this just came through via twitter:
@nineinchnails: ? http://www.nin.com/?id=96673
which is a link to this:
aHHHHHHH new music sooooooooooon!!!!
this just came through via twitter:
@nineinchnails: ? http://www.nin.com/?id=96673
which is a link to this:
aHHHHHHH new music sooooooooooon!!!!
It may not be a paranormal event, but it’s cool and unusual: Nine Inch Nails frontman Trent Reznor has teamed up with Fringe for a new promo spot, EW.com has learned. The spot, which debuts Thursday during Game 5 of the American League Championship Series, features a reworking of the Nine Inch Nails song “Zero-Sum” by Reznor, who recites lines of dialogue from Fringe’s William Bell (Leonard Nimoy) over the music. So, how did the freaky drama series secure the services of Reznor? After Fox’s marketing department showed the Fringe producers a version of the promo that used “Zero-Sum,” series exec producer Jeff Pinkner simply asked a nearby Reznor acquaintance—that’d be co-creator J.J. Abrams—if the NIN musician might be interested in a collaboration. One email later, Reznor was on the case. “We offered him compensation, and he said, ‘No, no, I just want to have fun and be part of something cool,’” says Pinkner, adding: “How often do you get the chance to work with somebody like that?”Reznor wound up revamping the song in his mobile studio while on tour, and he even came up with the idea of “embedding” one of the show’s glyphs in the music. (Hint: Examine the song’s sound waves on a computer.) Now for the big question: Might Reznor pop up in an episode of Fringe? “If he wants to come act on the show, that’s not tit for tat—that’s an open invitation, and we made that known to him,” says Pinkner. Any ideas on what he may play? “Well, his head would probably end up exploding,” deadpans Pinkner. “There’d be some uncomfortable biology in there one way or another.”
If you follow the above link, theres a video thats available to US residents ONLY.
AWESOME!!! Two of my favourite things in one place YaY!!!
Im a synth whore, so this is a great article to see (especially with the iconic Gary Numan being the lead picture *swooon*) and one of the reasons why I so adore British pop from the late 70s and early 80s (and why I have had an obsession with Sheffield since I was about 18) Enjoy.
As new BBC4 documentary Synth Britannia shows, the synthesizer first dehumanised then re-humanised British pop, fulfilled the DIY promise of punk, and changed how bands looked forever
The synth-pop era really kicked off in June 1979, when Tubeway Army’s Are ‘Friends’ Electric? hit No 1. The sound and visuals owed a substantial debt to David Bowie’s Berlin trilogy and his stranded alien in The Man Who Fell To Earth. Chuck in some Europe Between The Wars atmospherics and you had the recipe for Visage’s Fade To Grey and The Damned Don’t Cry; Japan’s Nightporter and Ghosts; Ultravox’s Vienna And bringing up the rear were the pioneers, the chaps who’d coined the whole mittel Europa/Mensch-Maschine shtick in the first place: Kraftwerk, No 1 in February 1982 with their 1978 tune The Model. But synthesizers in popular music actually go back much further than the mandroid melancholy of Gary Numan. All the way back to the psychedelic 60s, when American groups like Silver Apples and The United States Of America ditched guitars for oscillators. In 1969, George Harrison put out a whole album of Moog doodles called Electronic Sound. German cosmic rockers Tangerine Dream gradually streamlined their Pink Floyd-wannabe grandeur into a minimal, darkly pulsing, all-electronic sound. Floyd themselves forayed into full-blown synth-rock with Dark Side Of The Moon’s On The Run, whose brain-searing wibbles anticipated acid house. Other proggers like ELP’s Keith Emerson and Yes’ Rick Wakeman performed behind massive banks of electronic keyboards, but tended to use their synths as glorified organs, hamming it up with Bach-style variations and arpeggiated folderol. Far more unearthly electro tones could be heard on the telly via science-fiction series like Doctor Who and The Tomorrow People or at the cinema, courtesy of dystopian movies like A Clockwork Orange, The Andromeda Strain and Logan’s Run. Black music also had its share of visionaries besotted with the synth’s cornucopia of otherworldly tone colours, from fusioneers Weather Report and Herbie Hancock to funkateers Stevie Wonder and Funkadelic.
