I take Reznor and shove him into a hydraulic press.
If he wants to self-sample while a piece of metal crushes him nicely to get that truly smashing sound, the kind that revealed him as the genius he is, fine.
Otherwise, screw him.
No, Trent cannot think of satisfying us like this. He himself, creator of sick and majestic industrial poetry, cannot be satisfied like this.
Not with this "With Teeth," which ten years ago would have been a great album, but now is - in a word - useless.
There is one song, only one, that adds something to the crackling and anguished breath of the NIN world, and that is Right Where It Belongs: calm and caustic, it seems like the foggy footage of a glass of water and calcium hydride (don't try it at home).
For the rest, he self-quotes (excellent examples in this sense are The Collector and The Hand That Feeds), without even much quality.
The disappointment is at least as great as the expectations were.
With Teeth is an album slightly less raw and angry compared to previous NIN works, benefiting from a sound, though still very refined, decidedly more 'human'.
Instead of playing the different parts and then inserting them into the structure, I started by playing the entire songs first, and then added the drums to have a different energy.
Great artists never meet public expectations. They follow instinct and talent, never resting on their laurels, and always challenging themselves.
Right Where It Belongs is a demonstration that the genius of an artist can manifest even (and especially) in simplicity.
This album confirms how Reznor is musically a great composer, and how he has been able to sustain for over 15 years a genre he practically invented without ever veering off course.
Only is perhaps the most beautiful song on the album: a mix of electronics, NIN’s typical industrial, Prodigy’s techno-metal, and ’80s funk.