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* 新譜情報メール |
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アーティスト新譜情報メール購読 Nine Inch Nails
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活動期間 |
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1910 |
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1920 |
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1930 |
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1940 |
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1950 |
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1960 |
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1970 |
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1980 |
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1990 |
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2000 |
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バイオグラフィー |
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今となっては「インダストリアル」という方法論は以前ほど刺激のあるものではなくなってしまったかもしれないが、ナイン・インチ・ネイルズの音楽が錆び付いてしまったという事とは無論イコールではない。更に深い闇に潜り込むのか、それとも闇から開放されるのか、これからもこの男、トレント・レズナーの動向はチェックしておいて損はない。
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続きを読む...
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"輸入盤CDどれでも2点買うと25%オフ" キャンペーン対象商品です。 対象商品は こちら
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出荷目安: 通常出荷 - 通常 7-15 日以内に出荷します |
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ディスク 1 |
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1 |
Head Like a Hole
(05:00)
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2 |
Terrible Lie
(04:38)
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3 |
Down in It
(03:46)
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4 |
Sanctified
(05:48)
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5 |
Something I Can Never Have
(05:54)
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6 |
Kinda I Want To
(04:33)
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7 |
Sin
(04:06)
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8 |
That's What I Get
(04:30)
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9 |
Only Time
(04:47)
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10 |
Ringfinger
(05:40)
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11 |
Dreams Of Blood And Iron
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12 |
Fistfucking God's Planet
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ディスク 2 |
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1 |
On Darkend Wings
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2 |
Into The Crypt Of Rays
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3 |
Still Fucking Dead
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4 |
Slay The Nazarene
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5 |
Departure From The Mortals
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6 |
Legion
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Richard Patrick ( Guitar )
Adrian Sherwood
( Producer )
Ken Quartarone ( Engineer, Engineer )
Keith Leblanc
( Producer )
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Flood
( Engineer, Producer )
John Fryer ( Engineer, Producer )
Doug d'Angelis ( Engineer, Engineer )
Doug DeAngelis ( Engineer )
Kennan Keating ( Engineer )
Trent Reznor
( Arranger )
Flood
( Producer, Engineer, Mixing, Programming, Programming )
John Fryer ( Mixing )
Keith Leblanc
( Remixing )
Chris Vrenna ( Mixing, Programming )
Adrian Sherwood
( Mixing )
Nine Inch Nails
( Main Performer )
Trent Reznor
( Group Member )
Tony Dawsey ( Mastering )
Jeffrey Silvertone ( Photography )
Gary Talpas ( Liner Notes )
Chris Vrenna ( Cover Design, Digital Editing )
Trent Reznor
( Assistant, Digital Editing )
Chris Vrenna ( Continuity, Continuity )
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HMV レビュー |
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※英文のみの解説となります。
Virtually ignored upon its 1989 release, Pretty Hate Machine gradually became a word-of-mouth cult favorite; despite frequent critical bashings, its stature and historical importance only grew in hindsight. In addition to its stealthy rise to prominence, part of the album's legend was that budding auteur Trent Reznor took advantage of his low-level job at a Cleveland studio to begin recording it. Reznor had a background in synth-pop, and the vast majority of Pretty Hate Machine was electronic. Synths voiced all the main riffs, driven by pounding drum machines; distorted guitars were an important textural element, but not the primary focus. Pretty Hate Machine was something unique in industrial music -- certainly no one else was attempting the balladry of Something I Can Never Have, but the crucial difference was even simpler. Instead of numbing the listener with mechanical repetition, Pretty Hate Machine's bleak electronics were subordinate to catchy riffs and verse-chorus song structures, which was why it built such a rabid following with so little publicity. That innovation was the most important step in bringing industrial music to a wide audience, as proven by the frequency with which late-'90s alternative metal bands copied NIN's interwoven guitar/synth textures. It was a new soundtrack for adolescent angst -- noisily aggressive and coldly detached, tied together by a dominant personality. Reznor's tortured confusion and self-obsession gave industrial music a human voice, a point of connection. His lyrics were filled with betrayal, whether by lovers, society, or God; it was essentially the sound of childhood illusions shattering, and Reznor was not taking it lying down. Plus, the absolute dichotomies in his world -- there was either purity and perfection, or depravity and worthlessness -- made for smashing melodrama. Perhaps the greatest achievement of Pretty Hate Machine was that it brought emotional extravagance to a genre whose main theme had nearly always been dehumanization. ~ Steve Huey, All Music Guide |
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情報の一部は
© 2007 All Media Guide
, Muze Inc.により提供されています。管理者の承諾を得ず、無断で利用することは固く禁じております。
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HMV.co.jpの表示価格はオンラインでの買物のみに適用され、HMV店舗の表示価格と異なる場合がございます。
© 1998-2007 HMV Japan KK |
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