Black or white, these precocious knob-twiddlers all had a freakadelic, proggy mindset: they dug synths for the “far out, man” noises they generated, so they let rip long, noodling solos or oozed out abstract dronescapes. None stood a chance of troubling the hit parade. In some ways the crucial word in synth-pop isn’t “synth” but “pop”. The British groups who took over the charts at the dawn of the 80s were catchy and concise. Here they followed the lead of Kraftwerk, who were not only the first group to make a whole conceptual package/weltanschauung out of the electronic age, but were sublime tunesmiths. It’s righteous that Kraftwerk’s long-awaited remastered catalogue is getting reissued at almost the same time as the long-awaited remastered catalogue of the Beatles, because Hütter & Co rival the Fab Four for both their transformative impact on pop and their melodic genius.
Equally inspiring to the synth-pop artists was Kraftwerk’s formality: their grey suits and short hair stood out at a time of jeans and beards and straggly locks, heralding a European future for pop, a decisive break with America and rock’n'roll. Perhaps even more of a portent here was Giorgio Moroder’s Eurodisco, whose clockwork-precise sequencers and icily erotic electronics forged the connection between synthesizers and the dancefloor, as opposed to the early association of Tangerine Dream/Klaus Schulze-type music with getting stoned and supine on your sofa. Released in 1977, Donna Summer’s Moroder-produced I Feel Love and Kraftwerk’s Trans-Europe Express divided pop time in two as profoundly as Anarchy In The UK. The 80s begin there.
Conveniently, these singles arrived at a time when synths got vastly more affordable, portable, and user-friendly. As the BBC4 doc Synth Britannia reveals, what once cost as much as a small house (and therefore stayed the preserve of prog superstars) became something you could buy for a few hundred quid, or cheaper still if you mail-ordered a build-your-own-synth kit and were prepared to spend weeks assembling the bugger. Groups who’d been inspired by punk’s confrontational rhetoric and sartorial provocations but who found the actual sonic substance of punk rock to be too ye olde rock’n'roll seized on the cheapo synth as the real coming of do-it-yourself.
Synth-pop went through two distinct phases. The first was all about dehumanisation chic. That didn’t mean the music was emotionless (the standard accusation of the synthphobic rocker), but that the emotions were bleak: isolation, urban anomie, feeling cold and hollow inside, paranoia. In the post-punk underground, that meant Cabaret Voltaire and Throbbing Gristle, both of whom ironically used a fair bit of guitar but treated it heavily with electronic effects. On the pop overground it meant John Foxx and Gary Numan. Gaz also used guitar prominently on his early hits under the name Tubeway Army. The secret of his success was that his music, for all its majestic canopies of glacial synth, rocked. Even when he dropped the guitar along with the name Tubeway Army and went fully electronic on Cars, he kept his flesh-and-blood drummer.
The second phase of synth-pop reacted against the first. Electronic sounds now suggested jaunty optimism and the gregariousness of the dancefloor, they evoked a bright, clean future just round the corner rather than JG Ballard’s desolate 70s cityscapes. And the subject matter for songs mostly reverted to traditional pop territory: love and romance, escapism and aspiration. The prime movers behind synth-pop’s rehumanisation were appropriately enough the Human League (just check their song titles: Open Your Heart, Love Action, These Are The Things That Dreams Are Made Of).
Soft Cell were also crucial with their songs of torrid passion and seedy glamour. Their lineup – male diva Marc Almond, keyboard wiz Dave Ball – set the template for the first half of the 80s. The new compact synths resembled an orchestra in a box; you didn’t need to have a whole band of instrumentalists. Suddenly pop was packed with duos who divided labour neatly between the composer-operator, and the singer-lyricist: Eurythmics, Yazoo, Tears For Fears, Blancmange, Pet Shop Boys. The shape of a synth-pop outfit was subversive, or at least enough to make rockists uneasy: the rock band’s gang-like structure replaced by same-sex “couples” plus the occasional female diva plus male boffin partnership.
