one reminds me of something that would be in “With Teeth”. Its got your

synth lines that remind you of the synth lines in “The Hand That Feeds”, but its just such a better song. A very catchy song and kinda 

tones down his aggressiveness from the previous tracks on this album so far.

 

 

Track 5: Echoplex

 

This was the other song that was heard in iLike before the album came out. The electronic drums starts off the song along 

with the bass line that is effected by a strange kind of distortion. It’s a pretty good song overall with some great melodies. The beat I think is one 

thing that will stay stuck in your due to the fact that it never really changes. Maybe not my favorite song out of the whole album 

but it gives good contrast to the other songs that you’ve heard up to this point. 

 

 

Track 6: Head Down 

 

I love the drums in this song and the extremely distorted guitars. I love this song its very mid tempo and everything, but what I really love about this song

is the chorus. WOW! The sequence that follows the chords is just really amazing. It kinda reminds me of what “The Line Begins To Blur” 

did to my auditory pleasure. Not a track to skip at al!

 

 

Track 7: Lights In The Sky

 

Piano and vocals. One of the things that I love that Trent does. Sounds like a ballad of some sort, but if you’ve ever liked any of his piano and vocals 

only like the beginning of “Hurt”, “Something I Can Never Have”, etc. I think you’ll love this one if you’ve ever loved his piano and vocal work. I think the 

structure if very heart and especially the chorus and the melody that accompanies it.

 

 

Track 8: Corona Radiata 

 

Sounds sinister and almost like the world is ending or something. It’s another instrumental that could be used for a score of a movie or something. 

I will have you judge for yourself. Strange way to follow up sucha great ballard sounding song. 

 

 

Track 9: The Four Of Us Dying 

 

Another sinister instrumental. The bassline and the effect in it is lovely. The song is generally a harsh electronic rock jam to me. 

It keeps you anticipated throughout the entire song. It’s a great track to jam to if you feel you need a dosage of a great blend of electronic rock

with crazy synths and background sequences and etc.

 

 

Track 10: Demond Seed

 

The drum sequence is what really turns me on in this song. It’s more electronic than anything and I have been loving what 

Trent has been doing electronically lately especially since the “Year Zero” album. The song has some similar traditional Nine Inch Nails 

sounds. It’s abrasive, the vocals are soft, and the guitars at a minimum. It’s repetitive but it’s that beat that just doesn’t leave you 

and doesn’t get tiring neither and thats also the way the album ends.

 

 

 

Overall

 

I”m very impressed with the album. It seems almost too short sometimes, but that can be a perspective thing. You can enjoy it so much you might want 

to play it again.  I honestly suggest getting this album, after all its free! Any hardcore NIN fans would def. appreciate it. It’s got its older influence

back somewhere in there with a blend of the new mature sound since “With Teeth”, but it’s got the balls of “Broken” and “Year Zero”. So if you were 

a fan of any of those records, then I can almost guarantee you will love this album. For those of you who have been living under a rock for nearly 15 years

and are a fan of electronic music blended with rock music because I really wouldn’t want to call NIN industrial these days, I would get out of that shell of yours

and check this out this record. So don’t wait and do your ears a favor and get this album now at http://www.nin.com (Again, it’s free and you won’t have to feel guilty about “illegally” downloading it from a torrent site or a file sharing P2P network)

 

 

 

 

 

Upon arriving on Nine Inch Nails’ website on the highly anticipated day after the message on their web blog titled, “2 Weeks”,

we saw that the assumptions were very much correct, we stumbled across the message saying:

“05 may 2008: halo 27

 

Click HERE to get the new full-length nine inch nails record: the slip

 

(thank you for your continued and loyal support over the years - this one’s on me)”

 

 

That’s right ladies and gentlemen the expected (or unexpected) album from Nine Inch Nails is out. The best thing about it is, as you can read, 

“this one’s on me” meaning its absolutely FREE! It’s not another Ghosts I-IV this album actually contains vocals like all other Nine Inch Nails albums.

