Adrian Sherwood(Engineer), Adrian Sherwood(Producer), Alien Jourgensen(Engineer), Doug DeAngelis(Engineer), Hypo Luxa(Producer), Jeff Newell(Engineer), John Fryer(Engineer), John Fryer(Producer), Keith Leblanc(Engineer), Keith Leblanc(Producer), Ken Quartarone(Engineer), Kennan Keating(Engineer), Sean Beavan(Engineer), Trent Reznor(Arranger), Trent Reznor(Engineer), Trent Reznor(Producer), Adrian Sherwood(Mixing), Freddie Mercury(Composer), John Fryer(Mixing), Keith Leblanc(Mixing), Keith Leblanc(Remixing), Rob Sheridan(Art Direction), Tom Baker(Mastering), Trent Reznor(Composer), Trent Reznor(Group Member), Trent Reznor(Mixing), Trent Reznor(Programming), Keith Leblanc(Remix Producer), Tim Neimi(Synthesizer Programming), Gary Talpas(Sleeve Art)
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. [A 2010 remastering included an unearthing of the original master tapes, overseen by Reznor and engineer Tom Baker (the latter a frequent collaborator), plus the addition of a bonus track, Reznor's cover of Queen's Get Down Make Love (originally on the single for Sin).] ~ Steve Huey, Rovi
01． Head Like a Hole
02． Terrible Lie
03． Down in It
05． Something I Can Never Have
06． Kinda I Want To
08． That's What I Get
09． Only Time
11． Get Down Make Love
待ってました、これを。手元にあった奴は89年の奴だから、どうしても音が・・・。 曲は随一に良いので、リマスター版が出たのは新譜並にうれしい。実際音も一つ一つがクリアになって、もちろん変に技術に傾倒する事なく仕上がっているのはさすが。 やっぱり”Head Like A Hole”は最強。
リマスター最高や！！。 タイトルなどが書かれた透明のプラケースが付いたデジパック。ボーナストラックはSinのシングルにあったクィーンのGet Down Make Loveのカバー。
Nine Inch Nails were the most popular industrial group ever and were largely responsible for bringing the music to a mass audience. It isn't really accurate to call NIN a group; the only official member is singer/producer/multi-instrumentalist Trent Reznor, who always remained solely responsible for NIN's musical direction (he was, however, supported in concert by a regular backing band). Unlike t
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