Sigil 04_: Welcome oblivion

[sheepdean]

cd japan says 'the first release is sold out'
what do they mean?
maybe they mean EP1, the vinyl of which is sold out and the CD may be out of print too

[Fragile Teeth]

I'm both unimpressed and loving this album because i feel like it suffers from that not being finished sound a lot of recent nin work has suffering but I love aspects of it and I have patience but the song build a lot of tension and go nowhere. I can't take it. It's been trent's thing lately.

This album feels like it has multiple endings...

[Sean Campbell-Brennan]

Yeah I think I know what you mean. I am still loving it though.

[Gray Grimez]

This is easily my favourite trent release since the fragile at this point, maybe it'll fade with time, but after having not been exactly blown away by the eps the album has been brilliant and thats with a semi standard rip. This is gonna be the first cd i've bought in awhile!

Edit : I forgot still! Best trent thing since still.

[somethingelse]

Are these Amazon only bonus tracks, or will they come with all versions?
http://www.amazon.co.uk/The-space-between-bonus-track/dp/B00BL1M5CS
http://www.amazon.co.uk/Parasite-bonus-track/dp/B00BL1M6UE

[sheepdean]

Are these Amazon only bonus tracks, or will they come with all versions?
http://www.amazon.co.uk/The-space-between-bonus-track/dp/B00BL1M5CS
http://www.amazon.co.uk/Parasite-bonus-track/dp/B00BL1M6UE
Um ...
those are kinda easily available on HTDA's first EP. Spotify lists them too as bonus tracks, but as they're released previously, it's nbd

[somethingelse]

Yes I am aware of that. I checked iTunes and the first EP is being offered as bonus tracks also. But as you said, no big deal.

[jjaks]

thanks, key.
i ordered one a couple of days ago.

cd japan says 'the first release is sold out'
what do they mean?
According to Sony online shop, only first press is in digipak and after that it's in normal one. <-I don't know what's "normal", maybe in jewelcase?
If you can't find a first digipak one, I can find it in my local shop for you.:)

As for the link, a Japanese music writer uploaded that photo and the obi doesn't say nothing special about Japanese release. So I believe it's a sample.

[nufan]

Amazon have caught up with the delay on the vinyl:

-----------------------------------------------------
"Welcome Oblivion [VINYL] [Box set]" by How To Destroy Angels
-----------------------------------------------------

We've learned that, due to a manufacturing defect in the vinyl, we won't be receiving stock of this item in time for the original release date of March 4, 2013. We're sorry to have to let you know that the delivery of your order is likely to be up to 7 days later than you were originally notified.

[Emil Dorbell]

My CDs in the mail! Maybe I'll get it before the weekend. Speaking of which, this is my first CD since Year Zero.

[gorast]

My CDs in the mail! Maybe I'll get it before the weekend. Speaking of which, this is my first CD since Year Zero.
You lucky bastard. Mine's stuck with the vinyl which, it seems, won't be getting to me for well over a week at this point.

[sheepdean]

My experience of buying things from west coast America is I ain't seeing my record til mid-march

[Substance242]

OK, my CD is here! :-) (amazon.de, I'm in Germany now, release is March 1st)

https://www.dropbox.com/s/399nuabkysbi8qv/DSC_0166.jpg
https://www.dropbox.com/s/91r8irbv030nhym/DSC_0171.jpg

Jealous? ;-)

[butter_hole]

i am a bit jealous, actually.

[gorast]

Son of a bitch. I'm very jealous.

I'm a little disappointed that it's not a six-panel digipak, but oh well.

[thefragile_jake]

I always said I wanted the next Nine Inch Nails record to have a feeling of material he wrote for Ghosts I-IV but in an actual song/album format. I'm hoping that what we got in Welcome Oblivion doesn't end up being my wish. The music is all over the place and is really interesting in some parts, really damn cool to be honest with you...but I don't get a sense of attachment to anything in particular. I originally thought How Long sounded out of place the first time I heard it, but in the context of the record..it sounds pretty great. I may be repeating myself here...this is now after a couple listens.

Ice Age is still a standout track, but the rest of it with Mariqueen just kind of falls flat to me. I don't really dig her voice with this stuff...I've really been trying but overall, this record really didn't do it for me.

[sheepdean]

he wrote
Four Members.

[gorast]

Rob says that people who ordered from the HTDA store might get the vinyl before the 19th; otherwise, the label hasn't given him an update. This is irrationally infuriating. I just want my t-shirts, man.

[Substance242]

Some random memories after first listen last night (darkness, bed, headphones): the standout tracks were the first one and surprisingly How Long?, as a very-very-amateur synth hobbyist I can not help but to analyze what exactly is playing at the moment, but during one very strong song in the middle there were so many voices everywhere that it was not possible to keep up :-), then some thoughts like "I know this sound in the right ear from somewhere...", or "breathe - reminds me breathe us in", or "this is definitely YZ reference" (here we go), or "man this is sounding *ucking brilliant, omg, omg, omg", or "increasing volume during the song to build tension... but, again?", or "I wish I found a wife like this and we would make music together, and some babies too if time permits", or "I have to look at the lyrics later"... definitely thinking about the album right in the morning and looking forward to second listen! :-)

[neorev]

Regular CD has leaked

[thefragile_jake]

Four Members.

Oh wait. Well....yes......I wasn't saying it alone was Trent obviously.

I was saying the stuff that Trent wrote and helped create in Ghosts was material that I hoped kind of bled into the next Nine Inch Nails record, that kind of experimentation freedom...but next time used in a song structure format. Almost like a chopped up or 'digestable' Fragile if you will.

Some of that seems like it's the case for HTDA....not that TRENT ALONE wrote it all. Sorry for the mix up....

[unheard78]

Regular CD has leaked
Apart from Substance242's pics, where? Not in the obvious spots to be certain. Though it's only a matter of time as it's available in Germany both physically and digitally. That said, anyone know the status of the vinyl outside the US? I'm still hoping I'm surprised and the vinyl doesn't take THAT LONG to show up at my door, but I'd be lying if I said I didn't feel a small sense of disappointing doom. Now just waiting for the 24/96 on Tuesday.

[sheepdean]

Apart from Substance242's pics, where? Not in the obvious spots to be certain. Though it's only a matter of time as it's available in Germany both physically and digitally. That said, anyone know the status of the vinyl outside the US? I'm still hoping I'm surprised and the vinyl doesn't take THAT LONG to show up at my door, but I'd be lying if I said I didn't feel a small sense of disappointing doom. Now just waiting for the 24/96 on Tuesday.
You mean 24/48

[arsenic]

You mean 24/48

Contrary to what has been stated for the first EP, Welcome oblivion will be available in FLAC 24/96.

http://store.destroyangels.com/product_info.php?cPath=8&products_id=12

[sheepdean]

I guess the issue of server space costs was resolved by Columbia. Yay record labels

[NIN64]

From facebook:
"Unfortunately we've learned that due to a manufacturing error, the Welcome oblivion vinyl has been delayed to March 19th. Our store will be getting the very first shipments from the manufacturer, and we'll ship them out immediately - possibly sooner than the 19th, but no guarantee. And of course if you ordered the vinyl from us you'll still get the digital download on March 5th. The CD release is still on schedule, some people have already received their copies."

[gorast]

Can someone tweet Rob and ask if bundled packages (i.e. vinyl along with CD/merch) are delayed as well, or if they'll be split to avoid the delay? It's a dumb question and the answer is almost certainly "no", but I guess it's worth a shot.

[blugel]

guess i'm going to go pick up the cd at local store to tide me over...

[Leviathant]

Can someone tweet Rob and ask if bundled packages (i.e. vinyl along with CD/merch) are delayed as well, or if they'll be split to avoid the delay? It's a dumb question and the answer is almost certainly "no", but I guess it's worth a shot.

I'm going to guess that bundles will be bundles, and they would like to avoid incurring the extra cost of shipping two packages vs. a single package.

[unheard78]

So someone posted a FLAC rip on a certain site and since I pre-ordered, despite saying I didn't want to (it's not Trent and company's fault, but look what happened. at least they're keeping us in the loop.), and I'm picking up the CD tonight, I downloaded it. I'm pretty certain it's legit, but Too late, all gone appears to be mastered from a lossy source, just like the iTunes Match version a few of us had. Intentional? Fuck-up on Sony/Columbia's part? Will the 24/96 and vinyl masters be different for that track? Lots of questions to ask as this is not normal.

Furthermore, I'm noticing some mastering differences between the pitchfork rip and the final version, though they're very slight, like The loop closes fading on the the webrip and cutting off firmly on the CD.

I know, I'm probably the only one that cares about such things, but it does make me wonder if the pitchfork version wasn't the final master.

[Substance242]

Some thoughts after 2nd listen, not native english speaker, forgive me. :-)

And the sky began to scream - is there manipulated "I can't" from previous track? Interesting different melodies going on at the same time.

Welcome oblivion - one of the sounds reminds me probably "Fuel" (Front 242, 1993).

Too late, all gone - OK, here we are, this one is EPIC. Ghosts, Capital G, Everyday is exactly the same, Great destroyer... so many different effects on voices and not just some random "record pattern - repeat during whole song", amazingly builds up. Must have been tons of work. It feels like I and the song already met before, in a good way. I could listen to 20-minute remix of this with great pleasure.

How long - this is unbelievable production, I literally got shivers... I thought only Alan Wilder can do basslines like in the verse, there are so many sound layers (I wish Depeche were still able to do this, not happening anymore), and even Peter Hook stopped by to throw in a few notes. :-) The singing felt a bit too poppy when I first saw the video, but no, it's perfect. Note how the voice is in the middle of your head, then separated to complete left/right side.

Strings and attractors - I feel it slightly speeds up at some places which I generally don't like, but similarly to Too Late, it's like it is purposely not completely pleasant for a while, so you can later enjoy the climax of chorus (refrain?) that much more. Ends suddently, like HTDA sometime does. Contains Atari 800 XL percussion. :-)

We fade away - again a bit of the trademark howl (wail?) like in the song which attracted me to NIN years ago (We're in this together) or somewhere in TSN soundtrack (Painted Sun - Complication duo, btw they're great), more mellow track, imagine "breath... us in... slowly", HTDA remix 2013.

Recursive self-improvement - game soundtrack, also maybe speeds up sometimes, and the "dramatic" volume increase near end is a bit too much (yes I have volume control:-).

Hallowed ground - the bass-like synth line which repeats the whole time kinda reminds me 1-bit music on Sinclair ZX Spectrum (to be specific, game Trantor, edit - actually I ment Chronos, if anyone remembers), and on different topic I can imagine Trent starting to speak "They're starting to open up the sky" (btw, Zero-Sum has the best rhythm in history of known Universe for me), but then it develops to something else... or, actually, it doesn't develop much, but it's OK like that. :-)

So, the standout tracks for me are now 1 - 7 - 8, but overall it's very pleasant ride and I would not leave out any of its 13 stops (or, maybe just one, but it's still soon after 2nd listen). We have only 1/6 of year behind us, but if Delta Machine even with Flood's help does not happen to be their best since Ultra, I already have my album of the year. :-)

[butter_hole]

So someone posted a FLAC rip on a certain site and since I pre-ordered, despite saying I didn't want to (it's not Trent and company's fault, but look what happened. at least they're keeping us in the loop.), and I'm picking up the CD tonight, I downloaded it. I'm pretty certain it's legit, but Too late, all gone appears to be mastered from a lossy source, just like the iTunes Match version a few of us had. Intentional? Fuck-up on Sony/Columbia's part? Will the 24/96 and vinyl masters be different for that track? Lots of questions to ask as this is not normal.

Furthermore, I'm noticing some mastering differences between the pitchfork rip and the final version, though they're very slight, like The loop closes fading on the the webrip and cutting off firmly on the CD.

I know, I'm probably the only one that cares about such things, but it does make me wonder if the pitchfork version wasn't the final master.
Wow, you're right. Weird... this is from a FLAC rip:

http://i.imgur.com/sr3IKkE.jpg

Not sure if a genuine fuckup or something they couldn't avoid.

[sheepdean]

The HTDA store's vinyl will be delayed too. Ho hum.

[butter_hole]

Wow, Ice age works a LOT better in the context of a full album.

[Reznor2112]

Could someone pretty please PM a link to the FLAC download?

[sheepdean]

Oh come on, 3 days. You really gotta be that guy?

[jessamineny]

Oh come on, it's 2013. You really gotta be that guy?

