NINE INCH NAILS COLLECTORS YEAR ZERO - THINGS FALLING APART & FRAGILE ORIGINALS

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675

NINE INCH NAILS - TREMENDOUSLY RARE IN THE INTERSCOPE RECORDS ORIGINAL RELEASES OF YEAR ZERO WHICH IS SO RARE THE ONLY SEALED COPY WE FOUND WAS SELLING OF $600 AND THE SECOND TITLE IS THE FRAGILE WHICH HAS ONE COPY WORLDWIDE FOR SALE AND THAT COPY IS SELLING FOR $800 AND THE THIRD TITLE IS THINGS FALLING APART ALSO VERY VALUABLE STILL SEALED.

BOTH IN THERE ORIGINAL FACTORY SEALED LP AND BOTH STILL HAVE THEIR ORIGINAL MARKETING STICKERS STILL ATTACHED. - The nicest thing you can do for your stylus and ears. The ultimate record – the way music was meant to be heard.

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 You should never pass up the opportunity to upgrade your collection. They're each very limited in their pressings and disappear with extraordinary quickness from the vinyl market. This causes prices to skyrocket because once they are gone, they are gone forever! Don't second-guess yourself with this chance to upgrade your collection because before you know it, the opportunity will have passed forever.

YEAR ZERO - Special packaging which is a 6 panel gatefold vinyl with TWO 180 gram heavy pieces of vinyl. On one side (2 pieces of vinyl so there are 4 sides in total) there will be no music, just etching. There will also be a 12 page LP sized booklet -Breaking the tradition of a five-year gap between albums, Trent Reznor has released the new Nine Inch Nails album "Year Zero" (2007) a mere two years after "With Teeth" (2005). Reznor attributes the long periods between albums in the past on alcohol and drug excess that comes from touring. Sober now for the last several years, focused and confident, Reznor's "Year Zero" is perhaps the best album of his career.

"Highly conceptual. Quite noisy. F@!#ing cool" is how Reznor describes "Year Zero," which I think, really hits the (pardon the pun) nail on the head. Stepping outside himself and eschewing NIN's usual self-involved angry and depressive themes, "Year Zero" portrays a bleak picture of (presumably) American society sometime in the not too distant future. Conflict abounds, militarily and between classes, which is the major theme of the album. Different songs offer different perspectives of this futuristic world--from soldiers ("the good solider,") to greedy industrialists ("capital G") to extra-terrestrials; the listener sees this corrupt society from different vantage points.

While Reznor took a more rock oriented, organic, almost live sounding approach with "With Teeth," "Year Zero" sounds more like old-school NIN in that it is more "industrial" sounding, with less live drumming. And whereas when listening to most past NIN albums, one gets a sense of what the singles will be, with "Year Zero," this is not so obvious. While some of the songs have an infectious hook, it's hard to imagine most of these songs as radio-staples, as the album is kind of "out there." And while with many albums one can listen to individual tracks and enjoy the songs, separate from the album they are part of, "Year Zero" definitely sounds best when listened to in its entirety--as the listener can appreciate the songs more fully when the album is heard as a unit. Like any NIN of course, there are a lot of textures, often with a lot of instrumentals and effects going on at once; so while this album sounds good with just one listen, it just gets better and better with repeated plays. And while "Year Zero" is "quite noisy," the album doesn't hit you over the head the way "The Downward Spiral" does. "Year Zero," while at times chaotic, is more restrained, but no less powerful.

The short chaotic instrumental "Hyperpower," in its urgency, sets the pace of the album. "The Beginning of the End," with lyrics like "watch what you say they can read your mind," paints the future in Orwellian terms. Tuneful and straightforward, "The Beginning of the End" is somewhat similar to the styling of "With Teeth" era NIN. The rocking "Survivalism," already a radio hit, while not terribly challenging or one of the album's strongest songs, is effective and good enough. The somewhat subdued "The Good Solider," is taken from the perspective of a soldier, who is seriously questioning why he is fighting. The chimes towards the end of the song are especially effective. The bizarre, totally off-beat "Vessel," sounds "big" but also spacey. When I listen to it I visualize a Tyrannosaurus Rex romping through some prehistoric jungle. I interpret the song to be about some kind of drug/mind control devise. The meaning behind the eerie, sluggish "Me, I'm Not" is ambiguous. A cool song, this one needs to grow on you. The industrial anthem "capital G" is perhaps one of the strongest songs on the album. From the perspective of "the machine," the shakers and the movers behind business interests and the military-industrial-complex, "capital G" depicts the ruthlessness of those who hold the real power. "My Violent Heart," which goes back-and-forth between a restrained verse and loud, frenzied chorus, is quite captivating. The meaning of the song is somewhat vague--with the clear message that actions have consequences, as Reznor proclaims:

"you have set something in motion

much greater than you've ever known

standing there in all your grand naivety

about to reap what you have sown"

Another very off-beat but cool song, "The Warning," describes the world from the perspective of some kind of alien life-form, perhaps "the presence," the four fingered being that appears on the cover of the album. The religiously themed "God Given" has a real danceable beat to it, and could probably get a few spins in the clubs. "Meet Your Master," both thematically and musically, sounds like a cross between "Head Like a Hole" and "Burn," but is more three-dimensional and intricate. The instrumental "The Greater Good," a medley of several different instruments is very low-key, creepy, and effective. The melodic and dark "The Great Destroyer" moves the album along nicely. One of Reznor's finest instrumental compositions, "Another Version of the Truth" is hauntingly beautiful and melancholy in its' understated elegance. The low-key "In this Twilight," describing one's emotions on the eve of Armageddon, is stunning. The submissive finale "Year Zero," is the perfect closer, leaving a lasting impression that sums up many of the albums themes:

"shame on us

doomed from the start

may god have mercy

on our dirty little hearts

shame on us

for all we've done

and all we ever were

just zeros and ones"

While I loved "With Teeth," there is no doubt in my mind that this is a superior album. Even though I'm a huge NIN fan and tried my best to be objective while reviewing this album, there really isn't a negative thing I can say about it. "Year Zero" is a total triumph, musically and thematically. With the state of the world the way it is, living in George W. Bush's America, an album like "Year Zero" needed to be made. Not offering any simplistic solutions and without preaching, Reznor has made the definitive album of this decade--an album encompassing the feelings of anxiety and despair one feels living in the `00s, while taking NIN's music to new heights. Reznor's "Year Zero" is an undisputed masterpiece that is essential listening.

