Nine Inch Nails Quotes
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I thought I'd reached the bottom a few times, but then I'd realise there was another 30 floors of despair below that.
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People want to listen to a lot of music and do whatever they want with it. They don't want DRM, they don't want subscriptions. They don't want a player that only can do this but can't do that and you only have one copy. They don't want that. You know? I don't want that.
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If you can use a search engine, you can find any piece of music that's been recorded for free. I'm not saying that's right, but it's a fact, and I'm surprised that more people don't accept or acknowledge that and try to adapt in some way.
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My life has two modes. One is sitting around writing and contemplating or building things. The other is execution mode. It takes a while to switch from one to the other.
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I can still make a living with touring. And maybe you buy a t-shirt. And I would rather 10 million people get my record and listen to it for free than 500,000 that I coerced to pay $15 for it, you know?
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If I go onstage, I want to give people everything they want and more. I'll wash their car for them on their way out.
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Lots of people can have girlfriends. But I can throw around guitars onstage! That'll be my epitaph: 'He never had a girlfriend, but you should've seen him smash a Les Paul!'
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I often find myself listening to a record because a lot of people or magazines have told me it's good and I'm supposed to like it, and I try to stay in touch with what's happening and I'm also a fan of music. I find myself trying to like something that I really don't think is that great.
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I have been wildly enthused about gaming since I was younger, and a career path I chose not to go down but did really consider was getting into programming and game design.
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To me, rock music was never meant to be safe. I think there needs to be an element of intrigue, mystery, subversiveness. Your parents should hate it.
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Bow down before the one you serve, you're going to get what you deserve.
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Why don't the Grammys matter? Because it feels rigged and cheap - like a popularity contest that the insiders club has decided.
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I think early on in my career, I was heavily inspired by bands like Throbbing Gristle and Test Dept, and films of David Lynch, for example, where the soundscape plays a very important role in the listening experience.
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I've become impossible, holding on to when everything seemed to matter more.
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I've learned to recognize, a lot of it forced through the process of recovery, that I'm wired wrong in certain ways; the chemical balance of my brain is off in terms of depression a little bit.
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With a Nine Inch Nails show, I'm building on a legacy that comes with a certain set of expectations. I have to push that forward, I have to reinvent myself, I have to feel current and valid.
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My brother, who's ten years younger than me, worked with me in the studio when he was very young. He's a guitar player and does programming as well. To have the working and personal relationship coincide has been very natural.
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I need boundaries. In the modern studio there are a bunch of instruments around me, and I can simulate anything I can't play, so sometimes the palette feels too big.
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iTunes kind of feels like Sam Goody to me. I don't feel cool when I go there. I'm tired of seeing John Mayer's face pop up.
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I was excited by the process of Pandora, which I still think is a decent product. Not as great in actuality as it sounds. After the first hour, its weaknesses start to show up.
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God is dead, and no one cares! If there is a hell I'll see you there!
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Making noise is easy; making stuff people understand is an easy thing to do.
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Spotify - I met those guys before they launched in America and was wildly excited about the idea. 'Wow, this is all the music in the world, for a flat fee.'
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Being in a band with my wife, I'm very aware of the multitude of ways that can go wrong. We're best friends and are interested in the same things, so it's natural to make music together.