:P

[unheard78]

Just picked up my US CD and can confirm that TLAG is lossy mastered, same as the rip apparently going around. The 24/96 download could be completely different of course, and it's a possibility any non-American CDs could be different as well. Anyone want to confirm?

[ItsJustDave]

Could someone pretty please PM a link to the FLAC download?

remember word filters?

I'm thinking FLAC -> gay porn

[sheepdean]

But what when I really want a gay porn download?

[dzaver]

I really don't get those spectograms. For Too late, all gone - where do you see the "fuck-up" in the mastering? :) can anyone explain. Will this affect the song? I listened to the pitchfork advance and I couldn't hear any difference compared to other tracks.

And I'm asking myself if HTDA would allow something like that... They are perfectionists when it comes to sight&sound.

[richardp]

But what when I really want a gay porn download?

FLAC (ten characterzzzz)

[seasonsinthesky]

Furthermore, I'm noticing some mastering differences between the pitchfork rip and the final version, though they're very slight, like The loop closes fading on the the webrip and cutting off firmly on the CD.

wait, what? the one i have fades out. you sure it's not the one from An Omen?


I really don't get those spectograms. For Too late, all gone - where do you see the "fuck-up" in the mastering? :) can anyone explain. Will this affect the song? I listened to the pitchfork advance and I couldn't hear any difference compared to other tracks.

And I'm asking myself if HTDA would allow something like that... They are perfectionists when it comes to sight&sound.

the straight line across the top at 16kHz is indicative of lossy (MP3, AAC) encoding. full quality spectrographs show full signal past 20kHz (depending on the musical content).

[ItsJustDave]

But what when I really want a gay porn download?
Ask for beards.

[unheard78]

I really don't get those spectograms. For Too late, all gone - where do you see the "fuck-up" in the mastering? :) can anyone explain. Will this affect the song? I listened to the pitchfork advance and I couldn't hear any difference compared to other tracks.

And I'm asking myself if HTDA would allow something like that... They are perfectionists when it comes to sight&sound.

Just cause they're perfectionists doesn't mean someone else didn't fuck up. It's not going to affect your enjoying the music, but it is a peculiar anomaly in the process, one that Trent generally wouldn't let slip.

[eversonpoe]

Just cause they're perfectionists doesn't mean someone else didn't fuck up. It's not going to affect your enjoying the music, but it is a peculiar anomaly in the process, one that Trent generally wouldn't let slip.

has someone tweeted this info at rob?

[Leviathant]

As a matter of fact, yes.

[Frozen Beach]

Well, this album was boring. I really wanted to enjoy it too. I admit, the mixing is great, but the lyrics come off as cliche NIN lyrics even though Trent didn't write them. Also, some parts of this album are WAY too repetitive for their own good.

[unheard78]

I'm really loving the album, especially listening to it with headphones on at a good volume. I know everyone will scoff at me for this, but I ripped my CD to iTunes Plus AAC 256vbr and listened last night with my iPod classic through some Sony wraparounds. The dub effects in Keep It Together are freaky! I'd love to figure out what all the voices in The Wake-Up are saying too.

[screwdriver]

Just cause they're perfectionists doesn't mean someone else didn't fuck up. It's not going to affect your enjoying the music, but it is a peculiar anomaly in the process, one that Trent generally wouldn't let slip.

also, Trent has been known to fuck up from time to time. just sayin'

[unheard78]

also, Trent has been known to fuck up from time to time. just sayin'

As do all of us! I bought a Black Eyed Peas CD once. Just saying :)

[DVYDRNS]

Oh geeze. Really?

[unheard78]

Oh geeze. Really?

Yeah. Not proud of it. It's hard to defend my hatred of will.i.am's crap when that detail comes up. I guess it comes down to a moment of misunderstanding.

[staleincense]

Still waiting for the 5th. And I've only listened to half of the streamed version once when it was up because my ISP is shit. Also, I probabaly couldn't listen to the FLAC rip even if I wanted to because of that detail.

As do all of us! I bought a Black Eyed Peas CD once. Just saying :)
You monster.

[unheard78]

You monster.

I know. I have to live with this guilt for the rest of my life! :p

[Amnesiac]

Awesome, my CD just shipped! I didn't listen to the stream too much/too closely, so it'll be a new (yet familiar) listen if that makes sense.

[carpenoctem]

Listened to this in the car. I disagree with Trent's test play - it is much better on headphones. I'll reserve final judgment for when the actual CD is in my car, though. I do think that (especially) "The Wake-Up", "And The Sky Began To Scream" and "Welcome Oblivion" are made for open atmospheres though.

[Leviathant]

Along those lines, I was actually surprised at how well "Too Late, All Gone" sounds through my speakers - when they're pointed at your head right, the manipulation of stereo phase in that track is pretty incredible in a way that does not come across at all in my headphones. There are a number of spots on the album like that, actually. That probably wouldn't come across as well in a car, though.

[Radiovoyr]

I think it sounds better in my car than it does on headphones. I feel like HTDA really benefits from having some space to bounce around in.

[richardp]

I keep hearing "I might just fucking kill myself" in We Fade Away instead of "Am I just talking to myself" and it makes the song feel so much darker than it already is.

[Camille]

I'm in London for the weekend and managed to persuade a record shop to sell me a copy of the CD ahead of its UK release.
Nice people.

[sheepdean]

Probably should remove the record store's name, don't wanna get them in trouble if any Columbia people are browsing the site.
Have they got any promo stuff there though? Standees, posters etc?

[Camille]

Probably should remove the record store's name, don't wanna get them in trouble if any Columbia people are browsing the site.
Have they got any promo stuff there though? Standees, posters etc?
Done.
No. No promo material as yet.

[theimage13]

Just got email confirmation (yeah...on a Sunday afternoon?) that my copy from Amazon has shipped. I didn't even bother to look to see what versions might be available via the band's page, because money's tight enough as it is that I nearly didn't purchase it at all.

[hologram parade]

Done.
No. No promo material as yet.

I got a 12x12" double sided poster thing, thicker material with 2 different versions of the cd album cover. only 2 came to my record store, but i did get 3 an omen ep 11x17" posters

[oldschool]

I was able to pick up the album today at a local record store. They all always have Tuesday's releases available during the weekend prior.

[staleincense]

I recieved my UK CD copy from Amazon today, will probabaly be listening to it a little later.

[kenthebear]

To my fellow people in the UK:
I went to go buy this today in HMV, couldn't find it whatsoever. Asked the nice lady for assistance, she said 'oh yeah we've got it!' and took me to the metal section.

so if you can't find it, it's because HMV can't sort genres for shit.

[Max Leo]

Those who have already received or bought their cds have noticed those mastering differences for "Too Late, All Gone" (lower sound quality, if I understood correctly) or "The Loop Closes" (slightly different ending) mentioned before?

Also, are there any pics for the digipack and the booklet?

[gorast]

Has anyone received shipping confirmations for the merch yet? The site said the shirts were supposed to ship out last week, and yet there's been nothing on my account since I placed the order for the second shirt, independent of my already-delayed other order. While the vinyl situation is frustrating, I understand what happened, but I don't see any reason for the shirts not to ship out.

[Camille]

To my fellow people in the UK:
I went to go buy this today in HMV, couldn't find it whatsoever. Asked the nice lady for assistance, she said 'oh yeah we've got it!' and took me to the metal section.

so if you can't find it, it's because HMV can't sort genres for shit.

In my experience, HMV don't really know much about music unless it's in the top shitting ten.

Good you got it in the end though.

[Camille]

Been quite enjoying the new album. I was unsure at first after listening to the stream a few times. I don't think it's something I will play a lot of, but it's really rather good. Nice to have the physical item.

[staleincense]

So, just listened to it in full, great music to listen to in Milkdrop while wearing a pair of Sennhesiers, very immersive. That said, I have to say that some of the later songs did seem to really drag on for a while.

On another note, did anyone else think that Recursive Self-Improvment sounds very Aphex Twin?

[kenthebear]

In my experience, HMV don't really know much about music unless it's in the top shitting ten.

Good you got it in the end though.

I would have agreed with you but in the same store I saw Mogwai's Les Revenants (a soundtrack to a tv show not even shown here) on more prominent display, and even with cheap vinyl copies. Weird stuff.

[Morad]

I still can't believe how impressed I am with Welcome Oblivion. It reminds me so much of Low actually: how the second half just turns over within itself and just surrenders to the soundscapes. It's all pretty staggering.

Here's what I wrote about it for Antiquiet (http://www.antiquiet.com/reviews/2013/03/review-how-to-destroy-angels-welcome-oblivion/), by the way.

[Camille]

I would have agreed with you but in the same store I saw Mogwai's Les Revenants (a soundtrack to a tv show not even shown here) on more prominent display, and even with cheap vinyl copies. Weird stuff.

I must admit I have obtained quite a lot of left field and perhaps difficult to find sounds at HMV over the years. I guess i'm just a little bitter that they have chosen to close all of the stores in my city. A lot of other towns are cities are being left with at least one. They are however leaving us with a branch of Fopp, so that's something.

[sheepdean]

Midnight EST, bring it on

[blassster]

Has anyone received shipping confirmations for the merch yet? The site said the shirts were supposed to ship out last week, and yet there's been nothing on my account since I placed the order for the second shirt, independent of my already-delayed other order. While the vinyl situation is frustrating, I understand what happened, but I don't see any reason for the shirts not to ship out.

Same situation here, only ordered merch. Still quiet.

[sheepdean]

I had a t shirt ordered from a different card and account from the vinyl and nothing either. Maybe they are run the guys at topspin and forgot to tell us?

[Trains]

Just out of interest, what do other peoples order statuses say? My CD pre-order only just changed from 'recieved' to 'processing' so I wonder if that means there'll be a delay in shipping? :confused:

[jessamineny]

Contrary to what the site says ("Ships for March 5 delivery"), when I was talking to Modlife CS, he said they were not allowed to ship anything out before release date.

[arsenic]

Just out of interest, what do other peoples order statuses say? My CD pre-order only just changed from 'recieved' to 'processing' so I wonder if that means there'll be a delay in shipping? :confused:


same here and my order include a vinyl and the last person on earth shirt.

[konkelo]

Interesting to check out the HD FLAC version tomorrow. Never really listened anything in that format so I'm curious to try it out. Bummer to wait the vinyl though but the 320 mp3 and this HD FLAC will keep me satisfied until that.

[caterault]

http://i.imgur.com/tubhl1G.png?1

Managed to find the album on Spotify, noticed some curious additions, look at the release date and the inclusion of the debut EP tracks at the end, spelt in the same format as the rest of the songs.

[sheepdean]

Yeah, iTunes and Amazon are listing it with EP1 too. I reckon this means it'll never be reprinted, if they're selling it with the digital album.

[Papagolash]

Anyone point out yet that Mariqueens singing/humming at the end of Ice Age is used again at the end of Hallowed Ground, only pitched up and sped up a bit?

[The Reason Being]

Yeah I mentioned it the day the stream went live, glad someone else noticed though, gives the album a real sense of closure (Motifs ftw). Think she just sang it again though rather than pitched up Ice Age's version.

[gorast]

My favorite thing is when a distributor waits until the last possible moment to announce a delay. Of course we've known about the vinyl delay for a week now, but Modlife just sent out an email telling me about it. Wonderful.

[howdidislipinto]

According to the HTDA Facebook post today, Apple Lossless WILL be an option, which makes me happy in the ear-pants. (I'm a simple iTunes guy, I like my CD quality music but don't know what the fuck to do with FLAC files.)

[paul_guyet]

Here's my review of Welcome oblivion (http://guidopaparazzi.blogspot.com/2013/03/a-review-of-how-to-destroy-angels.html).

Hope you enjoy.

[butter_hole]

According to the HTDA Facebook post today, Apple Lossless WILL be an option, which makes me happy in the ear-pants. (I'm a simple iTunes guy, I like my CD quality music but don't know what the fuck to do with FLAC files.)
What to do? Why, convert them to Apple Lossless of course. It's easy if you try xoxo

[butter_hole]

Band are doing an AMA on Reddit tomorrow

[sheepdean]

Band are doing an AMA on Reddit tomorrow
I really hate reddit a lot. But of course I'll ask questions.

Who do we think will be answering? All 4, just Q, Q and Trent?

[gorast]

I really hate reddit a lot. But of course I'll ask questions.

Who do we think will be answering? All 4, just Q, Q and Trent?
Q and Trent, dictating the answers for Rob to type up.

EDIT: Album downloads are up, these file sizes seem kind of ridiculous, though. At least you can download all three formats at the same time.

