Nine Inch Nails Quotes
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If there used to be 100 people at a major working on a record, now there are 18, but they're the good ones. There's a lean, mean hunger.
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Nine Inch Nails was born out of Cleveland, Ohio, with me and a friend in a studio working on demos at night. Got a record deal with a small, little label, went on tour in a van, and a couple years later found that somehow we touched a nerve, and that first record resonated with a bunch of people.
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Frankly, I have always dreaded writing - there always seemed to be pain involved, unpleasant self-examination and a lot of fear.
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A scene gets cut a few frames here and there, but there's a cumulative effect to it, and then the music needs to be reworked. It's demanding, but when you see the improved cuts, it's always better.
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What I was concerned about when I wrote the 'Downward Spiral' record was being a self-centred destructive force. The point was tearing down everything in a search for something else.
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My wife is a classically trained piano player, and she also orchestrates.
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I found that when I was putting my own music out, with my Twitter feed as the pure marketing budget, I'm preaching to the choir.
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I like the idea of subversively communicating with people... so that you make people see things in different ways.
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I'd much rather be worrying about playing that note in tune, and picking out the best way to arrange the song, rather than thinking about pricing for the download. It's not art.
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Fear has governed my life, if I think about it.
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I aspire to make a record that sounds better 10 listens in than it does after two, and still, at 50 listens, you're picking out things that add a depth and a thoughtfulness to it; there's enough in there that you can still be extracting pieces out of it.
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I've said it before and I'll say it again: I don't think music should be free.
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'Downward Spiral' felt like I had an unending bottomless pit of rage and self-loathing inside me and I had to somehow challenge something or I'd explode. I thought I could get through by putting everything into my music, standing in front of an audience and screaming emotions at them from my guts.
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When I'm on stage, the songs that we've chosen to play from the back catalog are things that still resonate with me, and matter to me. And the songs that I couldn't be a part of, we don't play anymore.
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My dad and I are best friends. He's pretty much responsible for the way I turned out. He would provide a little artistic inspiration here and there in the form of a guitar, stuff like that.
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I don't have a family. I'd like to have one. I just haven't somehow gotten around to it yet.
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'Yeezus,' I really love it. I think the sound of it is cool.
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What I have appreciated about the 'Call of Duty' games is the scale of production. It's not an indie game. It's not trying to be an indie game. But I've genuinely been pretty consistently blown away by, wow, what an effort has gone into this.
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I did not grow up in a cosmopolitan environment. I grew up in a little town in the middle of nowhere, pre-Internet, pre-college radio.
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When your culture comes from watching TV every day, you're bombarded with images of things that seem cool, places that seem interesting, people who have jobs and careers and opportunities. None of that happened where I was. You're almost taught to realize it's not for you.
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I really try to put myself in uncomfortable situations. Complacency is my enemy.
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A lot of what I've done as Nine Inch Nails has been governed by fear. I was trying to keep the songs in a framework that was tough, and I learnt a lot from Jesus and Mary Chain about how to bury nice pop songs in unlistenable noise - the idea being if you can get behind that wall, you find there's a pearl inside.
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My life has been many examples of shortsighted goals that I thought would fix things. You know, if there's something broken inside me, if there's a hole in there, I thought: If I could just write a good song someday, then I'd be OK. You know, if I could just be on stage in front of people I'd never seen before and be validated by them.
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I'm a lot less precious than I used to be about putting things out, for better or for worse. The result of a public that has a very high consumption rate and turnover rate is people listen to more music but spend less time with individual bits of music.