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Trent Reznor's musical output has always been innovative, daring, and sometimes quite surprising, but it has not until recently been frequent or consistent. After the ground-breaking Pretty Hate Machine and the incredibly energetic EP Broken, followed by the crossover hit The Downward Spiral, Reznor was relatively silent for five years. Sure, there were numerous remix projects and quite a few soundtrack appearances (don't get me wrong, Nine Inch Nails covering Joy Division is just about the coolest thing that happened in the 90s), but we didn't have a purposeful, solid album with the graceful artistry of TDS until 1999's ambitious (dare I say epic?) The Fragile.

After that, it was another dry spell. The Fragile was followed by Things Falling Apart, a notable effort but still little more than a remix album, not even on the earlier tear-everything-apart-and-rebuild-it-through-a-mess-of-distortion scale of Fixed and Further Down the Spiral. After that followed the (arguably) forgettable With Teeth, and I wondered what exactly would become of the sound that had so amazed me when I first sat down and listened to TDS as an impressionable teenager.

Year Zero changed all of that. Here was fresh, exciting new stuff from Reznor, with all the youthful energy of PHM combined with the lessons learned from the meandering experimentalism of WT. Not only was I struck by the growth of Reznor's own sound, but upon repeated listens I was continually impressed by his innate understand of the growth of musical styles around him. Here was a dash of punk anger, a sampling of hip-hop attitude, a healthy dose of heavy synth-dance beats, all rolled into a package uniquely his own. YZ basically succeeded in expressing everything Reznor had been trying to get across aesthetically for the past decade or so. This was the first really good Nine Inch Nails album in a long time (I don't mean to disparage the others. They were great listens. But they weren't anything eye-opening or surprising. Some will say that Trent is not "back," because he "never left," but that's bullshit semantics; we can at least agree that he went out on the porch to smoke a cigarette and think things through)

The pattern I laid out above suggests another long lull to follow, but in less than a year since YZ, NIN has released another remix album (no comment; to be honest, I've been listening to so much lately that I haven't had time to fully absorb Y34RZ3R0R3M1X3D) and then, earlier this month (yes, I do have a point) Ghosts I-IV.

I suppose I should address the innovation of the method of release (creative commons, $5 legal downloads directly from www.nin.com, skipping the record companies and going directly to fans), but I've ranted about that elsewhere. I will say that I like the .pdf file with album art and liner notes with each track. One of my bitches about buying things on iTunes (and maybe it's different now, I haven't been on the store in a while), was paying money for an album and getting no liner notes, artwork or, really, anything, except once in a while a mediocre bonus track or two. I think all the artwork for this album is incredible and really enhanced the overall experience. I'm not sure if In Rainbows and The Inevitable Rise and Liberation of NiggyTardust! were released the same way, but I hope future direct-release albums will be.

Anyway, to get on to the music itself: I love it. I love the minimalism especially. It's an intriguing counterpoint to YZ, for one thing; on YZ Reznor explores a completely new range of vocal styles and on Ghosts he strips the vocals away and concentrates on the music. The use of numbers instead of track names adds to the effect. Again, minimalism is the key. Nothing is overwrought, nothing goes too far. Every track gives the beat a chance to grow and live, to explain its full environment, then leaves it behind and moves on to the next world. It's an incredible journey, and if you have the luxury of being able to spend nearly two hours listening to an album, I can't think of a better album to spend them on.

I could go on to attempt to describe the songs themselves, but I might as well be dancing to architecture, as they say. I will say this: 21 Ghosts III makes me want to dance. 8 Ghosts I makes me want to break stuff. 12 Ghosts II makes me want to cry. 27 Ghosts III scares the shit out of me. I don't know why.

So what might the future hold? Reznor talks about these 36 songs as if they're merely the tip of the creative iceberg:

"I've been considering and wanting to make this kind of record for years, but by its very nature it wouldn't have made sense until this point. This collection of music is the result of working from a very visual perspective - dressing imagined locations and scenarios with sound and texture; a soundtrack for daydreams. I'm very pleased with the result and the ability to present it directly to you without interference. I hope you enjoy the first four volumes of Ghosts."

(qtd from www.nin.com)

"I hope you enjoy the first four volumes of Ghosts" gives me reason to believe he may be thinking of more along this same line. If so, I couldn't be more pleased. In any case, I think we're in for a bit of a NIN Renaissance, if you will; a great time to be a fan.

My Rating: 10 out of 10.

Last night I watched Control, the film about Ian Curtis and Joy Division based on Deborah Curtis's biography, Touching from a Distance. Here are some thoughts, in no particular order:

It looks great. Director Anton Corbijn seems to have a feel for the environment of Manchester in the mid-70s (Of course, this is coming from someone born in Connecticut in the late 70s, so I could be way off. In any case, it looked how I expected it to look from photos I've seen). Cinematically it's very minimalist and quite intense. Corbijn is able to slip in a lot of moments from famous photographs without being too obvious or "clever."