[DigitalChaos]

So what percentage of questions in the HTDA AMA will actually be about HTDA?

$10 says there will be one tapeworm question.

[sheepdean]

I reckon it will be "Trent when's the NIN tour doing American shows" "Trent [insert slur about Mariqueen]" and "Rob I've done this artwork can you take a look".

And about 3 questions about HTDA that will be interesting and intelligent, all of which will be downvoted.

[tyrannus]

Very excited for this to finally be out. Preordered the vinyl from amazon, then decided to cancel that due to the mfr issue and reorder thru the HTDA site. Just discovered that the digital download you get when you preorder the vinyl is the 13 tracks of the normal cd, not the 15 tracks that are on the vinyl/white label. A little disappointed by that as I was itching to experience the album as a 15 track whole, but oh well.

Commence the listening!!

[ComradeCornhole]

Okay, I've been lurking ETS for a handful of years now, and was content to do only that until this very evening. Most unfortunately, the reason I am speaking to you tonight is that the HTDA store cart/checkout process has put me somewhere between pissed and livid. If it's not logging me out when I attempt to "proceed to checkout", it's simply ignoring the command and putting me right back into the cart, like some kind of... closed loop. After about an hour, I passed the impassable and was ready to input payment information, when I noticed that my new best friend the cart is taking the liberty of trying to save me a dollar by making sure that every time I try to order the disc+download, I end up with only the download order. Perhaps the store reflects TR's new tech sensibilities and thinks that optical is a dead medium. Anyway, I gave up to come by here and see if anyone else is having issues, or maybe even have some sage advice. Thanks, folks.

[butter_hole]

Today on sheepdean has a Reddit grudge:


I reckon it will be "Trent when's the NIN tour doing American shows" "Trent [insert slur about Mariqueen]" and "Rob I've done this artwork can you take a look".

And about 3 questions about HTDA that will be interesting and intelligent, all of which will be downvoted.

[LaneSax]

Very excited for this to finally be out. Preordered the vinyl from amazon, then decided to cancel that due to the mfr issue and reorder thru the HTDA site. Just discovered that the digital download you get when you preorder the vinyl is the 13 tracks of the normal cd, not the 15 tracks that are on the vinyl/white label. A little disappointed by that as I was itching to experience the album as a 15 track whole, but oh well.

Commence the listening!!
Yep I actually ignored the streams etc and pre ordered from HTDA store hoping for the 15 track digital download.
Oh well indeed, guess will have to wait a bit longer for the full album experience

[konkelo]

Haha, did anyone else already notice that the artwork in the mp3 version is kind of animating? Every track's artwork is different.

[sheepdean]

Haha, did anyone else already notice that the artwork in the mp3 version is kind of animating? Every track's artwork is different.
Anyone feel like extracting them all? I feel like making a gif :P

[ComradeCornhole]

WO (or is it WO_? Wo_? Who's got the updated abbreviation protocol memo?!) is on Xbox Music. I have an informed feeling that I might be the only one currently here that has, or cares to have, that information. Inb4 M$.

[sheepdean]

Odd spotting - the Tablet wallpapers in the mp3 download list the image author as Neven Mrgan. Might just be a copy/past accident, as he's not mentioned elsewhere.


Okay, I've been lurking ETS for a handful of years now, and was content to do only that until this very evening. Most unfortunately, the reason I am speaking to you tonight is that the HTDA store cart/checkout process has put me somewhere between pissed and livid. If it's not logging me out when I attempt to "proceed to checkout", it's simply ignoring the command and putting me right back into the cart, like some kind of... closed loop. After about an hour, I passed the impassable and was ready to input payment information, when I noticed that my new best friend the cart is taking the liberty of trying to save me a dollar by making sure that every time I try to order the disc+download, I end up with only the download order. Perhaps the store reflects TR's new tech sensibilities and thinks that optical is a dead medium. Anyway, I gave up to come by here and see if anyone else is having issues, or maybe even have some sage advice. Thanks, folks.If you're only going for CD, and are having real issues (that is, after clearing your cache and not using IE), then get it from Amazon. They'll still get the money and you'll get the CD just as soon.

[steelnails95]

!0 Minutes!

[BRoswell]

Band are doing an AMA on Reddit tomorrow

I don't see them listed on the schedule. Am I missing something?

[richardp]

It'd be pretty cool if they let people who bought presale tickets download the album. Just a thought.

[butter_hole]

I don't see them listed on the schedule. Am I missing something?
https://twitter.com/destroyangels/status/308796269596401664

[gorast]

The effect with the track art is really cool and unexpected. I wonder if the other digital releases do the same thing - probably not.

In other news, my orders are finally "processing." The notice on the shirts was apparently misleading - that's rather frustrating, but at least it'll get here soon.

Here's a zip of the track art in full resolution, btw: http://rapidshare.com/files/4140081748/WO.zip

[sheepdean]

It'd be pretty cool if they let people who bought presale tickets download the album. Just a thought.
Trent wrote a post about how that exact thing is sucky. Buy a CD there, get it signed, do it oldschool man.

[wizfan]

Looks like we're not getting the bonus tracks in 24/96 downloads. Slight bummer.

[gorast]

HTDA says no download limits, that's pretty awesome. Modlife 1, Topspin 0 in this case.

Except that Modlife is kind of shitty in all the other aspects. Small victory.

[ComradeCornhole]

Odd spotting - the Tablet wallpapers in the mp3 download list the image author as Neven Mrgan. Might just be a copy/past accident, as he's not mentioned elsewhere.

If you're only going for CD, and are having real issues (that is, after clearing your cache and not using IE), then get it from Amazon. They'll still get the money and you'll get the CD just as soon.
I've ruled out most noob issues. I thought I read somewhere here that the band gets a marginally larger percentage of the sale price when purchased in their store. That's the assumption I was operating under while I was shaking my fist at the heavens and cursing everyone involved, anyway. If that is not the case, I'm happy to scoot on over to Amazon. In other news, HTDA customer service is "out for the weekend" and "will be back Monday".

[sheepdean]

I've ruled out most noob issues. I thought I read somewhere here that the band gets a marginally larger percentage of the sale price when purchased in their store. That's the assumption I was operating under while I was shaking my fist at the heavens and cursing everyone involved, anyway. If that is not the case, I'm happy to scoot on over to Amazon. In other news, HTDA customer service is "out for the weekend" and "will be back Monday".Yeah they will get more from the store - but if you can't get it from the store, then your good intentions are wasted. Try emptying your basket, clearing cache, opening store in new tab and the usual crap that might work, but if all else fails, Amazon. Do note you won't get an instant download from Amazon though.

[gorast]

The album won't copy to my phone (iPhone 3GS) - says the sample rate isn't compatible. That's more than a little infuriating. Whatever, I'll just use the mp3s, I guess.

[DigitalChaos]

fucking rob!
"We borrowed My Bloody Valentine's servers for the @destroyangels launch, so everything should be fine. (https://twitter.com/rob_sheridan/status/308807138963243008)"

lol

[butter_hole]

The album won't copy to my phone (iPhone 3GS) - says the sample rate isn't compatible. That's more than a little infuriating. Whatever, I'll just use the mp3s, I guess.
iDevices only play up to 24/48

[gorast]

iDevices only play up to 24/48
Oh damn it. That's stupid. Why put it out in Apple Lossless if it won't even play on iDevices?

Thanks for telling me why it didn't work, though. MP3 it is, then.

[Harry Seaward]

Holy fucking 1.5GB Batman!

[baudolino]

goosebumps at how long-fucking A record

[NIN64]

Not sure if anyone noticed yet, but the mp3s are tagged with lyrics. Haven't checked the other files types.

[unheard78]

Okay, here are some obvious questions in the wake of the digital release:

1) Why 24/96 if the actual cutoff is 24/48? Were the tapes recorded at 24/48 but mastered at 24/96 for archival reasons? There is activity about 48 but nothing significant.

2) What is the cause of the peculiar spectrals in Too Late, All Gone? Is there a reason it was mastered from what appears to be a transcoded source?

3) Does Trent record to analog, master to analog, etc.? Basically, does he use analog recording tools when finalizing the music he's involved with?

4) Is the vinyl master significantly different from the digital master? Different mastering session for all the tracks?

[sheepdean]

The vinyl isn't out yet - but the fact the tracks are in a different order means there's probably SOME differences, even if minor

[wizfan]

Not sure if anyone noticed yet, but the mp3s are tagged with lyrics. Haven't checked the other files types.

The 24-bit files do not have lyrics. They do have the same embedded artwork as the mp3s, though.

[laci]

I'd like to buy the album on the HTDA site, but the system doesn't like my credit card for some reason. Am I right there is no PayPal option? :(

[sheepdean]

Not sure if anyone noticed yet, but the mp3s are tagged with lyrics. Haven't checked the other files types.How do ya find them? They don't seem to be in mine

[wizfan]

How do ya find them? They don't seem to be in mine

Normally, in a media player which can show every tag in a file (I use and recommend foobar2000), there is a tag called LYRICS. This is where The Slip and NiggyTardust had the embedded lyrics.

[nodylnai]

I have lyrics embedded in the ALAC files, maybe just the FLAC doesn't have them?

[wizfan]

I have lyrics embedded in the ALAC files, maybe just the FLAC doesn't have them?

Probably. Well, that's ONE reason to buy Apple Lossless! *snicker*

[konkelo]

Okay, here are some obvious questions in the wake of the digital release:

1) Why 24/96 if the actual cutoff is 24/48? Were the tapes recorded at 24/48 but mastered at 24/96 for archival reasons? There is activity about 48 but nothing significant.

2) What is the cause of the peculiar spectrals in Too Late, All Gone? Is there a reason it was mastered from what appears to be a transcoded source?

3) Does Trent record to analog, master to analog, etc.? Basically, does he use analog recording tools when finalizing the music he's involved with?

4) Is the vinyl master significantly different from the digital master? Different mastering session for all the tracks?

I don't believe they would release this in 96/24 if they recorded it in 48/24 because it doesn't help anything. Just larger files. I believe they've recorded this in 96/24 or completely in analog so what we get is the maximum, non reduced quality on the lossless files and on vinyl there's of course no limitations on that.

The vinyl master most likely will be a bit different because there are certain stuff on vinyl mastering that you must keep an eye on. For example usually all the bass should be mono under 100hz (not sure about the frequency but anyway) and it can't be so loud on vinyl than on CD, otherwise it gets too distorted especially when the stylus is going near the middle. And of course there's those two extra tracks (+ Welcome oblivion and Ice age are in different order) so there might be some differences in the transitions.

[Leviathant]

As I understand it, the unusual spectrum in Too Late, All Gone is actually the result of some effects by Tom Baker & Alan Moulder. They liked how the song sounded after this particular effect was applied, so they kept it. Rather than being a mastering mistake, or being MP3 sourced, it's actually quite intentional.

It's also something you'd never even notice if you listed with headphones instead of computer monitors.

[Leviathant]

Oh damn it. That's stupid. Why put it out in Apple Lossless if it won't even play on iDevices?

I don't know, I think it's kind of silly to get worked up about not being able to play high quality audio on a portable media player. I think the idea is that you're typically going to be listening to the uber-high-fidelity versions in a controlled environment, to get the most out of those extra bits & extra herz!

[NotinCnStopMeNow]

Does anyone know of a good program that can encode the sample rate down to 24/48? I'd like to still get a lossless recording on my iPhone, I hate mp3 files.

[fortheloveofgod]

Use XLD to encode the flac files to apple lossless. Apple lossless will play on your iphone no problem. Best you can get w/o mp3 on the Iphone.

[sheepdean]

Thanks to nin64 's tip off, ninwiki now has full lyrics for WO (aside from the vinyl tracks).

[hollowsminion]

Apple Lossless + embedded lyrics = AWESOME
Apple Lossless + incompatible iPhone sample rate = NOT AWESOME

Seems somebody didn't think that one through to the end result. Bummer. Off to download again in MP3....

[zecho]

IS THERE OR IS THERE NOT AN UNDERSCORE IN THE BAND NAME? Jesus, are they trying​ to confuse people?

[sheepdean]

IS THERE OR IS THERE NOT AN UNDERSCORE IN THE BAND NAME? Jesus, are they trying​ to confuse people?
How Long? in the file name but not track name is called How Long_. Rob is fucking with us, the band's real name is "Coil's first single"

[hollowsminion]

Does anyone know of a good program that can encode the sample rate down to 24/48? I'd like to still get a lossless recording on my iPhone, I hate mp3 files.

If you're on a Mac, try out Max (http://sbooth.org/Max/). Works great and has a simple interface.

[zecho]

I think that's just because you can't save a file with a question mark in the title. I would like some clarification on the band name though. It looks like they've dropped it on all the site visuals too.

[PhoenixML]

When I talk to my friends, I say : "I listen to How To Destroy Angels Underscore"
They're like : "WOOO! You are such an awesome fan!"

(I'm probably late to the joke party)

[screwdriver]

It'd be pretty cool if they let people who bought presale tickets download the album. Just a thought.

It'd be pretty cool if they let people buy presale tickets, too.


As I understand it, the unusual spectrum in Too Late, All Gone is actually the result of some effects by Tom Baker & Alan Moulder. They liked how the song sounded after this particular effect was applied, so they kept it. Rather than being a mastering mistake, or being MP3 sourced, it's actually quite intentional.

It's also something you'd never even notice if you listed with headphones instead of computer monitors.

Levi, do you have a source on that? (Just curious if there's any interviews on technical stuff, I'm a nerd for that.) Thanks!

[kdrcraig]

Just finished my first listen and I really love it, sounds fantastic with headphones. Pretty awesome that the lyrics show up on the screen when listening on my iPhone.

[BrokenSpiral]

Finally. I'm glad I only listened to the stream a couple times and waited to get it today. Sounds great.

[zecho]

None of the flac files are actually 24/96. A spectral analysis clearly shows that they're transcodes from a much lower quality file. That has to be a mistake. It's a ton of wasted space.

[Conan The Barbarian]

Done with my first listen. I dig it.

[Trains]

Loving it. A really cool record, well worth the wait and not a single weak track. I can't get enough of the title-track, Too Late and We Fade Away. Funnily enough, Strings and Attractors is probably the highlight for me, it's a little more soulful and slow-tempo. I really like how digital the sound is, quite a contrast to Dragon Tattoo, which felt more organic and instrument-lead. The more I listen to it, the more I think it feels quite distant from the 2010 EP; and whereas with that initial record the band felt quite intangible and undefined, now they're a project I feel quite passionate about. Damn good record!

[Leviathant]

Levi, do you have a source on that? (Just curious if there's any interviews on technical stuff, I'm a nerd for that.) Thanks!

My source would be Tom Baker, via Rob Sheridan. I'm sure someone will ask the question during the upcoming Reddit AMA, maybe the answer will get reiterated there.
zecho when you say "much lower quality" you sound as though the FLACs are from 22khz 8-bit files. Is this the kind of thing you'd notice if you didn't run a spectral analysis?

[zecho]

No, it's still flac, so it's still good quality. I'm absolutely fine with the quality, just not selling it as higher than it is. It takes up more disc space as well, and that's my primary concern.

Here's what Discipline looks like:
http://i.imgur.com/5CRUZiB.png


Here's what Welcome oblivion looks like:
http://i.imgur.com/fVmeyTD.png

[BenAkenobi]

Rob must've ran out of free kilobytes on that floppy drive. whatever. makes me more comfortable believing i'm getting the CD as optimal medium :)

[baudolino]

Haha, did anyone else already notice that the artwork in the mp3 version is kind of animating? Every track's artwork is different.


To me it appears that they are showing the mp3 embedded artwork of randomly selected tracks from my whole library. pretty weird...

[witte]

downloaded apple lossles: dropped it in iTunes, not getting it on my iPhone
downloaded flac; converted it to apple lossless: dropped it in iTunes, not getting it on my iPhone

wth is going on?

[poinoup]

Just grabbed the CD from HMV. They only ordered one copy and held it back for me behind the till. Guess that is what happens when you're known as the NIN guy in my town.

[NIN64]

downloaded apple lossles: dropped it in iTunes, not getting it on my iPhone
downloaded flac; converted it to apple lossless: dropped it in iTunes, not getting it on my iPhone

wth is going on?


iDevices only play up to 24/48
Already answered on last page.

[konkelo]

None of the flac files are actually 24/96. A spectral analysis clearly shows that they're transcodes from a much lower quality file. That has to be a mistake. It's a ton of wasted space.

Can you do the same with the Apple lossless files?

[NoneOfThisIsReal]

Umm...Year Zero 2 anyone?

Don't get me wrong, great album...really enjoyed it the first time through...seeing them in April.

To me, though, the music, lyrics, production are eerily similar to Year Zero.

[unheard78]

As I understand it, the unusual spectrum in Too Late, All Gone is actually the result of some effects by Tom Baker & Alan Moulder. They liked how the song sounded after this particular effect was applied, so they kept it. Rather than being a mastering mistake, or being MP3 sourced, it's actually quite intentional.

It's also something you'd never even notice if you listed with headphones instead of computer monitors.

That's rather interesting about the effect. Thanks.

By the way, just found it funny you mentioned the computer monitor speakers. Honestly, I almost exclusively listen to music on an older stereo system I have or with headphones. My car system is good too, though I generally don't trust manufacturer sound systems for heavy detail. I use a 160gb iPod Classic for most playback but I play the CDs or burnt copies of vinyl rips at home and sometimes in my car as the difference is noticeable on higher-fidelity recordings. Just saying.

[unheard78]

None of the flac files are actually 24/96. A spectral analysis clearly shows that they're transcodes from a much lower quality file. That has to be a mistake. It's a ton of wasted space.

They're not transcodes, they're just 24/48 files mastered at 24/96. I agree, it's a ton of wasted space, but that doesn't make them lower quality transcodes.

[unheard78]

No, it's still flac, so it's still good quality. I'm absolutely fine with the quality, just not selling it as higher than it is. It takes up more disc space as well, and that's my primary concern.

Didn't see this post. You've got the idea.

[Leviathant]

By the way, just found it funny you mentioned the computer monitor speakers. Honestly, I almost exclusively listen to music on an older stereo system I have or with headphones. My car system is good too, though I generally don't trust manufacturer sound systems for heavy detail. I use a 160gb iPod Classic for most playback but I play the CDs or burnt copies of vinyl rips at home and sometimes in my car as the difference is noticeable on higher-fidelity recordings. Just saying.

Sorry, by computer monitors, I meant LCD panels.

[wizfan]

If they really are 24/48 to 24/96 transcodes, there should be a lot of bitching over at Hydrogenaudio. Remember the error with the Slip hi-fi files? They fixed it immediately. If the HTDA files are bad, you'd think they would notice immediately.

Aside from that, goddamn, WO is compressed as fuck, even in 24-bit.

[thelastdisciple]

Just grabbed the CD from HMV. They only ordered one copy and held it back for me behind the till. Guess that is what happens when you're known as the NIN guy in my town.

I saw three other copies at the location closest to me here in Calgary, thankfully grabbed mine this morning and it sounds fucking amazing. Very crispy on my boom box.

http://i.imgur.com/UEXSARpl.jpg

[blassster]

If they really are 24/48 to 24/96 transcodes, there should be a lot of bitching over at Hydrogenaudio. Remember the error with the Slip hi-fi files? They fixed it immediately. If the HTDA files are bad, you'd think they would notice immediately.

Aside from that, goddamn, WO is compressed as fuck, even in 24-bit.

I believe the 48 source --> 96 mastered happened with the GDT soundtrack, too.

[danzo_rezno]

Perhaps the store reflects TR's new tech sensibilities and thinks that optical is a dead medium.

Actually I think I read the opposite, Trent loves physical releases which reflect in the effort Rob and himself but to each release,
I actually remember in the same article that he'd love to release CD's (the popular media at the time) but in a Vinyl sleeve,
so the, say album, you buy will look like a Vinyl back to front but just contain the CD in the sleeve instead.

Guess he's kinda done it now with the Vinyl/CD release of WO :D

[DigitalChaos]

My source would be Tom Baker, via Rob Sheridan. I'm sure someone will ask the question during the upcoming Reddit AMA, maybe the answer will get reiterated there.
@zecho (http://www.echoingthesound.org/community/member.php?u=1086) when you say "much lower quality" you sound as though the FLACs are from 22khz 8-bit files. Is this the kind of thing you'd notice if you didn't run a spectral analysis?

ROFL
Did he just shit all over the super high end audiophile people?

[DigitalChaos]

Also, I guess I was close with guessing that it was the source samples and/or instruments used that created the weird frequency shelf.

[Camille]

Anyone know if there are any banners for the album?

[jhulud]

Does Apple Lossless generally take FOREVER to download even when in a zip file?!?!

This is my first time ever downloading that format. Always went w/ MP3 zip before.

[gorast]

Does Apple Lossless generally take FOREVER to download even when in a zip file?!?!

This is my first time ever downloading that format. Always went w/ MP3 zip before.
Yeah, it's about 1.25 GB for the audio. The rest is all the visuals and shit that were thrown in there.

[jhulud]

I ended up 86'ing the Apple Lossless download. My PC is bursting at the seams as it is. Went with MP3 zip. Just wanted to hear the damn thing.

[danzo_rezno]

This is how it all begins.

I like that (reference) :)

[butter_hole]

I believe the 48 source --> 96 mastered happened with the GDT soundtrack, too.
TR records and mixes at 48. He's been pretty clear about that..

[eversonpoe]

TR records and mixes at 48. He's been pretty clear about that..

seeing as most humans can't hear anything above 20kHz, i don't understand why people are so eager for anything above 48kHz (in case you don't know, the sample rate should be at least twice what you're trying to reproduce...thus 48kHz allows you to reproduce sounds up to 24kHz). i, personally, record at 44.1kHz because i don't like trans-coding from 48 down to 44.1

[butter_hole]

yeah yeah pitchfork sucks i get it go fuck yourself, but this is several points well made:

http://pitchfork.com/reviews/albums/17675-how-to-destroy-angels-welcome-oblivion/

[thefragile_jake]

Pretty accurate review of the record I'd say.

...and ow, HTDA wasn't even the "worst" reviewed record today....they panned that new Suuns albums kind of.

[laci]

Made a FB note of the questions and answers, hope this helps if you don't like the reddit site: https://www.facebook.com/notes/ninhu/redditcom-htda-ask-me-anything-interj%C3%BA/10151361139838867

[unheard78]

Don't care what Pitchfork says. They'll give mediocre reviews to good records but review a Lil B album like it's a serious work of art. They suck.

[kenthebear]

I don't mind Pitchfork but Grayson Currin is a fucking hack. He has several reviews were he meanders on about different bands, or more often, nothing, for half the review and others, such as his review for Exai, which miss the point more than Stevie Wonder doing archery. Not surprised to see the HDTA review is no different.

[eversonpoe]

yeah yeah pitchfork sucks i get it go fuck yourself, but this is several points well made:

http://pitchfork.com/reviews/albums/17675-how-to-destroy-angels-welcome-oblivion/

i'm really sick of people thinking that the sustained-note reverb effect that they've employed a couple of times (a la the space in between) keeps being mistaken for auto-tune. trent has stated that they don't auto-tune vocals, and it really doesn't even sound that much like auto-tune.

[Canuckle]

Posted this in the spotting thread as well...


Minor point... but doing their jobs correctly should also entail being accurate in their facts.

"Nine Inch Nails (http://pitchfork.com/artists/3043-nine-inch-nails/)' Year Zero (http://pitchfork.com/reviews/albums/10125-year-zero/) made its way into the world as part of a massive multimedia campaign that included a dystopian storyline, a video game (http://pitchfork.com/news/48417-trent-reznors-call-of-duty-black-ops-ii-video-game-music-gets-commercial-release/), a remix album, an as-yet-unmade film and, famously, USB devices containing parts of the record left in European bathroom stalls."

The 'a video game' links to this... http://pitchfork.com/news/48417-trent-reznors-call-of-duty-black-ops-ii-video-game-music-gets-commercial-release/

It's typical of Pitchfork to try and sound smarter than they are and the review is no different. While I accept the critique and some good points are made, the author appears to have a preconceived idea of what should be on the album and appears disappointed when the album splays in various directions. Also, the apparent TR complex is embedded throughout (e.g., the first 2 paragraphs are dedicated to TR's doings over the past number of years). I would love to see what half these reviews would say given that TR wasn't attached by name. I bet we would see some change, both good and bad.

[screwdriver]

Pretty accurate review of the record I'd say.

...and ow, HTDA wasn't even the "worst" reviewed record today....they panned that new Suuns albums kind of.

for what its worth, the review isn't even that far off from AMOK -- which you would think would be a Pitchfork shoe-in. seems like an honest review from the reviewer, albeit one that comes in with a ton of baggage. I am loving this album more than any of Trent's output since With Teeth, so to each his own.

[Canuckle]

for what its worth, the review isn't even that far off from AMOK -- which you would think would be a Pitchfork shoe-in. seems like an honest review from the reviewer, albeit one that comes in with a ton of baggage. I am loving this album more than any of Trent's output since With Teeth, so to each his own.

Bingo. No one should be basing their tastes on reviews and I find it almost counter-intuitive to read reviews AFTER you have experienced the album. Sometimes, they shed light on things you may not have realized; but most of the time, it simply ends up confusing your personal experience with the record as it becomes more difficult to tell what is your genuine reaction versus what you hearing based on the review.

I personally read reviews (and multiple ones) to get a gauge on an album I have not heard and if it's worth my time sitting down and listening to for 60+ minutes.

The keyword there is READ, as I find the scoring system for most reviewers inherently flawed.

[eversonpoe]

finished my first listen-through today and my one criticism is that "hallowed ground" contains the same piano motif that trent has been using for years, now. as fun as it was to hear that interwoven in songs the first few times, it is getting old. i still enjoyed the song, and i loved the album, but hearing that piano motif again seemed stale. :/

[thepresence0]

Here are a couple reviews I personally found to be a lot more interesting and enlightening than the Pitchfork review:

http://blog.kexp.org/2013/02/25/album-review-how-to-destroy-angels_-welcome-oblivion/

http://www.antiquiet.com/reviews/2013/03/review-how-to-destroy-angels-welcome-oblivion/

I found both of these takes to be from people who were clearly very familiar with Reznor's body of work and inspirations. Well worth reading.

[screwdriver]

Here are a couple reviews I personally found to be a lot more interesting and enlightening than the Pitchfork review:

http://blog.kexp.org/2013/02/25/album-review-how-to-destroy-angels_-welcome-oblivion/

http://www.antiquiet.com/reviews/2013/03/review-how-to-destroy-angels-welcome-oblivion/

I found both of these takes to be from people who were clearly very familiar with Reznor's body of work and inspirations. Well worth reading.

yeah but then you have to read antiquiet :confused:

the kexp review was interesting, albeit seemed to be obsessed with dropping as many references as possible

really digging this album. excited for the vinyl to arrive at some point; just been rocking it on spotify until then. contemplating also buying a CD because my fanboyism is out of control and this album is great.

[jessamineny]

The Antiquiet review is by an ETS member, you know.

[bgalbraith]

Ha!


@trent_reznor: Mandatory bad Pitchfork "review" alert! Comforting to know some things are a constant and entirely predictable in these confusing times.
https://twitter.com/trent_reznor/status/309361685058174977

Also, while I think the Pitchfork review goes out of its way to be obtuse, it is important to have disinterested reviews from non-fans. I bought the vinyl version as soon as I could, so this review isn't targeted at me.

[staleincense]

yeah yeah pitchfork sucks i get it go fuck yourself, but this is several points well made:

http://pitchfork.com/reviews/albums/17675-how-to-destroy-angels-welcome-oblivion/
I will admit it had good points, but the reviewer does seem to exaggerate them tbh. Ah well, it's Pitchfork. This isn't really bad at all when you look at some of the stuff they say.

[thepresence0]

Welcome Oblivion is clearly not an album for most people. Hell, it's not an album for most avid music listeners. It appeals to a specific niche the way certain authors appeal to certain readers. The album is commentary on the difficult times we live in, and a meditation on the role that technology has on our lives. It is not a danceable pop album, and there is a definite barrier to entry.

It's also completely unlike anything else that exists right now. If there is one part of the Pitchfork review that I despised, it was this:

"At its worst, Welcome Oblivion is passé and redundant, suggesting recent successes by Salem (http://pitchfork.com/artists/27383-salem/), Burial (http://pitchfork.com/artists/4806-burial/), Laurel Halo (http://pitchfork.com/artists/28822-laurel-halo/), Purity Ring (http://pitchfork.com/artists/29405-purity-ring/), Gold Panda (http://pitchfork.com/artists/28121-gold-panda/), and a litany of others without improving upon them."

I think those comparisons are pretty ridiculous.

[kenthebear]

I didn't even notice the Burial comparison. Looking forward to his next review:

"The new Aphex Twin album is pretty good, but it doesn't sound like Pantera. 3/10"

[screwdriver]

The Antiquiet review is by an ETS member, you know.

... ok, I'll be nice(?)

[jessamineny]

I think the suggestion that WO is "not an album for most people" and that it "appeals to a niche" is actually more damaging to the album than anything Currin said in his Pitchfork review. (And I don't think it's that bad of a review, honestly.) This is not elitist music. It's not impenetrable. It's not highly experimental. It has the same pop sensibility that has driven TR's work over two decades, even ratcheted up a few degrees. It wasn't recorded for the lucky few who could "get it."

Why do you think the comparisons to those bands are ridiculous? I'm not arguing or disagreeing with you on this point, but I'm curious to hear more of your thoughts on this.

[jessamineny]

... ok, I'll be nice(?)

::chuckles:: That was more for the commenter before you. :)

[gorast]

I think maybe you guys aren't looking at this the right way. Low-scoring reviews happen - they're almost guaranteed when an album isn't a near-objective masterpiece. The Pitchfork review does get some background information wrong, and yeah, it focuses on Reznor a bit too much (there are three other people contributing to the project, Pitchfork), but those things don't automatically rule the review out as a bad one. Defending the album by saying it isn't supposed to appeal to the masses is, in my opinion, an insulting thing to say about it - it's very obviously supposed to appeal to a wide spectrum of people. That's why there are bigger swells of pop sensibilities in the album when compared to previous work - that's why it was released through fucking Columbia Records. To get to as many people as possible. If HTDA were going for a niche market, they would've posted a download link on Tumblr with zero promotion and no label.

I think Trent's reaction to the review was a bit of a knee-jerk one. Might be because Pitchfork premiered the album themselves and then proceeded to have a reviewer shit on it. They certainly didn't have any obligation to put out a glowing, cock-sucking review, though.

[thepresence0]

It might be damaging to the album if you are uncomfortable with the thought that this isn't going to be universally loved, or that universal love is a requisite of "success".

I didn't say the music was elitist or impenetrable. I specifically said there is a "definite barrier to entry". It simply is not the kind of thing most people listen to. There are 7 billion people on the planet, fwiw, and a niche of that really isn't so bad :) I'm not saying there isn't a large audience for this album. Just that it is inevitably not going to stick around on the charts. My assumption is that the HTDA collective have realistic expectations for how the album will perform. If it happens to set the world on fire, great. If it doesn't and they still get to say what they want to say and put on amazing, sold out live shows, that's great too.

As for the Pitchfork reviewers comparisons to Burial, Salem, etc... I simply do not hear that in HTDA. If someone were to ask me "What does Welcome Oblivion sound like?" I would be hard pressed to come up with anything outside of Trent's other material (or soundtrack collaborations with Atticus). Trent's sound hasn't been well copied by anybody, and almost exists as a sub-genre unto itself.

[thepresence0]

fwiw, I don't pretend to know how big of an audience HTDA wants or what they consider to be successful. If I had to guess, they want as big an audience as they can get, of course?

When I state that it's a niche album, I am giving you my personal opinion that is is a niche album. It's not going to appeal to everyone. And if it doesn't, that doesn't make it good or bad. Or successful or not successful. It is what it is, and the people who find it will either love or hate it. The album will likely sell well enough, and the live shows will certainly continue to sell out. That's successful enough for me. I don't expect it to be some kind of big crossover success, nor do I believe it is a requirement that everyone "gets it".

The Pitchfork reviewer was honest enough. I don't really have an issue with it, other than making comparisons to other acts that are peculiar, and getting his facts wrong.

[zecho]

Has anyone else noticed that the embedded lyrics for How long? kind of get weird a few lines in? Like, completely wrong, nowhere close to what's being sung, and completely incoherent.

"They can't have it (stronghold) build a fortress - so familiar - built of"

I have to wonder if the wrong thing was copy/pasted there. It's really weird.

[thepresence0]

I doubt it's a typo. Looks to keep in Trent's tradition of putting the wrong or slightly different lyrics into the notes. Possibly a variation of the song that will appear in the live show?

[Canuckle]

Dammit.... I wish Trent would stay out of the way sometimes. By simply mentioning the review he drives traffic there.

Be the bigger man and just walk away knowing that there is a large sub set of people who truly enjoy the album.

[Kid Charlemagne]

This isn't even the first time P4K has streamed an album and promoted it then gave a less than glowing review. FIDLAR's album was up for streaming on the site and got a similar review, as did Sonic Youth's "The Eternal" three years ago. I also thought the comparisons to Purity Ring and Gold Panda, with the former putting out a similar but much better album last year. While I do think the focus was too much on Reznor, I think the review is spot on to my opinion on the album. It's pretty divisive and I think an album only diehards (like the clientele on this site) are going to enjoy much more than your normal guy who hasn't been following Trent like you guys (myself, sometimes) does.

Also, I'm really puzzled on Reznor's relationship with Pitchfork. It's no secret that I back Pitchfork, and read it a couple of times to day, so it's odd to see Reznor announcing NIN's reformation on the site and having this album stream on their site considering they've given him low scores before and NIN/HTDA aren't exactly projects your normal Pitchfork reader is excited to hear. I remember Reznor being stoked when they gave the PHM re-release a glowing score and with his tweet today (and I recall him being similarly pissed off at another review for one of his projects), it's tough to see the connection. I guess he figures, whether we like it or not, that Pitchfork is THE source for alternative music or am I reading too much into this?

[thefragile_jake]

This isn't even the first time P4K has streamed an album and promoted it then gave a less than glowing review. FIDLAR's album was up for streaming on the site and got a similar review, as did Sonic Youth's "The Eternal" three years ago. I also thought the comparisons to Purity Ring and Gold Panda, with the former putting out a similar but much better album last year. While I do think the focus was too much on Reznor, I think the review is spot on to my opinion on the album. It's pretty divisive and I think an album only diehards (like the clientele on this site) are going to enjoy much more than your normal guy who hasn't been following Trent like you guys (myself, sometimes) does.

Also, I'm really puzzled on Reznor's relationship with Pitchfork. It's no secret that I back Pitchfork, and read it a couple of times to day, so it's odd to see Reznor announcing NIN's reformation on the site and having this album stream on their site considering they've given him low scores before and NIN/HTDA aren't exactly projects your normal Pitchfork reader is excited to hear. I remember Reznor being stoked when they gave the PHM re-release a glowing score and with his tweet today (and I recall him being similarly pissed off at another review for one of his projects), it's tough to see the connection. I guess he figures, whether we like it or not, that Pitchfork is THE source for alternative music or am I reading too much into this?

No I think you're completely on the money. I too read Pitchfork often, generally agree with much of their consensus on certain records and pretty much check it every day. I also check out the other popular review blogs like Consequence of Sound or Tiny Mix Tapes but I find myself more interested in what Pitchfork has to say, plus I loved going to their festival in 2011...it was one of my favorite live music experiences so I tend to back them up.

They once mentioned Trent Reznor as the cool uncle or something to that affect and they know he has great taste in music and is constantly trying to be innovative when it comes to experiencing both his music as well as new music in general. Sure, 1999 was a different time for Pitchfork (look at who they cover sometimes now) and I laugh at that Fragile review these days but they seem to appreciate Trent Reznor and Nine Inch Nails as a whole. I can totally see The Fragile getting a "best new reissue" when it comes out.

They're just being honest with their opinion and quite frankly, besides some points in the article..I see what the reviewer is getting at. I don't think Welcome Oblivion is horrible by any means, it's just not as interesting to me. I think a 6 quite frankly is not too bad considering how Pitchfork can often really give hurt an album. Look at the M.I.A. situation, they let her take over Pitchfork's social media and by the time her record came out they gave it a 4. I like that Pitchfork doesn't just cater opinions to who they like, they're honest most of the time with what they think. I think Trent likes Pitchfork just as much too, he praised their advance album streaming and had the Nine Inch Nails reunion be a Pitchfork exclusive. I don't think this hurts the album, most people that read Pitchfork and like Trent's work will be into this just fine.

[simonn]

Didn't think I'd be saying this after The Omen EP which to me was so so, but I utterly love this album! Most consistent thing TR has been involved in since The Fragile in my opinion, I like every album released subsequently, but they always had two or three songs that just didn't do it for me at all. With the possible exception of Strings and Attractors, which still doesn't really grab me, (I know I'm in the minority on that one!) I just love the atmosphere evoked throughout, so bleak, and yet so compellingly listenable. Brilliant stuff.

Makes me want to know, is there anything similar musically, because I want to listen to it now!? Suggestions appreciated.

[Canuckle]

Makes me want to know, is there anything similar musically, because I want to listen to it now!? Suggestions appreciated.

You clearly did not read the Pitchfork review... ;)

[thepresence0]

Didn't think I'd be saying this after The Omen EP which to me was so so, but I utterly love this album! Most consistent thing TR has been involved in since The Fragile in my opinion, I like every album released subsequently, but they always had two or three songs that just didn't do it for me at all. With the possible exception of Strings and Attractors, which still doesn't really grab me, (I know I'm in the minority on that one!) I just love the atmosphere evoked throughout, so bleak, and yet so compellingly listenable. Brilliant stuff.

Makes me want to know, is there anything similar musically, because I want to listen to it now!? Suggestions appreciated.

I would seek out the stuff that has inspired Trent over the years. Not to point out the obvious, but Coil comes to mind :)

[Kid Charlemagne]

No I think you're completely on the money. I too read Pitchfork often, generally agree with much of their consensus on certain records and pretty much check it every day. I also check out the other popular review blogs like Consequence of Sound or Tiny Mix Tapes but I find myself more interested in what Pitchfork has to say, plus I loved going to their festival in 2011...it was one of my favorite live music experiences so I tend to back them up.

They once mentioned Trent Reznor as the cool uncle or something to that affect and they know he has great taste in music and is constantly trying to be innovative when it comes to experiencing both his music as well as new music in general. Sure, 1999 was a different time for Pitchfork (look at who they cover sometimes now) and I laugh at that Fragile review these days but they seem to appreciate Trent Reznor and Nine Inch Nails as a whole. I can totally see The Fragile getting a "best new reissue" when it comes out.

They're just being honest with their opinion and quite frankly, besides some points in the article..I see what the reviewer is getting at. I don't think Welcome Oblivion is horrible by any means, it's just not as interesting to me. I think a 6 quite frankly is not too bad considering how Pitchfork can often really give hurt an album. Look at the M.I.A. situation, they let her take over Pitchfork's social media and by the time her record came out they gave it a 4. I like that Pitchfork doesn't just cater opinions to who they like, they're honest most of the time with what they think. I think Trent likes Pitchfork just as much too, he praised their advance album streaming and had the Nine Inch Nails reunion be a Pitchfork exclusive. I don't think this hurts the album, most people that read Pitchfork and like Trent's work will be into this just fine.

CoS gave a more favorable review to the album, although it didn't seem like they thought the album was anything spectacular. Judging by the Pitchfork review, you'd have thought they would've given it a 4.2 or something. I back Pitchfork for their views as well as their free showcases they do for SXSW here, they always have awesome things and Ryan who owns it always tweets me back if I tweet at him.

And yeah, the site has changed since '99, and I'd be willing to agree that a Fragile reissue would get a more favorable review. Case and point, the original review for PHM and the review for the reissue. I also agree that this won't hurt sales, I think HTDA have put out enough material and promoted enough to the fact that anyone who's going to buy it, isn't going to be spoiled by any negative reviews. Then again, they never liked West Indian Girl either, so we probably should've seen this review coming.

[sheepdean]

Anyone know if there are any banners for the album?

http://pagead2.googlesyndication.com/pagead/imgad?id=CICAgIDQodfGYBCsAhj6ATIIAW9oVqGN030

There's a wide one too that I saw but forgot to grab, and no tall one seen yet

[Camille]

http://pagead2.googlesyndication.com/pagead/imgad?id=CICAgIDQodfGYBCsAhj6ATIIAW9oVqGN030

There's a wide one too that I saw but forgot to grab, and no tall one seen yet

Thank you, it's appreciated.

[WorzelG]

Personally I think if Pitchfork started to give rave 9.8 reviews to everything Trent was involved with, it would come across as insincere given how they plug him, people would just dismiss the review thinking it had been 'paid for' (although I haven't read it because it would just annoy me, compared to before 6/10 is positively glowing)

[danzo_rezno]

Fucking loving the sounds in the background of "ATSBTS"

https://dl.dropbox.com/s/c8yb7xv7478a4d0/newtest.wav?token_hash=AAE-4gAkOnkGkCGAP_LDmnMB1yjCLDzE1c3BEO4L-ZzuGg&

EDIT: MP3 https://dl.dropbox.com/s/nyccicch9ytou4g/newtest.mp3?token_hash=AAHD0gdfowzxt28Ol6r5Nn9_dON _ZHUJi5OV5yNqHvKYnw&

[Magtig]

Much of the criticism has a central theme around WO being disjointed, but you could just as easily divide an album like The Fragile up into categories like white-boy funk (Slipping Away, Where is Everybody), heavy industrial (No You Don't, Starfuckers, Wretched), soundtrack songs (all the instrumentals, The Day the World Went Away, The Great Below) and then call it disjointed. I think what binds the collection of songs together on WO are the conceptual themes, minimalism and sound design aesthetic. But then, it's all a matter of perception, just look at the comments in this thread declaring it to be the most cogent Reznor album in years.

At this point in his career Trent probably often has a 'damned if you do, damned if you don't' sentence hanging over everything he does. I am by no means saying that's an excuse for bad music (most of the soundtrack work bores me to death, and I love instrumental music), but it seems as if he is often held to a higher standard. Ultimately, I'm not sure if that's a good or bad thing; more importantly, it's a great reason for him to do whatever the flying cunt he wants.

My personal take is that I love Welcome Oblivion, but I'd love even more to see him push further still outside his comfort zone.

[butter_hole]

Disjointed? I don't get that. I think the album is incredibly cohesive. It's more Mariqueen's boring vocals, the shitty lyrics and uninspired melodies - and the music I feel like I've already heard ten times before from Trent and Atticus. Remember, TR and AR have produced, to date:

Year Zero
parts of Niggy Tardust
Ghosts
The Slip
HTDA EP
The Social Network
TGWTDT
An Omen
WO

in just under 5 years. That's what, six, seven hours of music?

I really, really hope whatever he's doing with this new NIN stuff has nothing to do with Atticus, nothing to do with his home studio and sounds a little different than a drum machine and the Swarmatron, because after all this, I can barely tell it apart.

Not to say I haven't enjoyed 90% of it, not to say I haven't already purchased all of it. And yes, Mariqueen can fucking rock it sometimes, see: The Space In Between and Is Your Love Strong Enough?

But it's just CHRIST, Trent, try something new.

[Max Leo]

Personally I think if Pitchfork started to give rave 9.8 reviews to everything Trent was involved with, it would come across as insincere given how they plug him, people would just dismiss the review thinking it had been 'paid for' (although I haven't read it because it would just annoy me, compared to before 6/10 is positively glowing)
Exactly, they just can't give a high rated review to "Trent Reznor's side project". If this album had been released by an unknown hipster new band, Pitchfork would (or should) talk about its amazing production/sound or about how good the songs are, but sadly Trent couldn't have released this album hiding his own involvement because his style is extremely recognizable, HTDA's music, production and lyrics (even if Q wrote them) are too "reznorish" and everybody would know immediately that Reznor and "his people" (Ross, Sheridan, Q) were behind this album, otherwise Pitchfork's rating would (or should) be higher.

[Leviathant]

I really, really hope whatever he's doing with this new NIN stuff has nothing to do with Atticus, nothing to do with his home studio and sounds a little different than a drum machine and the Swarmatron, because after all this, I can barely tell it apart.

I'm curious, can you point out which songs on the HTDA LP sound like which songs on anything released in the past decade? I'll give you that one of the tracks has elements from, what, Vessel? And I think there might be a sound from one of tracks on TGWTDT in the beginning of one of the HTDA songs. But aside from sharing an instrument (I mean, face it, there's guitars on every NIN album, and they're not difficult to tell apart) can you list out which songs remind you of other songs? Which songs on the LP even feature swarmatron? I'm not trying to be snide, I'm honestly curious.

[imail724]

Disjointed? I don't get that. I think the album is incredibly cohesive. It's more Mariqueen's boring vocals, the shitty lyrics and uninspired melodies - and the music I feel like I've already heard ten times before from Trent and Atticus. Remember, TR and AR have produced, to date:

Year Zero
parts of Niggy Tardust
Ghosts
The Slip
HTDA EP
The Social Network
TGWTDT
An Omen
WO

in just under 5 years. That's what, six, seven hours of music?

I really, really hope whatever he's doing with this new NIN stuff has nothing to do with Atticus, nothing to do with his home studio and sounds a little different than a drum machine and the Swarmatron, because after all this, I can barely tell it apart.

Not to say I haven't enjoyed 90% of it, not to say I haven't already purchased all of it. And yes, Mariqueen can fucking rock it sometimes, see: The Space In Between and Is Your Love Strong Enough?

But it's just CHRIST, Trent, try something new.
You forgot With Teeth. I too would like to see what a new NIN album would sound like without Atticus, but it's not gonna happen. Not complaining either, I love Atticus's work with Trent and think Year Zero is right behind TDS and TF on my favorites list, but after all this time of the two of them working together I can't help but wonder what Trent might produce without Atticus nowadays.

[butter_hole]

I'm curious, can you point out which songs on the HTDA LP sound like which songs on anything released in the past decade? I'll give you that one of the tracks has elements from, what, Vessel? And I think there might be a sound from one of tracks on TGWTDT in the beginning of one of the HTDA songs. But aside from sharing an instrument (I mean, face it, there's guitars on every NIN album, and they're not difficult to tell apart) can you list out which songs remind you of other songs? Which songs on the LP even feature swarmatron? I'm not trying to be snide, I'm honestly curious.
I wasn't saying everything from YZ to present sounds the same, just that it's beginning to sound like he's too comfortable. I'd take this over waiting five years for an album, and his workflow is clearly better, but is it producing stale, mostly-filler I've-heard-this-before tracks? I'd say yes, in some cases.

I don't have the album handy nor have I properly learned all the track names but I'll get back to you... There's definitely Swarmatron on a bunch of tracks. And yes, that was a huge generalization. I'm just saying, for a guy who's all about digital manipulation and using technology as a tool and not a crutch, it shouldn't be so obvious that it's him making the music.

But maybe I'll change my mind.

(My main problem is Mariqueen.)

[BRoswell]

Zzzzzz...

Huh? Oh. Sorry. Dozed off there for a second.

[Shnoorum]

I think HTDA have actually taken over as my favourite band. Mariqueen, Atticus, Trent and Rob in one band is just the greatest thing around since kittens were invented in my opinion. Mariqueen seems to be the member that gets the most slack around here which I suppose is understandable seeing as this is a NIN board and all but I think shes incredible. I mean no disrespect to Trent at all here but I just couldn't imagine him singing any of her parts at all. Her voice makes the album methinks.

On a different note, this is a longshot since I've had a look round and so no mention of this at all but has anyone heard the bonus tracks yet? I know the vinyl was delayed but I seem to remember reading somewhere that they've shipped a very small batch out. I'm bloody well dying to hear them

[gorast]

I think HTDA have actually taken over as my favourite band. Mariqueen, Atticus, Trent and Rob in one band is just the greatest thing around since kittens were invented in my opinion. Mariqueen seems to be the member that gets the most slack around here which I suppose is understandable seeing as this is a NIN board and all but I think shes incredible. I mean no disrespect to Trent at all here but I just couldn't imagine him singing any of her parts at all. Her voice makes the album methinks.

On a different note, this is a longshot since I've had a look round and so no mention of this at all but has anyone heard the bonus tracks yet? I know the vinyl was delayed but I seem to remember reading somewhere that they've shipped a very small batch out. I'm bloody well dying to hear them
I highly doubt any of them shipped out if the vinyl was recalled before any of them were prepared for shipping. We only have to wait two more weeks; judging from how Rob treated the bonus tracks, they're probably not anything special whatsoever.

[Shnoorum]

I highly doubt any of them shipped out if the vinyl was recalled before any of them were prepared for shipping. We only have to wait two more weeks; judging from how Rob treated the bonus tracks, they're probably not anything special whatsoever.