Yazoo were a classic example of this fire-and-ice combo: Alison Moyet’s proto-Joss Stone soulfulness matched with Vince Clarke’s pristine perkiness. Clarke had been the brains behind Depeche Mode, or so everybody thought. Yet he went on to commit a spree of cultural crimes under aliases like the Assembly and Erasure, while it was Depeche who unexpectedly grew into major artists, leaving behind dinky ditties like Just Can’t Get Enough for the musically sophisticated, politically engaged/enraged Construction Time Again and Some Great Reward. The anti-monetarist smash Everything Counts caught the melancholy of that moment after the re-election of Thatcher, while Master And Servant combined an S&M-inspired personal-is-political allegory about power. (”It’s a lot like life”, so “forget all about equality”) with a pop translation of Einstürzende Neubauten/Test Dept-style metal-bashing. Best of all was the haunting Blasphemous Rumours, a jibe at the Almighty which suggested “God’s got a sick sense of humour.”
One running theme in Synth Britannia, voiced repeatedly by Daniel Miller, the founder of Depeche’s record label, Mute, is the notion of electronic music being essentially un-British. But that would seem to beg the question of why the UK became the world’s leading nation for synth-pop, and later the major force in electronic dance music all through the 90s. The truth is that the real kingdom of synthphobia was the United States. But this also meant that American misfits could express their deviance by spurning standard high school fare like Mötley Crüe for “faggy” English electropop. Depeche’s cult following in the States expanded as they turned out to be surprisingly kick-ass live performers on the arena circuit, peaking with a 1988 show at the Pasadena Rose Bowl that drew 70,000. They were bigger still in Europe, almost Beatles-level in Germany, where to this day there are Depeche raves that play Mode music all night long.
A curious thing that comes through watching Synth Britannia is how the futuristic-ness of this music is largely irrecoverable to us, precisely because we live in the future that the synth-pop era helped to bring about. Electronic tonalities are omnipresent to the point of banality, thanks to 90s techno rave and noughties R&B, videogames and ringtones. “Electro” in the early-90s meant cutting-edge, the future-now; nowadays “electro” refers to the kind of sounds that lit up hipster bars in east London through this past decade and then went mainstream this year with La Roux and Lady Gaga, which is to say synthetic pop that doesn’t use the full capacity of the latest digital technology, and is therefore almost as quaint as if it were made using a harpsichord.
With the future-shock aspect depleted, what comes through now is the pop in synth-pop: OMD’s pretty tunes, the aching plaintiveness of Numan and the Human League. Oddly, what’s made this music last are the same things that made the Beatles and Motown immortal: melody and emotion
Okay I know I went nuts over the NK reunion (fair enough.. my first love. my first band, my first introduction to *any* kind of music. hell thanks to the Right Stuff video I got into Bauhaus because Jordan happened to be wearing one of their shirts…) but Janes..
Janes Addiction. Now theres pure, raw musical talent right there. By the time I could give them a serious listen they had broken up. Perry was busy doing his thing in Porno for Pyros (along with drummer Stephen Perkins) and creating Lollapolooza every year. Dave Navarro had that brief stunt in RHCP (shame well never hear anything from One Hot Minute live..) so I couldnt see them. Sure there was that brief reunion with Flea from RHCP on bass in 1996 (and on their live release ‘Kettle Whistle’) but that wasnt JANES you know? Anyways I was about 18 when I first really discovered them and they had broken up about 5 years previous to that…
But now.. on the 14th of July I will be seeing them and NIN play the Manchester News Arena (only 6 months after the guys did!) and yes I will be alllll the way at the back, but I dont care. I will be seeing JANES ADDICTION. plus Mikes never gotten around to seeing either one, so it will be a first for him over all. I so cant wait!! VERY VERY excited!!!
oh yeah, mad props to Trent Reznor for selling tickets for 2 people (including fees) for only £78!! so cant believe how cheap that is (though when I saw nin in 1995 it cost me $22 with fees to see them plan Nassau Vets….) compared to other acts out there.. wish more bands thought the same way you do… but most bands are giant sheep who go baaaaa.
now to find the cash for Depeche Mode in Decemeber….
Great post on his forums about scalping REALLY works from the artists POV
As we approach on-sale dates for the upcoming tour, I’ve noticed lots of you are curious / concerned / outraged at the plethora of tickets that somehow appear on all these reseller sites at inflated prices – even before the pre-sale dates. I’ll do my best to explain the situation as I see it, as well as clarify my organization’s stance in the matter.
NIN decides to tour this summer. We arrive at the conclusion outdoor amphitheaters are the right venue for this outing, for a variety of reasons we’ve throughly considered*. In the past, NIN would sell the shows in each market to local promoters, who then “buy” the show from us to sell to you. Live Nation happens to own all the amphitheaters and bought most of the local promoters – so if you want to play those venues, you’re being promoted by Live Nation. Live Nation has had an exclusive deal with TicketMaster that has just expired, so Live Nation launched their own ticketing service. Most of the dates on this tour are through Live Nation, some are through TicketMaster – this is determined by the promoter (Live Nation), not us.
Now we get into the issue of secondary markets for tickets, which is the hot issue here. The ticketing marketplace for rock concerts shows a real lack of sophistication, meaning this: the true market value of some tickets for some concerts is much higher than what the act wants to be perceived as charging. For example, there are some people who would be willing to pay $1,000 and up to be in the best seats for various shows, but MOST acts in the rock / pop world don’t want to come off as greedy pricks asking that much, even though the market says its value is that high. The acts know this, the venue knows this, the promoters know this, the ticketing company knows this and the scalpers really know this. So…
The venue, the promoter, the ticketing agency and often the artist camp (artist, management and agent) take tickets from the pool of available seats and feed them directly to the re-seller (which from this point on will be referred to by their true name: SCALPER). I am not saying every one of the above entities all do this, nor am I saying they do it for all shows but this is a very common practice that happens more often than not. There is money to be made and they feel they should participate in it. There are a number of scams they employ to pull this off which is beyond the scope of this note.
StubHub.com is an example of a re-seller / scalper. So is TicketsNow.com.
Here’s the rub: TicketMaster has essentially been a monopoly for many years – certainly up until Live Nation’s exclusive deal ran out. They could have (and can right now) stop the secondary market dead in its tracks by doing the following: limit the amount of sales per customer, print names on the tickets and require ID / ticket matches at the venue. We know this works because we do it for our pre-sales. Why don’t THEY do it? It’s obvious – they make a lot of money fueling the secondary market. TicketMaster even bought a re-seller site and often bounces you over to that site to buy tickets (TicketsNow.com)!
NIN gets 10% of the available seats for our own pre-sale. We won a tough (and I mean TOUGH) battle to get the best seats. We require you to sign up at our site (for free) to get tickets. We limit the amount you can buy, we print your name on the tickets and we have our own person let you in a separate entrance where we check your ID to match the ticket. We charge you a surcharge that has been less than TicketMaster’s or Live Nation’s in all cases so far to pay for the costs of doing this – it’s not a profit center for us. We have essentially stopped scalping by doing these things – because we want true fans to be able to get great seats and not get ripped off by these parasites.
I assure you nobody in the NIN camp supplies or supports the practice of supplying tickets to these re-sellers because it’s not something we morally feel is the right thing to do. We are leaving money on the table here but it’s not always about money.
Being completely honest, it IS something I’ve had to consider. If people are willing to pay a lot of money to sit up front AND ARE GOING TO ANYWAY thanks to the rigged system, why let that money go into the hands of the scalpers? I’m the one busting my ass up there every night. The conclusion really came down to it not feeling like the right thing to do – simple as that.
My guess as to what will eventually happen if / when Live Nation and TicketMaster merges is that they’ll move to an auction or market-based pricing scheme – which will simply mean it will cost a lot more to get a good seat for a hot show. They will simply BECOME the scalper, eliminating them from the mix.
Nothing’s going to change until the ticketing entity gets serious about stopping the problem – which of course they don’t see as a problem. The ultimate way to hurt scalpers is to not support them. Leave them holding the merchandise. If this subject interests you, check out the following links. Don’t buy from scalpers, and be suspect of artists singing the praises of the Live Nation / TicketMaster merger. What’s in it for them?