The sound is very intense. A lot has been said against the use of silence in this film, but I think it works very well. Control creeps along at a very quiet, moody pace (with a few moments of wry humor), so that the more dramatic moments at the end seem very loud. And of course it makes a nice contrast for the songs. There is a great selection of music from Joy Division's influences, of course, from Roxy Music to the Sex Pistols to David Bowie (I particularly liked the way Warszawa, the song the band took their original name from, was played very subtly under one scene). Most of the actual Joy Division songs are performed by the actors, with the exception of the recorded version of Love Will Tear Us Apart being played over one scene.

I had mixed feelings about Sam Riley. I felt he was a very good actor and he seemed to understand his subject. At moments, he really looked the part and was very believable. Some of the seizure scenes were absolutely haunting. But I felt a lot of the mystery and soul behind Curtis's personality was missing. This could be due to the fact that the film takes his struggle with depression as a given, rather than examining it dramatically. And, of course, his voice did not match up to Curtis's. I didn't expect it too, though. And his singing is most certainly better than the Killers rendition of Shadowplay that (dis)graced the soundtrack.

Another actor I thought was great was Toby Kebbell, who played Rob Gretton. His performance was solid and quite funny, and he stole just about every scene he was in.

I thought the end was tasteful while still being devastating. I think the choice to show Deborah go into the house but not show the body. Anybody who read Deborah Curtis's book knows what is going to happen as soon as Ian puts The Idiot on the turntable, and this staging was much more effective than anything graphic would have been.

All in all, I'd say it's a damn good film. Recommended for new fans and old alike. I already knew this story, but I was still weeping at the end. Kudos to Anton Corbijn.

It's been about a month since Made In The Dark, the latest effort from Hot Chip came out, and I just can't get enough of it. From the bouncy, sarcastically-hip beats of Shake a Fist and Ready For The Floor to the mellow/romantic tones of In The Privacy Of Our Love, the album is playful, fun, intelligent, and infectious. This has been my music for driving lately, as it always puts me in a good mood.

Some might attack this album as being unbalanced and unfocused, but I think after a few listens, it gives a very complete feel. It has the versatility of their earlier records, but it also has the feel of a complete journey. I wasn't crazy about this band at first - I liked Coming on Strong a lot, but it was forgettable, and by the time The Warning came out, I wasn't paying attention anymore...but this one is really good. I'm really eager to see what they do next.

My Rating: 8 out of 10.

After twenty years of excellent music, as one of the most prolific bands out there, it's hard to imagine how They Might Be Giants can keep impressing listeners. It's hard to top such quirky and enjoyable recordings as Lincoln, Apollo 18, and Mink Car. I was a litle bit afraid of cracking open The Else and finding it was as spotty and uninspired as The Spine. However, I find myself pleased to declare with the opening track: I'm Impressed.

Unlike some of their recent recordings, this is a very solid record, with interlaced themes and a concise feel. It's moody, but in that playful way that made Mink Car so loveable. "Take Out the Trash" and "Careful What You Pack" work great as witty breakup songs, and "Upside Down Frown," "Climbing the Walls," and "Shadow Government" play up a self-indulgent bad mood. The Giants always have an uncanny ability to be dark and light at the same time.

Lots of people expressed qualms about The Dust Brothers producing, but I think they did wonders for the band's sound. As satisfying as this album is for longtime listeners, they do some entirely new things instrumentally. The long, winding, unstructured "With the Dark" is unlike anything I've ever heard from the Johns. And if it's too weird for you, there's the old standbys with catchy choruses like "Withered Hope" and "Feign Amnesia."

All in all, another great disc from a great band. Also comes with a bonus disc - "Cast Your Pod to the Wind" - full of highlights from podcasts. "Why Did You Grow a Beard?" is my personal favorite, but there are some other greats.

My Rating: 7 of 10.

Lately I've been wary of comeback albums - Mission of Burma's comeback was a huge disappointment, and Gang of Four's new record was simply re-recordings of old songs. Depeche Mode's latest is an exception, but they've been making records this whole time (just no one noticed), so it doesn't really count as a comeback). So I was pleased that the new release from the New York Dolls, Someday It Will Please Us to Remember Even This rocks so hard.

Even though they're really really old, their old shenanigans still come through. "Running Around" and "Gotta Get Away from Tommy" have that nostalgic feel, while songs like "Maimed Happiness" have matured and have almost a blues feel. Johansen's quirky wit still shines through - "Dance Like a Monkey" is a very funny attack on the resurgance of the concept intelligent design. The insert has a little comic strip that is simply hilarious.