Bah! 2 weeks sucks! I did question as to why they'd leave them out and put them only on the vinyl version but I can't imagine them being crap. Maybe not as good as the others but theres no way of knowing untill we hear them. I am very much interested in doing so

[sheepdean]

I think HTDA have actually taken over as my favourite band. Mariqueen, Atticus, Trent and Rob in one band is just the greatest thing around since kittens were invented in my opinion. Mariqueen seems to be the member that gets the most slack around here which I suppose is understandable seeing as this is a NIN board and all but I think shes incredible. I mean no disrespect to Trent at all here but I just couldn't imagine him singing any of her parts at all. Her voice makes the album methinks. I like you.
And I would agree, she has a great voice (if anyone has any bootleg recordings of when she sang live & played for I Will Never Be The Same, I'd love them). A lot of people seem to look for the fact they sound like or not like NIN, as though that means anything about the music. But hey, no one's opinion on music is wrong or right. so as long as we like something I guess.


On a different note, this is a longshot since I've had a look round and so no mention of this at all but has anyone heard the bonus tracks yet? I know the vinyl was delayed but I seem to remember reading somewhere that they've shipped a very small batch out. I'm bloody well dying to hear themPretty sure once the tracks are out there, there'll be posts all over ETS.

[xfocalinx]

Grabbed my copy yesterday, been on repeat all day. I REALLY am digging "And the Sky Began to Scream"

[screwdriver]

Our digestion cycles are just so much shorter. An epic album used to be an event. Now Green Day is cranking them out once a year and 10 "indie bands" each get their 15 minutes every day. The old way had its pluses and so does the new way, but it's certainly hard to gauge anything not on first listen, because then you've gotta move on. Even stuff I want to soak in, like this release, it's like ... Fuck, the sound city soundtrack is looking awesome, and new Bowie(!!!) is coming soon, and I still haven't gotten to Atoms for Peace yet, not to mention loving the new Local Natives and Tomahawk, and it's like - gah, I don't have enough time to listen to all this!

no real point to this except to say i sort of feel that writing this thing off already is premature but I totally understand where that's coming from - its a survival instinct in the era of too much music

[the duder]

Man...after listening to this for, like the 3rd time now, and not doing anything but LISTENING, it's clicking. Thinking about what Q and TR have said in interviews about it being inspired by technology/effects of technology and society, along with some themes of readings from my seminar course in the philosophy of technology this semester running rampant through my head - mainly the false assumption of technological neutrality and how society and technology interact - makes for this album to become very urgent and relevant. Definitely clicking.

[steelnails95]

I personally love it! yes I love the past NIN, but this is definately the best since Year Zero! Period!

[steelnails95]

If i was Trent I would say Fuck You, to the bitching ass fans and stop making anything. He puts out great music for his fans and if you dont like it, dont listen to it for fuck sakes!

[thevoid99]

I finally heard the record today, twice so far. I really like it. There's definitely some Depeche Mode elements in a few cuts along with some NIN. It's got a nice groove. I think it's really good.

[Leviathant]

I wasn't saying everything from YZ to present sounds the same, just that it's beginning to sound like he's too comfortable.

Well, I specifically quoted the part where you said


That's what, six, seven hours of music?
I really, really hope whatever he's doing with this new NIN stuff has nothing to do with Atticus, nothing to do with his home studio and sounds a little different than a drum machine and the Swarmatron, because after all this, I can barely tell it apart.

I'll throw you a bone and say, well maybe you didn't mean to say this, but you just said you can barely tell seven hours of music apart, and to me, that sounds a lot like "everything from YZ to present sounds the same"


I'd take this over waiting five years for an album, and his workflow is clearly better, but is it producing stale, mostly-filler I've-heard-this-before tracks? I'd say yes, in some cases.

Between Ghosts & The Social Network, I'll give you that. There was definitely existing music used and expanded on in TSN. There was that Ghosts bonus track that got turned into a track on The Slip. Naturally tracks on An Omen are also on Welcome Oblivion, but that was established before An Omen went on sale - and I'm one of those people who didn't really like An Omen, but really really like Welcome Oblivion.

So, what in Niggy Tardust had you heard before? How samey was Welcome Oblivion? The first second or two of Ice Age reminds me the slightest bit of Perihelion from The Girl With The Dragon Tattoo (or whatever that other album TR did with chimes, modular synths and prepared piano was). The title track does sound a bit like one of the samples is from Vessel.

Hey, and one of the remixes of I'm Afraid of Americans has the drums from The Big Comedown on it! The snare drum from Happiness in Slavery was in a bunch of remixes from that era as well. It's not just Trent who does this - listen to First Dark Ride by Coil, or the Toxic Mix of Asbestos Lead Asbestos by Meat Beat Manifesto. Assuming you've listened through the Closer to God and Further Down the Spiral remix EPs, those tracks should sound very familiar.


I don't have the album handy nor have I properly learned all the track names but I'll get back to you... There's definitely Swarmatron on a bunch of tracks. And yes, that was a huge generalization.

I understand, that's why I'm asking you for specifics, because it doesn't really ring true to me. And frankly, up until Welcome Oblivion, I have not really been flying the HTDA flag. I just have trouble finding tracks that sound alike, and you apparently can barely tell them apart.


I'm just saying, for a guy who's all about digital manipulation and using technology as a tool and not a crutch, it shouldn't be so obvious that it's him making the music.


(My main problem is Mariqueen.)

Look, I'm not here to change your opinion. If you don't like something, you're probably not going to like it later. I've seen people complain about the lyrics about this album, listed under the "Dance" category on Amazon, as if it should have a sweeping plot arc and deep reflective philosophical meaning. Hey, forty six and two, it's about the evolution of DNA, man! If you don't like the lyrics or the singing, then it ain't your bag.

But I don't understand the "this music is nothing new" argument at all.

Also, while I'm at it -- the Pitchfork review is kind of shit. Dude gets "really obvious" lyrics wrong (a glottal stop does not always a 't' make), and suggesting replacing Mariqueen with Sleigh Bells or Kanye West is tantamount to trolling. Similarly, saying that Welcome Oblivion reprises just three songs off An Omen, calling Black Ops II part of Year Zero, and referring to the TV series as a film all seem to intentionally tickle the OCD that fans of Reznor's work are known for.

[butter_hole]

Christ, okay:


I think the album is incredibly cohesive. It's more Mariqueen's boring vocals, the shitty lyrics and uninspired melodies - and the music I feel like I've already heard ten times before from Trent and Atticus.

MQ's vocals in this are exactly what I expected, but that doesn't make them any less boring / vapid / uninspired / dull / etc. The lyrics are bad Reznor rip-offs and I'd wager that somewhere in her head she purposefully came up with NIN-style lyrics to please Trent, not that I have any idea about her prior work. THAT is my main problem with the album, to get that out of the way. I have nothing against her, I'm not jealous of her and Trent's undying love, I'm not some fanboy asshole, she just sounds out of place and they could have been a lot better.


I really, really hope whatever he's doing with this new NIN stuff has nothing to do with Atticus, nothing to do with his home studio and sounds a little different than a drum machine and the Swarmatron, because after all this, I can barely tell it apart.


I maintain what I said about hoping new NIN is completely separate to everything else, for example, doing away with programmed drums and having Ilan record everything, actually utilizing other musicians permanently etc. Even though I think there's about 10% chance of that actually happening. "I can barely tell it apart" = I misspoke. I'm at work, barely concentrating. Obviously I'm not talking about the tracks that have been literally recycled like the Social Network stuff from Ghosts. And I didn't mean just sound-wise. As a whole:

It's more that he's gone from work with NIN, with Atticus, styled by Rob (Year Zero - The Slip).

Then, he went to work with just Atticus, styled by Rob. (The Social Network).

Then he went and did an EP with Atticus for a different band. And Rob was a part of that. (HTDA EP)

Then he went and worked with Atticus again, styled by Rob. (TGWTDT)

Then he went back to Destroy Angels with Atticus, styled by Rob. And Rob made some glitchy art. When has Rob ever made glitchy, digital-decay art before? Oh right, all through Year Zero and The Social Network.

It's just very derivative, to me. The Wake-Up is just another Hyperpower! mixed with 999,999, for example. TR's fucking constantly appearing piano motif in Hallowed Ground. The apocalyptic themes. The Swarmatron (I'll get back to you on it's exact location but there are parts of Welcome Oblivion that sound like TSN note for note.)

I just feel like Trent needs to do something new, something different. Something with other people, for the first time in ten years.

Look, I'm totally talking out of my ass here. I have no idea what the fuck my point is. But that is damn cool about The Big Comedown drums being in the Bowie remix, I'll have to check that out.

[gorast]

I agree that Trent needs to break away from his usual collaborators for when he goes back into the studio with NIN. If NIN were a "real" band, then working with the same people (to a degree) makes sense; they're your bandmates. But Trent's always made clear that NIN is him and the revolving door - but for the past few studio albums it's been him, Atticus, and a much smaller revolving door. I think what Trent should do with NIN is push Atticus into the revolving door and bring in some other musicians - record with the new touring band, for instance.

And then, he's got HTDA for the usual suspects, for the collaborators he's comfortable with, familiar with. Obviously that makes HTDA sound like a complete side-project for Trent to fall back on when he's tired of innovating, but it's entirely possible for the band to innovate as well.

But whatever, Trent can do what he wants, he's a grown-up and shit.

[Rudi]

So I've listened to this for about 2 days straight now, and I have to say that I like it. I thought the EP was disjointed and there wasn't much flow from one track to the next, but in the context of a full length release, it works. I've also gotten used to Mariqueen's voice being the lead vocal and Trent just doing backing parts. Actually I think her voice works better with this soundscape than Trent's would. It's nicer to hear a softer, feminine voice paried with the big bass-glitchy distortion. You put TR on lead for most of these tracks and it's YZ-lite. Standout tracks for me are Too late, all gone & Strings and attractors.

Someone already asked this once, but I'm asking myself the same question. If you put The sleep of reason produces monsters and Speaking in tongues on this album, where would they go? Right now I put The sleep... after Strings and attractors. It's a nice moody piece that leads into We fade away well. Speaking in tongues I put after The loop closes. SIT is a good ending track by itself, but that little bit that it lingers at the end works good with the intro to Hallowed ground.

Of course this might have to all be rethought when the vinyl tracks release.

[PhoenixML]

I put "The sleep..." after On the Wing, just like on the EP. Looking forward the 17-track playlist of Welcome Oblivion too.

[Vertigo]

I spent ages fathoming the indented format of the track listing in the album art, trying to figure out if there was a pattern which could explain the best location for the extra tracks from An Omen and the vinyl. I eventually gave up, slapped the Omen tracks after the same songs they follow on the EP, and went outside to pretend to myself that I'm interested in normal, 100% sane person activities.

[sheepdean]

I reserve judgement on Welcome!Omen's order until we have all 17 tracks.

Hey, digital copies of WO have EP1 too, so really we should be doing everything but IYLSE

[BenAkenobi]

I don't know what to think about flow of this album, on the 2010 EP i liked how the songs were not leading into each other, each song stood on its own. It was a strong point.
I thought "great, the album is going to be a collection of kick-ass songs without any useless back-story" and now they come up with yet another concept album.
Weren't they supposed to chill out, i ask myself? Am i again presented with the music i have to listen in the right mood and in proper order of the tracks?
First leaked tracklistings didn't have the intro track, did they? "The wake up", i mean. When i first read it, i thought "uh oh unfortunately this turns to corny side"
I shouldn't be bothered, i guess, but the fact that music is so disturbingly nice makes it uncomfortable. Why can't it be simply great music nstead of "part of a bigger picture"?
And i don't hate any part of it, don't get me wrong. It's probably just their thing, to re-evolve and re-invent. But I'm only a human being! Philosophic pop album, gimme a break.

[sheepdean]

Eh, 90% of albums are probably concept albums, people just don't talk about the fact they are.

[screwdriver]

"I can barely tell it apart" = I misspoke. I'm at work, barely concentrating.



This could be part of the problem.





It's just very derivative, to me.



ok





The Wake-Up is just another Hyperpower! mixed with 999,999, for example.



Don't forget Pinion. It's almost like the dude likes little sound design pieces.





TR's fucking constantly appearing piano motif in Hallowed Ground.



I mean... its a stylistic trick, like Metallica and a diminished fifth or Tool and going to the major III or Lana Del Ray and sounding sultry or Rammstein and doing the bass riff distorted with power chords in the chorus or ... I could go on. It only sounds "constantly appearing" if you've memorized his ouevre.





The Swarmatron (I'll get back to you on it's exact location but there are parts of Welcome Oblivion that sound like TSN note for note.)