Anyways I don’t want to keep you here all day but the link to download this album is here: 

 

http://theslip.nin.com

 

 

Upon arriving at the site you will need to give your email address so that the download link will be sent to you and onc eyou click on the link you will have a 

choice to forward it to some of your friends via email. Once you have click on the download, you will be given several choices as to what format you want to download 

and also mentioning the fact that  the physical format are coming soon and i doubt those will be free. The formats available at the moment are:

 

High-Quality MP3s

FLAC Lossless 

M4A Apple Lossless 

High Definition WAVE 24/96

 

 

All files are 100% DRM

 

Also, as usual somewhere in the link you will have a link to download the multitracks to the album and NIN also encourages you to remix it and pretty much pass it along.

 Track Listings:

1. 999,999
2. 1,000,000
3. letting you
4. discipline
5. echoplex
6. head down
7. lights in the sky
8. corona radiata
9. the four of us are dying
10. demon seed

 

Aside from the new album I thought we’d all have to wait for awhile before Nine Inch Nails decided to announce their tour dates till May 25th but it appears they already

started throwing out some of the dates in our faces unexpectedly. Now, I too am disappointed that I don’t see a Florida date on here, but I mean it’s okay because they normally won’t give 

you all the dates for this next album’s tour right away. My only advice to those that don’t have their hometown under this list is just sit there and wait a little while longer 

and hopefully we’ll see them come around to our hometowns. Cross your fingers!

 

 

For ticket sales and presales it’s noted to go to their site http://www.nin.com 

 

 

 

7/25/08 Pemberton, BC [Pemberton Festival]

On sale: NOW

 

7/26/08 Seattle, WA [Key Arena]

Pre Sale: 5/7 (5:00PM)

On Sale: 5/10 (10:00AM)

 

7/28/08 Edmonton, AB [Rexall Place]

Pre Sale: 5/6 (5:00PM)

On Sale: 5/9 (10:00AM)

 

7/29/08 Calgary, AB [Pengrowth Saddledome]

Pre Sale: 5/6 (5:00PM)

On Sale: 5/9 (10:00AM) 

 

7/31/08 Winnipeg, MB [MTS Centre]

Pre Sale: 5/6 (5:00PM)

On Sale: 5/9 (10:00AM) 

 

8/2/08 Minneapolis, MN [Target Center]

Pre Sale: 5/7 (5:00PM)

On Sale: 5/10 (10AM)

 

8/3/08 Chicago, IL [Grant Park - Lollapalooza Festival]

On Sale: NOW

 

8/5/08 Toronto, ON [Air Canada Centre]

Pre Sale: 5/6 (5:00PM)

On Sale: 5/9 (5:00PM)

 

8/7/08 Uncasville, CT [Mohegan Sun Arena]

Pre Sale: 5/21 (5PM)

On Sale: 5/24 (10AM)

 

8/8/08 Worcester, MA [DCU Center]

Pre Sale: 5/14 (5PM)

On Sale: 5/17 (12NOON)

 

8/10/08 Baltimore, MD [Pimlico Race Course - V Festival]

On Sale: 5/3 

 

8/12/08 Knoxville, TN [Knoxville Civic Coliseum]

Pre Sale: 5/7 (5PM)

On Sale: 5/10 (9AM)

 

8/13/08 Duluth, GA [Gwinnett Arena]

Pre Sale: 5/6 (5PM)

On Sale: 5/9 (5PM)

 

8/15/08 Oklahoma City, OK [Ford Center]

Pre Sale: 5/6 (5PM)

On Sale: 5/10 (10AM)

 

8/16/08 Houston, TX [Toyota Center]

Pre Sale: 5/6 (5PM)

On Sale: 5/9 (5PM)

 

8/18/08 Dallas, TX [American Airlines Center]

Pre Sale: 5/6 (5PM)

On Sale: 5/9 (5PM)

 

8/20/08 St. Louis, MO [Scottrade Center]

Pre Sale: 5/28 (5PM)

On Sale: 5/31 (10AM)

 

8/22/08 Cleveland, OH [Quicken Loans Arena]

Pre Sale: 5/7 (5PM)

On Sale: 5/10 (10AM)

 

8/23/08 Auburn Hills, MI [The Palace of Auburn Hills]

Pre Sale: 5/7 (5PM)

On Sale: 5/10 (10AM)

 

8/27/08 East Rutherford, NJ [Izod Center]

Pre Sale: 5/7 (5PM)

On Sale: 5/10 (12NOON)

 

8/29/08 Philadelphia, PA [Wachovia Center]

Pre Sale: 5/7 (5PM)

On Sale: 5/10 (10AM)

 

8/31/08 Lexington, KY [Rupp Arena]

Pre Sale: 4/30 (5PM)

On Sale: 5/3 (10AM)

 

9/2/08 Morrison, CO [Red Rocks Amphitheater]

Pre Sale: 5/7 (5PM)

On Sale: 5/10 (10AM)

 

9/3/08 Salt Lake City [E Center]

Pre Sale: 5/7 (5PM)

On sale: 5/10 (11AM)

 

9/5/08 Oakland, CA [Oracle Arena]

Pre Sale: 6/12 (5:00PM)

On Sale: 6/15 (10AM)

 

9/6/08 Los Angeles, CA [The Forum]

Pre Sale: TBA

On Sale: TBA 

 

 

So last time we mentioned the fact that we have rhyme schemes and toggling last time. Well the reason why it’s so important to know the rhyme scheme and placement of our internal and external lines is because the structure of the song is very important. It has to be told in a story mode and in a style as if you were having a conversation with someone. Thats another great way to have your audience drawn to your music in terms of understanding the lyrics.

So here I’ll map out the information for you as how to structure your lyrics in your song.

So first thing’s first, we have the verses.

 

VERSES

On your verse you want to make sure you’re using the external lines to describe the character’s 5 senses and explain the place and time. You want to be kind of vague at first but not too abstract. You’ll have your verse describing the beginning of the story and end it with an internal line.

 

CHORUSES

Now you’re chorus is important in fact you’re hook is there to be repetitive with a strong power point. The power point a lot of times will determine the name of the song. It’s also the main idea of the song, the big picture. This is where you want to be completely to the point and you also want to use all internals! Make sure the last time you do your chorus in the song you repeat it twice. It’s also recommended that even though you have done a destination writing for your song, make sure you do a separate one thats all internal to make your chorus even stronger.

BRIDGES

Bridge is just another verse, but different slightly different. In a way it’s just another verse that’s not supposed to sound like the other verses. The point here is that you don’t want to bore your listeners by hearing the same verse after they heard it twice. If you think about it, the verse isn’t even the catchy part anyways, the chorus is, right? Right. So the bridge is supposed to traditionally be right after the second chorus. In a bridge you can finish your story here and just repeat the chorus twice after it, or you can do the chorus twice and just add a final verse and finish the song there. Just be cautious, you don’t want to bore your listener. In this case, experiment with both suggests I just gave you and also listen to your favorite songs and get an idea.

Now here’s the deal, there’s an easy way to do all this once you’ve got your DW done and you have at least one of your verses and your chorus.

What we do here is called Plotting.

 

PLOT PROGRESSION OUTLINE

Plotting is kinda like planning something briefly. Think of it as a short timeline you are constructing for like a history project or a book or something. Except the only way you can obtain this information is by getting it from your DW. So lets say you have your DW done, this would be how to make it headache free on how to plot it.

 

Verse 1

Introduction to the story. Describe 5 senses of the character of time and whereabouts and hint a little on the internal line. Don’t give too much information away because you want your listener to want more. Keep them slighty in suspense. Use 4-6 lines that you choose from your internal and external columns.

 

Chorus

The main idea of the song with the power point (the title) is there. All internal lines and the big picture of your story.

 

Verse 2

Get further into the story but don’t end it here. Get a later section from your DW and internal and external columns and in 4-6 lines and do it the same way you did toggling in verse one.

 

Chorus

The main idea of the song with the power point (the title) is there. All internal lines and the big picture of your story.

 

Bridge

You can conclude the story here if you want or you give an important part of the story here. If you choose to conclude the story here. Repeat the chorus twice after this to jam it into your listener’s head. If not, just give an important part of the story here as if it were about to conclude, repeat the chorus twice, and end it with the third verse.

 

Chorus

The main idea of the song with the power point (the title) is there. All internal lines and the big picture of your story. Repeat this last chorus twice.

 

Verse 3

Depending if you decided to end the story at the bridge will determine if this third chorus will even exist. If you didn’t end it at the bridge, you should end it here with the conclusion.

Here I will show you an example of a Plot Progression Outline I did for class.

 

“Stolen Car”

Verse 1: The character describes getting into the car and his surroundings.

Chorus: The main point which is the fact that he needs to get away and he’s stating his desperation of having to leave.

Verse 2: The character describes the scene around him even further along with the frustration that the car won’t start. Why is unknown because its a brand new car and he continues to blame security of new cars and etc.

Chorus: The main point which is the fact that he needs to get away and hes stating his desperation of having to leave. (I would repeat this chorus twice)

Bridge: He describes his failure of trying to get away because the cop just caught him and so he explains his failures and once again the crowd reaction at the end.

There you have it! Give it a try experiment with different song forms and see what you can come up with the following information.

   

I was very impressed with the collaboration of Vocalist/MC Cee Lo Green and Producer/Composer Danger Mouse on their first album, “St. Elsewhere”. In fact, I had heard the song, “Crazy” a million times on the radio and it was a major explosion. Whenever I walked into the store that song was playing, whenever I was in someone else’s car and they had the radio on, it was playing. I loved the song and still do, but it wasn’t until a friend of mine recommended me to get the album and informed me that it was  collaboration between Cee Lo and Danger Mouse. My eyes were wide open because I always a fan of Cee Lo and heard nothing but great things about Danger Mouse’s compositions. When I picked up, “St. Elsewhere”, I was very very impressed! Great song concepts and storytelling.

 

 

Now I recently picked up Gnarl Barkley’s latest album, “The Odd Couple” and heard it through twice and I wasn’t disappointed. I do mark the fact that the album is different from the debut. If you liked more of the rapping, just be informed there is not much of that in this album. If you liked the song ,”Crazy” and Cee Lo’s singing, then you’ll enjoy, “The Odd Couple”. 

 

 

Let’s go through each song now, shall we?

 

 

Track 1: Charity Case

 

Great introduction soul due to the whole soul music feel. It reminds of Outkast’s , “The Love Below”. In fact a lot of the songs are like some of the songs from Outkast’s, “The Love Below, but in another level of course. The beat is continuous throughout the song and it has a female vocoder effect on a female voice at some point. I found the whole idea very impressive because a lot of times people were overusing it became sort of a new electronic music cliche, but they did it right. The mood is very chill and upbeat at the sametime, its actually very moderate feel good track. Good job guys!

 

 

Track 2: Who’s Gonna Save My Soul

 

This song has a chillout hip-hop feel beat-wise. The talent in the vocals is very soothing with its rich soul. The lyrics are assisted very well with the music, its sort of a downer song but yet you don’t really feel down. Something you would hear at a jazz lounge but instead the music is unique with its blend of hip-hop, lounge, and soul. When I say soul, I mean lots of soul! Like the souls in the afterlife style!

 

 

Track 3: Going On

 

It’s an upbeat version of the first track, “Charity Case”. It almost sounds like you could compare it to “Hey Ya” from Outkast, but in my honest opinion, this song completely gets the torch handed to it. I apologize for the comparisons, but its the best way to describe. I’m impressed how the mood switches from it being so upbeat and wild and all but then the beats begin to slow down a bit showing the remarkable beat complex composition talent of Danger Mouse. Yet throughout the whole track, you can’t help but feel your aura become brighter especially after the last track.

 

 

Track 4: Run (I’m A Natural Disaster)

 

I don’t listen to the radio or anything to be honest with you, but I think this is the single for the album. I think its really fair to say that this would be the best single for the album as well. It really defines what this album is mostly about. Again, that upbeat soul sound with electronic beats and it sounds nothing like anything in the Outkast album, “The Love Below”. I really love the lyrics and how the music and lyrics reflect off each other. In a sense the song is so upbeat, it kinda makes you want to run in a 60s/70s movie scene.

 

 

Track 5: Would Be Killer

 

Very short song, but the feel is probably a little darker than the rest of the album. I love how it starts with some gun clips being inserted. The song has its hip-hop sound but leaning more to the soul with some strange yet clever samples playing around and Cee Lo just singing his crazy heart out.

 

 

Track 6: Open Book

 

Nicely done reversed string sounds and a rain forest atmosphere with some complex beat sequencing. This song really shows an example of Danger Mouse’s amazing sequencing skills as its completely electronic. Vocally, I find the chorus pretty nuts, but again Cee Lo doesn’t fail us vocally throughout the song.