The timing is excellent. The record serves as a rock-history lesson to fans of retro bands such as The Libertines, The White Stripes and The Strokes: The New York Dolls did it first, and they did it best. Definitely recommended to old fans of the Dolls or anyone who's just getting into them.

My Rating: 7 out of 10.

I've been trying to like the new Dogg Pound album Cali Iz Active. I really have. I'm not sure why; perhaps just meaningless nostalgia.

Before I go further, let me state that I am not a hip-hop fan. For a brief moment in high school, when Dr. Dre left NWA and started making crossover hits, and all the white boys in the suburbs realized the funk-inspired rap of The Chronic was a lot more entertaining at their pot parties then the depressed mumblings of Ten, I was. I bought into "G-Funk," and I loved Dr. Dre, Warren G, Snoop Dogg, and the Dogg Pound. Then I started listening to George Clinton firsthand, and I moved on. But I digress.

I haven't been listening to hip-hop for a while, not because I disrepect the genre as a whole, but because what I've been exposed to has been disappointing. The mainstream is pretty much polluted with unoriginal crap (yes, "Gold Digga" rhymes with "Broke Nigga," good one, let's move on). So I'm probably the wrong one to write a review. But when I heard about the Dogg Pound reuniting, I had high hopes. Surely Kurupt and Daz can do no wrong, especially with the aid of Snoop and other G-Funk Era standbys such as Rage and RBX?

Sadly, Cali Iz Active iz no Dogg Food. If it's receiving rave reviews, that is (IMHO) simply becuase nothing interesting is going on in mainstream rap right now. For an album that blatantly hails the return of the West Coast, it doesn't sound very Californian. I think they were better when they were hating on the East Coast and worked with only other West Coast artists, which (again, IMHO) was where it was all at at the time. There are elements of crunk in a few tracks, which is understandable, but I find myself pining for the old-school funky-smooth style.

The beats are elementary and rather boring, with a few exceptions. The vocals, for the most part, sound more like lists of words that rhyme than the elegant lyrics Kurupt and Daz used to concoct. The saving grace is the presence of Snoop, and even he seems to be phoning it in. And I love RBX, but I much preferred him crafting the Islamic apolcalypse of The RBX Files than talking about how he goes "Hard on a Hoe." The Lady of Rage is a welcome guest, but then I've never heard Rage lay down a bad track.

Could it be the Dogg Pound can't record an entertaining album without Dre? It remains to be seen. I'll definitely check out the next album, but for the moment, it seems these doggs have been neutered.

My Rating: 3 out of 10.

I've been listening to Cex - Actual Fucking a bit over the last two weeks, and I find I still have mixed feelings about it.

On the one hand, it is nice to see Kidwell forge into some new territory. This is a far cry from the bizarre cross between hip-hop and house music he's been making for the last few years. But one wonders if this new style is relevant - the pretentious, meandering vocals and low-key instrumental sections are lacking in the one quality that makes Cex so entertaining and dynamic: his witty lyrics and catchy, clever hooks.

The other way to look at it is to take the whole thing as a piece of satire. Kidwell's music has always been highly referential and he has occasionally attacked his counterparts explicitly, so each new artistic persona he takes on is bound to be a little tounge-in-cheek. Thus, if Tall, Dark, and Handcuffed is a send-up of The Slim Shady LP, this latest album is a send-up of Feel Good Lost.

The question is whether it really fits in Cex's catalogue as anything but a clever novelty. I don't find it nearly as enjoyable as Being Ridden or Maryland Mansions, but, if I understand what he's trying to do here, the timing is, as always with Kidwell, impeccable. My Rating: 7 out of 10.

Okay, so I promised myself I wouldn't take my first paycheck from my new job and spend $100 on CDs. But I just can't think of anything better to do on a hot summer evening than lounge around an air-conditioned record store or two, eyeing the new releases and digging for old gems. So here's what I added to my collection this weekend:

Rather Ripped

It all started at Barnes & Noble; they didn't have the book I wanted so I figured "while I'm here, I might as well pop over to the music section." I'd heard bits and pieces of the new offering from Sonic Youth but hadn't got a chance to listen to it all the way through. Having done so (and continuing to do so at this very moment), I can see why people are picking it up left and right - it's very catchy, and it certainly more accesible than most of SY's catalogue. But I can't really see how it's preferable over many of their other albums, particularly EVOL and Daydream Nation. In many places, the expected guitarscapes and raw vocals are pared down and simplified, leaving a sort of hollow feeling. The obvious exceptions (so far; I've only heard it half a dozen times) are "Jams Run Free" and "Do You Believe in Rapture?" the former is probably just a nod to hardcore fans who expect some new material that sounds like the old, but the latter is very curiously out of place. It's almost gospelly, and speaks of an entirely new sound and direction for the band. In the final analysis, the record is probably deeper than it seems at first, and I will certainly give it a few more listens. My Rating: 7 out of 10.

Shonen Knife - