unkle69

Perhaps there are two of us who don't understand (or are pretending not to), dear Lux, with the aggravating factor that you may not even know how to read, since I never said that you have arrogance, nor did I ever say that this album is good "forcibly," and I never said that this album is good "because it's well-packaged" (I said that for me it is a beautiful album, and it is also well-packaged, which doesn’t hurt). You seem the confused one to me; here’s a collection of your phrases:
“Sure, it's slightly better than the two previous crap, more honest (or banal?), but the stuff you find especially on Vol II is embarrassing.” – “Ghosts 6 makes me doubt that Trent spent a quarter of an hour creating this stuff, and wants to pull a fast one on us all.” – “But the solo piano instrumentals are pretty laughable; I mean, a track like Ghost 12, or even Ghost 13, I could conceive it in 5 minutes at home with my keyboard. Sometimes perhaps the alternative is confused with the banal.” – “It's just that these more abstract and minimalist pieces (but linear and predictable) seem like pure gold, but believe me: Trent recorded whatever came to his mind first, pure electronic onanism for its own sake.” – “I mean, you don’t need a genius to make certain stuff; that’s what I think.” – “Just place your hand on a couple of bare, raw chords, some hints of slowed arpeggio (tainted by noises underneath, in true NIN style) and off you go; the cliché is ready to use. I previously said it takes 5 minutes, but in reality it could take even less to conceive it.”
Then with every response I give, or others, you’ve mixed everything up; you seem like Berlusconi claiming to be misunderstood. ;) Anyway, in any case, I really like this album, and a lot, you don't like it at all, which seems fair; everyone has their own opinions and tastes. The only thing I agree with you on is that these tracks “don’t add anything relevant to the NIN universe,” but I also think that not bringing any novelties (a rare commodity these days), the work remains of great class and atmosphere, and this is of course my opinion, which I absolutely do not want to impose on anyone.

I'm sorry, Lux, but I feel like I'm hearing those who, in front of a piece of modern art, exclaim: "What is this childish stuff? I could have done it too, and even better..." - this phrase makes no sense, and your reasoning does not hold up. There are excerpts of piano pieces by Liszt, Bach, Beethoven, Scarlatti, Schubert, Debussy, Satie, etc., that are very simple and reproducible; this reproducibility does not detract from their quality, beauty, or enjoyment. Simple is not synonymous with ugly, at least not always...

After the "hangover" of grunge and the '90s, I started selling pieces from my vast collection of CDs and vinyl. I kept only this one from Pearl Jam; Vitalogy has been a very important album for me, perhaps the least polished in their discography, but maybe because of this, it's greatly loved. It feels the least thought-out, the least calculated, more immediate, visceral, raw, dirty, intense... Your review describes the album very well, excellent.

For me, the Rolling Stones are the best in their field, just as the NIN are in theirs, so going back to "ghosts i-iv", the sound quality is excellent, the distribution is great, the graphic representation is superb, and the "surrounding elements"...

I, on the other hand, don’t doubt it at all. Just look at the Rolling Stones, for example (and they’re not the only ones). They make a living off stereotypes and clichés, and they have always done great work (maybe not lately).

I completely disagree; sometimes the outtakes are excellent. In musical history, there are B-sides or outtakes that are often better or at least valid. For example, I look at The Cure. When "Join the Dots: B-sides and Rarities" was released, it was a godsend; there were tracks that inexplicably hadn’t been included in the original works, and they were excellent songs. I think, for instance, of "this twilight garden," an outtake from the album "Wish," a stunning piece. So, stereotypes and outtakes can absolutely be good music. And if good music is accompanied by pleasing graphic embellishments, photographic insights, or cinematic touches, even better, and in this regard, Trent Reznor is a master.

if you're good at making pieces on the piano, do it, make a nice album, and then publish it on the internet, and that's it...
listen, I care that it's good music, well made, well packaged (why not?).
no one has talked about novelty; in "ghosts i-iv" you won't find anything new, but you will find evocative sounds beloved by those who have always loved NIN.
scraps, no scraps, clichés, no clichés, who cares, if the material is good I can live off scraps for life...
anyway, it remains obvious to wait for the true "new" work of the NIN, and that is the real test.

\m/

oxygen, 36 gasps of oxygen for dear Trent who found himself struggling in the latest works.
for heaven's sake, "with teeth" and "year zero" are two good albums, the latter in my opinion being the better one, but the old-school fans (including me) were seeing signs of a slight decline, perhaps fatigue.
now with these 36 haikus, the NIN moniker surprises again. 36 damn beautiful instrumentals that bring to mind the sounds of "the fragile" and "still," a work that is not monotonous but varied, very varied, from solo piano atmospheres to the industrial screech of cold clangs and filtered guitars (God how I love the work on guitars, God bless technology)...ah, guesting is the great Adrian Belew.
and then there's the conversation about free sales on the internet, where the NIN have organized themselves better than the Radiohead, with files to download in high quality and even in FLAC format.
and then there's the aesthetic discourse (very important for NIN), for each track an image, very beautiful; in the regular versions the usual booklet in a 6-panel digipak, in the deluxe versions (the one I ordered) a box containing the two CDs, + a high-definition Blu-ray disc to enjoy the sound accompanied by the "fantasmagorical" images, and a multi-track DVD, plus a 48-page book with photos by Phillip Graybill and Rob Sheridan. then there's also the ultra deluxe, but that one is already gone, maybe you can find it at prohibitive prices on e-bay ;)
at this point the question is: Trent, where will you take us next?

absolutely dispensable record, the "beauty" comes with the subsequent albums.