 

 

Track 7: Whatever

 

A mid-tempo short song with some synth leads and still in his form of its neo soul genre and the lyrics are simple and direct. Again great song!

 

 

Track 8: Surprise

 

Another upbeat song that I feel takes you back. You’ll forget you’re in the year 2008 (or whatever year it is now if this review is old). Again, this song has a strong resemblance to Charity Case and Going. I really love the hook on this song the vocals really are highlighted in this song. 

 

 

Track 9: No Time Soon 

 

This song has a great guitar lick with some synths again. Its very slow tempo and at some point some nice electronic beats. I really have to say the synths in this song amaze me the way it accompanies the guitar, its a pretty attractive tune. 

 

 

Track 10: She Knows

 

It kind of reminds of me the previous track but a bit more steady paced. The beat doesn’t change. The vocals pretty much are soulful as usual but nothing else changes. It’s a very relaxing beat nonetheless. 

 

 

Track 11: Blind Mary

 

I love this song. It’s a nice feel good track. The hook is extremely catchy and actually the whole composition is catchy. It all stays the same in terms of beats and stuff. Its makes me feel like I’m listening to an islander confessing his under dying love for someone, Mary. The lyrics are also very nice.

 

 

Track 12: Neighbors

 

This combines a faster pace typical trip-hop beat with its strong soul vocals. The beat is what really attracts me to this song. The lyrics again are also amazing and extremely interesting. I should have you read them for yourselves. The clever production of Danger Mouse really shines on this track as well.

 

 

Track 13: A Little Better

 

The song’s full hip-hop beat assists the vocals very well and its even got a blended funk feel. This is pretty much the conclusion to the album and the final song is pretty much a great way to end the album. I love the way the vocals just come in and attract you by coming in by stating there’s a story to be told.  The great uses of effects on the vocals towards the end and ending the album the way it started with the construction worker’s drill-like samples and something else.  

 

 

Overall

 

You can tell already by the review of each song that there’s no rapping at all.  In fact, I would like to consider this being more of a neo-soul, hip-hop electronic album than anything else. Whether it’s because, “Crazy” from there debut album was such a big hit or if they just felt more into doing the neo soul deal, it doesn’t matter. I thought this was a great album, nicely written songs and greatly produced. Everything musically and lyrically fell into place and with each song that I had no desire to skip. In fact, upon hearing this album only the second  time to review this article I had to go for thirds. The success of this album was so high, it still to the very day of this written article, is placed on #1 on Top Electronic Album.  I highly recommend if you guys enjoyed their first album  on the neo-soul side, you’ll will love this one! Just don’t take it from me, listen for yourself!  

While I’m posting a couple of links, here’s a fun one I just came across: a site that tells you which song was number one in the charts on any day you specify.

Apparently on the day of my wedding, “Don’t Worry, Be Happy - Bobby McFerrin” was number one in Australia. I don’t know what to make of that, but you can’t find deeper meaning in everything!

Take a look for yourself - link.

And without the income generated by big name acts, how will record labels support and promote lesser-known artists? “If we keep moving down this particular route, companies will only release records that are sure home runs,” says Martin Talbot, editor of industry paper Music Week. “That means either stuff by established artists or unknown artists doing cover versions. There is the danger that it will no longer be worth it for companies to invest in new, up-and-coming artists. And if record companies don’t invest in them, who will?” From this article.

This quote comes from another article on Prince’s recent marketing tactic. What’s the fallacy? It doesn’t matter whether record companies are going to support and promote lesser-known acts! Hell, it’s better for those bands if they don’t. We live in an age where artists can do it on their own, even on a shoestring budget. Nobody needs the third party taking the lion’s share of the profits.

Talbot is clinging to the old assumption that a band needs a big record deal in order to do anything worth doing.

Of course, the music industry is reacting out of fear to this great success, as per its usual patterns:

“The Artist formerly known as Prince should know that with behavior like this he will soon be the Artist Formerly Available in Record Stores,” said Paul Quirk, co-chairman of the Entertainment Retailers Association, referring to a period in the 1990s when the singer famously stopped using his name to protest a binding record deal.
From this article.