* I fully realize by playing those venues we are getting into bed with all these guys. I’ve learned to choose my fights and at this point in time it would be logistically too difficult to attempt to circumvent the venues / promoter / ticketing infrastructure already in place for this type of tour. For those of you about to snipe “it’s your fault for playing there, etc… ” – I know it is.
I agree with him. You need to choose your battles and how you fight them. I give credit to Pearl Jams efforts over 15 years ago (was it really that long ago?) but how long did it keep them off the road only to play venues and sell tickets through ticketmaster venues a few years later?
Loads of bands use pre-sale with the customers names printed on the tickets. I remember buying warehouse tickets and being paranoid I didnt have my card with me for the May 2002 MSG shows. My name was printed on the ticket, along with my membership id. I remember when WH tickets on eBay going for disgusting amounts, the wh threatened with cancelled memberships (which they did make good on) and banning. (Though that only worked until the person moved house again, which happened often as most of DMB fans are in college and move a lot in 4 years time) It did help cut back on a lot of the ‘bad’ fans making money off those who just wanted to go. Though they werent very scary rules, they were enough to keep most people in line. Ticketmaster can easily do this. Understandable 10 years ago when buying tickets online just wasnt common place and people had to camp outside their favourite hidden TM outlet, but now with most ordered via the web or online printing the name on the ticket is VERY easy.
I still dont get paying over $1000 for ONE ticket to a concert? The most Ive paid (well via a scalper – and actually the only time Ive bought scalped tickets) was €150 for 2 Ryan Adams tickets for when he was in Dublin in 2006. I mean it was a stretch to pay £50 for my NK ticket, then the addition £118 for the upgrade (but worth it to meet the guys on THEIR terms) But even still, with all this its making concert going only being available to those who have the money or willing to go bankrupt to see an act in concert. Whose to say those in the middle – you know the middle/working class – arent as big of a fan as the stockbroker or the VP on some big company? They, too, have the right to see a show and enjoy themselves as much as the next guy without having to sit in the obstructed view area or nosebleeds to do so.
Like Trent said above, they dont care TicktBastard want their money and thats all that matters. Big time stars cant even rebel against it because it means either making tour stops in really random venues that arent up to par OR taking a hiatus completley, which still isnt fair. Worse, being blacklisted until they give in. Its only going to get scarier and not better.
I mean we have artists like the Eagles, the Stones, Fleetwood Mac, Paul McCartney and more acts of our parents (well if your parent was born after WWII and BEFORE Vietnam started) generation charging stupid amount, bands wouldnt think they could get away with it. I remember when I went to see the Depeche Mode in 1994 and thinking $25 was a lot. Now thats ‘cheap’. Sad, really.
There needs to be more control and restrictions in place to protect the BUYER. If they put the prices through the roof, then live entertainment is going to see the same troubles that the recording industry is currently going through. Waiting too long to embrace change in their practices and policies they are now struggling to catch up with what the masses have embraced as the alternative. I mean I dont know how else bands will do it (free shows at random spots?!) without ripping off fans? there has to be a decent middle ground, right?
One can only hope and wait it out.. Hopefully other artists follow nins lead (well, alongside the String Cheese Incident and No Doubt) take the proactive vocal way to take on ticketmaster. Maybe there is hope out there. Maybe.
20 something years on ( im old!) they still HAVE it.
Nine Inch Nails Live: Beside You In Time Extended HD Trailer from Nine Inch Nails on Vimeo.
Makes me want to get a PS3 for the Blu-Ray and a better TV. (*MUST* watch in HD!!!!!!)
apparently interscope couldnt be bothered with giving trent back his rights for his music and wouldnt let him release a tour dvd, so to get back at them he leaked over 405 gigs of HD footage from 3 of his concerts from last year (2008). Above is one of the first fan created items to become public and widely available.
ive watched it in HD (as linked above) and this is just too fucking cool. its gorgeous. so gorgeous. a must must must watch
i wish more large profiled artists would start telling their record companies to fuck off and let the artist be.