I'm not hearing it, but I don't doubt you. But if it is, why does anyone care? The thing costs a billion dollars, I hope he gets some use out of it! I don't listen to, I dunno, Led Zeppelin albums and say "christ, there's that Gibson SG through Marshall Amps again! How boring!" It's an instrument that plays notes. Some of these notes will be the same.




I just feel like Trent needs to do something new, something different. Something with other people, for the first time in ten years.



I think we've got to the root of the problem. How do I put this... it's not Trent, it's you. You're placing these expectations that Trent is going to be able to blow your mind open the way he did when you first started listening to him, when you discovered this music that sounded so unlike other music. And that's not going to happen unless you unplug for a bit and go listen to other music for awhile.

You keep saying you want Trent to change, but objectively, why should you care? Your subconscious is saying it wants a change. You should listen to it.

[neorev]

It has nothing to do with having your mind blown, it's just this album sounds like the same regurgitated Year Zero meets movie soundtrack Trent. I find it funny how Trent bashes computers in making musicians release lazy sounding music while Trent releases a pretty dull and meandering album with horrible lyrics and terrible delivery. This album goes nowhere and is not gripping. The songs don't develop into much and is repetitive... its a lazy sounding album. If anyone needs to take the advice of computers making musicians lazy, it is Trent. I'm sorry but each song on this album sounds like something I already heard from Trent and company. This is a safe record. Would I like to have my mind blown? Sure, who wouldn't. But stop regurgitating the same sounds over and again. I honestly really don't even see the point of even calling this by a different name. It is Nine Inch Nails with a chick singing. Just say Mariqueen joined NIN and wouldn't even know the difference. I wanted to like this album, i really did. But I hated Year Zero and this album sonically is like YZ pt 2. I actually prefer The Slip over the two. But the last album from NIN that I can listen thru full was With Teeth. But I really don't see the need to even call this project by any other name. And I really don't dig the lyrics and vocals on this one, find it a bit cheesey sounding. And except for The Space Between, the videos haven't been exciting either. I know I'm gonna get shit for my opinion, but oh well... welcome to the internet. I know we are suppose to love everything and never have a negative opinion about the band we love. I also find it strange that Trent is bringing back NIN so soon, right after the release of his new project's debut album. At least wait til 2014 to focus on NIN again and use this year to give HTDA room to breathe. I mean, I'm all for new NIN shows... but your new project hasn't even played a show yet. Where's the Niggy Tardust/How To Destroy Angels/Nine Inch Nails tour?

[screwdriver]

It has nothing to do with having your mind blown, it's just this album sounds like the same regurgitated Year Zero meets movie soundtrack Trent. I find it funny how Trent bashes computers in making musicians release lazy sounding music while Trent releases a pretty dull and meandering album with horrible lyrics and terrible delivery. This album goes nowhere and is not gripping. The songs don't develop into much and is repetitive... its a lazy sounding album. If anyone needs to take the advice of computers making musicians lazy, it is Trent. I'm sorry but each song on this album sounds like something I already heard from Trent and company. This is a safe record. Would I like to have my mind blown? Sure, who wouldn't. But stop regurgitating the same sounds over and again.

Everybody keeps saying "Year Zero," but is that just because it has electronic beats? I honestly don't like Year Zero, like, at all. I think I listened to it a few times when it came out, tried to make myself like it, and it just never clicked. I've liked the songs live, but the album itself does nothing for me. This album, on the other hand, does.

(Also, if you say something sounds like an artist's previous album + another of artist's previous albums, that sounds to me like a stylistic development.)

I'm legitimately curious what the last record you really enjoyed was, I'd like to check it out.

[sheepdean]

it has nothing to do with having your mind blown, it's just this album sounds like the same regurgitated year zero meets movie soundtrack trent. I find it funny how trent bashes computers in making musicians release lazy sounding music while trent releases a pretty dull and meandering album with horrible lyrics and terrible delivery.
Foooooooooooooouuuuuuuuuuuuuuuuuurrrrrrrrrrrrrrrr Mmmmmmmmmmmmeeeeeeeeeeeeeemmmmmmmmmmmmmmmmbeeeeeee eeeeerrrrrrrrrrrrrrsssssssssssssssssss.

Where was everyone's moaning when COD theme came out? That sounded like a bad NIN cover version, but the lack of Q and Atticus meant everyone shut up because GOD FORBID Trent might make bad music and then not be able to blame the other ones!

[screwdriver]

Foooooooooooooouuuuuuuuuuuuuuuuuurrrrrrrrrrrrrrrr Mmmmmmmmmmmmeeeeeeeeeeeeeemmmmmmmmmmmmmmmmbeeeeeee eeeeerrrrrrrrrrrrrrsssssssssssssssssss.

Where was everyone's moaning when COD theme came out? That sounded like a bad NIN cover version, but the lack of Q and Atticus meant everyone shut up because GOD FORBID Trent might make bad music and then not be able to blame the other ones!

whoa, whoa, whoa... that COD theme was pretty alright, sir.

[thepresence0]

My take on the album:

I can't stop listening to it. Yes the sound overlaps with prior NIN work. It also builds on it. Year Zero is my favorite NIN album, so I am an easy target for how this album sounds. But it is definitely *not* Year Zero. It is a slower, with a deeper, more rich sound.

All of Trent's work has a musical through line. It all sounds somewhat related. I can listen to PHM and Welcome Oblivion and find similarities. I'm glad I can. Because his taste and take on what sounds interesting and cool is exactly why I have always listened to him.

I'm not sure what some of you were expecting.

As for Trent bringing NIN back and the timing?

No matter what the reasoning for the timing... Who the fuck cares? Lets say he has been unhappy with how little press HTDA has gotten and he figured a NIN announcement could boost attention around it. Yeah? Is that a big deal? Makes him a sell out? Why don't you make more cracks about his wife. No ones ever done that before.

I take what Trent does at face value and do not read malicious intent into what he does. He likes to make music and put it out there and get the maximum possible audience he thinks he can achieve without compromising. The record deal allows HTDA total creative freedom. NIN coming back boosts attention to HTDA. What is the actual issue with that? Some of you are kind of crazy with what you read into his actions.

[witte]

Ihre Bestellung wurde verschickt


JPC.de sent the vinyls. EU pressing are fine, as far I can see.


First line is German: "your order is on its way to me". ;)
I expect them friday or saturday.

vvvv

[sheepdean]

Ihre Bestellung wurde verschickt


JPC.de sent the vinyls. EU pressing are fine, as far I can see.
Have you played them through?

[Trains]

Lets say he has been unhappy with how little press HTDA has gotten and he figured a NIN announcement could boost attention around it.

This has made me wonder, how much have the label actually done to promote the record/band? As far as I can tell, HTDA have been responsible for pretty much all the promotion, viral advertising, tour announcements, etc. Apart from Pitchfork, I haven't seen the band's name 'out there' much at all, and I'm pretty sure P4K would have covered the band to the same degree (if not more so) if they had remained unsigned. What did signing with Columbia actually achieve, save for the "privilege" of having names like Dave Sitek producing remixes for the band?

[Reznor2112]

^^^^

Ads on spotify, Xbox Live and various other places. You did not see his many ads for the first EP or the last few NIN albums. Shit, yahoo made TR and Q headline news the other day. Columbia.


To be honest on all this HATE for repetitious Reznor sounds, Welcome Oblivion sounds like YZ and TSN which had elements in both The Slip and Ghosts, which btw had some elements from The Fragile. TF had elements of TDS. TDS had elements of Broken. The biggest jump in Reznor history to me is from Broken to PHM.

AS someone posted earlier, yes TR will blow your mind if you start listening to the albums in the past 10 years. You dont know where to start. But once you have collected your thoughts, know every song by heart and where they belong, they are ALL connected. Its just the fact that you are now living through new music releases as opposed to jumping in after the fact and newly discovering all of his different sounds and melodies that make TR, TR.

Mind you, it is ok to dislike work by TR. ITS OK! But, don't say its because it sounds too much like older stuff. Go listen to every NIN album from start to finish in chronological order and tell me that there are no similarities until NOW with WO/YZ/TSN If you want something that doesnt sound like older NIN recordings go check out the album Gold Cobra. Im sure it will meet your expectations.

Now I have to get back to studying for my midterms and listening to Welcome Oblivion.

[thelastdisciple]

I also find it strange that Trent is bringing back NIN so soon, right after the release of his new project's debut album. At least wait til 2014 to focus on NIN again and use this year to give HTDA room to breathe.
=

"I made the mistake of wandering back to this question's thread after seeing the Pitchfork headline... The original poster didn't deserve a legitimate response, but since this is apparently a question that some people have, let me chime in and shut it down... Why was NIN announced right at this time? The answer is we DIDN'T WANT TO ANNOUNCE NIN YET. We put it off as long as possible to give HTDA time to breathe before getting steamrolled by the NIN news. But when you book festival gigs, they have their own marketing rollout that is beyond our control and have specific times they need to announce their lineups. Even though the festivals don't happen until July and August, they happened to schedule their announcements right at the time we were releasing HTDA. So we had no choice but to make the NIN announcement. Not only is Trent not using NIN to help market HTDA or whatever garbage the armchair quarterbacking original poster spewed, we actively did NOT want the two to overlap. In fact, the HTDA album was supposed to come out last year, but then the Coachella opportunity came up, and in planning out a marketing strategy that would give HTDA the most exposure, it made a lot more sense to wait and release the album around the time Coachella was being announced. This ran the risk of putting HTDA a lot closer to NIN (which was already being planned) than we'd wanted, but it was the best thing to do for the project. There are complex logistics involved in how tours are planned, budgets and schedules, marketing strategies, production concerns, and a billion other things, and trying to do what's best for two projects at the same time sometimes means there will be sacrifices here and there. Also, no one's getting rich off of HTDA. Even the money we'd make from something big like Coachella goes back 100% into the production budget so we can have a great live show. We're doing it because we think it's cool and we like making art, and that's really it. We want as many people as possible to hear about that art, so that led to the record label idea. And the relationship we've had with Columbia on this project has been great - it's allowed us to have budgets to do things like make more videos, and it's gotten us a level of exposure for the project we couldn't have achieved on our own. Turns out (some) record labels have changed quite a bit since the industry took a shit. Funny thing, when all the money leaves an industry, a lot of the money-grubbing assholes leave too. Most of the people we work with at Columbia are young, and are just music fans who want to make cool stuff happen. It's never going to be perfect, and we'll always miss having that heavy control we get doing things on our own, but so far this experiment has worked out well for the very specific needs of this project."

via Reddit HTDA AMA

So if you can read this right it's actually HTDA that's kinda overlapping with the NIN plans this year as Rob mentioned this album should have been out last year to begin with but they held off on releasing it so they could lead it up to the Coachella gig.

[talkingnothing]

yeah, I get all that stuff Rob pointed out. it makes sense. I just wish htda was doing more shows (than what we so far know about). if the album came out last year they may have done some fall/winter touring or not. I'll totally go see nin when they come somewhere near me and I'll be totally excited about it, but I'm not able to make it to any of the htda gigs and i'm really let down about it.

back to w.o... I like it way better than an omen. you know, an omen was ok, but the 4 tracks on it that also appear on wo are so much better in context. I feel like an omen was just to fulfill the promise of new htda in 2012.

as far as people finding it derivative or whatever, that's cool. imo, nobody makes beats like TRAR. cant get enough of em. if you're turned off by their beats, thats cool, just listen no further at first sign of them.

[Deepvoid]

I don't know if this has been posted or not but according to Hits Daily Double, the album is looking at 10-12k in physical sales in its first week.

[screwdriver]

I don't know if this has been posted or not but according to Hits Daily Double, the album is looking at 10-12k in physical sales in its first week.

I have no idea what is good or bad anymore. Is that good? Does that include the vinyls, which haven't shipped yet?

[Deepvoid]

This only takes into consideration sales through retail stores. Not the website.
Is it good? Well the other "key" debuts from this week:

Luke Bryan (Capitol Nashville) 105-120k
Jimi Hendrix (Legacy) 65-70k
Boz Scaggs (429) 12-15k
Shake It Up 3 (Disney) 10-12k
How To Destroy Angels (Columbia) 10-12k

Good or bad is subjective. However, it does prove that Trent can associate himself to something and it won't automatically translate into sales.
This will barely get them into top 50. Last's week #50, Britney Spears' greatest hits, sold 11,225 copies.

It's clear that the core of his NIN fanbase did not jump aboard the HDTA wagon, at least not in terms of buy it through a store.
I think the most interesting number will be the digital sales through iTunes. This number will be a lot more telling.