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 Access, 10. Mai 2004

question submitted by cabbie..k-rock nyc:

trent, how are you? cannot wait for the new stuff// on the new record what have you done different?


response from trent:

i’ve really approached the writing and arranging process differently this time around. my brain is in a completely different state than the last record and therefore my motivation and methods are different.


have you let others work, write some of the material?


response from trent:

so far, i’ve written 100% of the material for this record. my right hand man in the arranging / programming process is atticus ross.


when you come through nyc it would be an honour to interview you again. i thought we had fun last time..


response from trent:

me too


1 last thing in there a date buttoned down as yet for bleedthrough?


response from trent:

 as my good friends at i software say... “when it’s done”.

submitted by aeryn:

i just want to let you know you are personally responsible for preventing me from committing suicide. when i started high school i bought the fragile unfamiliar with most of your previous work. i was feeling really really shitty with situations concerning my mother, situations in high school, peers, and whatnot. anyways, buying the fragile, i slowly, but surely began to realize the message you portrayed in this album after repeated listening, the title track still stands up to me as a message of hope, as a way to escape everything that seems to destroy my psyche and bring me down. i was very close to ending my life prematurely, but listening to the fragile made me realize that there is beauty in the pains of life and hope is in everything that life can give you, no matter how torrid it may be. thank you, trent reznor, if i hadn’t bought the fragile, i wouldn’t be around to e-mail this to you.


response from trent:

thank you for your kind words, but give yourself the credit for getting though whatever it was you were going through. it seems to me there are some people who treat music as something that plays in the background occasionally, and there are some — probably anyone who’s reading this — that music has a much more important role. music is the soundtrack to every aspect of my life — songs vividly remind me of places / events / feelings / people. music has been my best friend and made me feel connected when i’ve been at my loneliest. it’s weird and great to find myself in a position where music i’ve made has touched some of you. keep your shit together!

question submitted by sven:

what does a typical (or atypical, depending on how eccentric you are) work day look like for you?


response from trent:

if we’re recording in the studio… up at 8am, write and think, in the studio by 11, leave the studio at 1am, repeat.

question submitted by v smith:

i see you have a link to noam chomsky’s website here. i’ve wanted to read some of his more major works but am unsure where to start.. any suggestions? (what’s your favourite?


response from trent:

try starting with the chomsky reader. a good introduction to his thinking process. you will have a reaction.

question submitted by yann:

visual artwork has played a monumental role in nine inch nails. the album artwork and many of the videos work so perfectly together, bringing nin to a whole new level of expression (esp. the video sequence for la mer, the great below, and the mark bas been made on aatchb!!!). did you seek out many of the artists, such as russell mills, david carson, bill viola, stark romanek, etc, to work with you on videos and album artwork, or did they contact you first?


response from trent:

thank you. of the above mentioned, i contacted them. always a tricky proposition, finding another artist to collaborate with — especially on something as close to my heart as nin inch nails.

when it works, its great. when it doesn’t... (see deep video).


what artists will be working on visual material for the next era of nine inch nails?


response from trent:

i’m working on it

question submitted by neil jordan:

your music inspired me to get into producing and recording my own songs. what are your thoughts on what some people refer to as the ‘home recording revolution’? would you agree that in some ways it harder now to do something total new when so many people have access to the same (virtual) instruments and equipment etc?


response from trent:

equipment and instruments are just tools. the fact that records are being made in bedrooms and expensive studios are becoming obsolete is a great thing. ideas are the key.

question submitted by eric:

i love the way the new site looks. its minimal but strangly unique with the way the font is messed up sometimes. my question is does this approach to your website relate in some way to your approach to the new album? nins music and visuals have always tied together so well, i am asuming that more than anything this new blunt approach is a statement about the new music and ideas. also what font is that? its really cool. thanks trent.


response from trent:

it applies to the record, and it’s done by hand.

question submitted by john konkle:

your work has always been very emotional. after you release an album, do you feel “cleansed” so to speak, or are you on pin’s and needles until you see the response?


response from trent:

the “cleansing“ moment is holding and hearing the final, mastered record. that seems to me to be when it really feels like an accomplishment. it’s great to know others appreciate your work, but ultimately that’s not important. rephrased, artistically that’s not important. i do what i do to please myself to the highest possible. standards — the best work i feel i can do — not to please the marketplace

question submitted by giahni:

trent, what, if anything specific, inspired you to use modular synths so extensive on the new material?


response from trent:

the sounds and the wires.