16. Zero-Sum

 THINGS FALLING APART - Trent Reznor has been accompanying his major releases with remix LPs since 1992, and Things Falling Apart, the remix album of The Fragile, continues this tradition. Also continuing in that tradition, this disc seeks to reinterpret songs so they can be seen in a new light. It's clear that Trent has allowed his remixers to take risks with their source material, and, as expected, the results are mixed (no pun intended).
Several of the remixes are quite good, with a few of them being equal in quality to the tracks on The Fragile ("Slipping Away," "The Frail (version)"). However, the interpretations of "Star****ers, Inc." are not quite as successful, particularly Adrian Sherwood's mix (track 4). Sherwood has not done a bad job, it's just that it sounds like he tried to remix "Star****ers" so it would sound nice on a dance floor, which is not the point of NIN remixes. As a result, this track sticks out like a sore thumb.
Trent has also made the unusual choice of providing some original material: "The Great Collapse" is a "Fragile" outtake, "Metal" is a Gary Numan cover that is injected with Trent's mix of humanity and alienation, and "10 Miles High (version)," while not technically new (the original was on the vinyl edition of The Fragile), is not owned by many NIN fans. These songs are rather good, though whether they belong on a "remix" disc is up for debate.
But whatever its faults, TFA remains NIN's most accessable remix album to date. It is certainly worth checking out if you liked "The Fragile."

Track Listings

10. Starfuckers, Inc

THE FRAGILE. This is "The Fragile." Agressive. Searching. Loose. Smashed up. Glued back together. Imperfect. Flawed. Closer to something. Sad. Happy. Optimistic. Searching. The wonder. The light. The turmoil. The brooding. The mind. The fragile.
Yes, all of this is Trent Reznor, his emotions and sounds standing naked to the listner in this two-disc album that refuses to leave you past the end. It's an album that's hard to describe, but it easily is put on the cinematic scale that only few bands like Radiohead and Pink Floyd can give you. "The Fragile," can easily be said that it's different than all of the other Nine Inch Nails albums--since all of them are so sonically different from one another--but in this case, "The Fragile" is an important turn. With the introduction of a more low-fi organic sound, like violins, yukelledes, and pianos, mixed with the electronic tension that NIN has long-since been associated with, you have a sound that is extremly avant-garde, almost art-rockish. One really good display of this is the opening track, "Somewhat Damaged. It begins with a simple innocent, accoustic guitar, playing the same tune again and again until it starts to be built up with more tracks of accoustics. A hard pounding beat sets in; every hit is distinct from one another like they all have personalities of their own. Electronic whizzing begins, filling the ears with more and more building tension; every new track builds to make the tune more intense. Reznor starts singing soon afterwards and quickly turns the song, which so innocently began with a little guitar, into a raging Goliath.
And that's just the first track!
Reznor amazingly stresses the importance of the 'concept album,' a line of song after song that feels like a movie being played to you sonically. Every song, like the crunchy-but-mellow "The Day The World Went Away" flows neatly into the other, like the mellow classical "The Frail." Every song, from hard to soft, fits neatly between each other, with fade-ins coming so seamlessly you wonder how anyone could find a connection between them.
The dizzing "Where In This Together," with its whizzing guitar buzz and never-ending pace feels extremly schizophrenic for a first listening, but after more listening, you begin to discover how honest and right it feels; its lyrics, which are some of Reznor's most optimistic in years, gives you a sense of the over-all theme to this album: Rising above all that's happened to you, or at least trying to.
Songs like the jazzy "La Mer" and also the title track genuinely show a bright shinging gem of beauty to be found in all of this personal examination and acceptance. Other songs, such as the hip-hop fueled/Dr. Dre-assisted "Even Deeper" and "The Big Comedown" drag you back into the place where Reznor tries to escape from--his tortured psyque. But that very ability to mix these kind of songs in the same album, yet not in a way that doesn't challenge the listener to think is truly amazing, and is probably one of Reznor's finest feats as a producer. He brings out what we hide within ourselves and shows how ugly and sometimes beautiful they are.
Of the two discs on this album, none stands out as better as the other; the two both show brilliance. Although the listener might get side-tracked by the first disc, it's excellent to explore the rest. One can't ignore the Pink Floyd-ish "The Way Out is Through," or the funk-filled "Into the Void." Instead, this album, after all, isn't an album you just skip from one song to another, but rather one you listen to the whole way. It's also excellent to listen to with your headphones (I STRONGLY recommend your first listening over headphones).
"The Fragile" is an album of the truest account. This is NOT Limp Bizkit. This is NOT Kid Rock. This isn't EVEN Korn. Instead, this is music that's intelligent, deep, brutal, yet beautiful. This is an album of substance. I highly recommend it.
It wouldn't hurt a non-NIN fan to check it out. I'm sure you'll enjoy it.

Track Listings

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