Jahr 1990




Dezember 1990


 Throb - The RAW Guide To Subverted Metal


  Words: nicht angegeben





TRENT REZNOR is a man who proves that computer technology can be used to create and to dream. Just as many so—called Rock bands in the 1990s have taken the pain, fears and joys of the Blues and reduced them to the level of a marketing exercise, so Trent and his band Nine Inch Nails have invaded the very fortress of the ‘90s and distilled the grey effluent of cybernetics into a potion so dark, challenging and poisonous.

“I grew up in Eyrie, Pennsylvania,“ explains Reznor. “There was no Underground scene as such, no college radio stations. So I got into generic ‘70s music. Kiss was my favourite band. It wasn‘t until later when I escaped from there that I got into bands with a bit more integrity.“

Reznor and his Nails want to make people aware, bleed on a generation who worship the plasticine notion of identikit mannequins weened from the same PVC womb. Nine Inch Nails want you to listen.

“We are selling a product, I admit that. But the idea is to put out something challenging, a record that might make people say, ‘Hey, that‘s cool. Maybe what we‘re used to is a piece of shit!”

Reznor found that when “music and computers meshed together in the early ‘80s“, suddenly he was given an opportunity to get involved in creating an art form. Nine Inch Nails‘ debut album - very much his own effort, titled ‘Pretty Hate Machine‘ — is the first fruit of his implantation. It eschews the “macho Rock stance“ for an awareness of the intense ravages within chromium cadavers. He offers a cyanide calypso, a cadence of Depeche Mode, Ministry, Stockhausen and the MC5. It is as remarkable as it is formidable.

Nine Inch Nails (very much Reznor and transient partners) are the embodiment of the true sexual nature of Rock music, of the realism of self—destruction.

“We are not Guns n‘ Roses. We don‘t pretend to do what they do. But we have a definite destructive edge.“

Believe. And learn to feel music again…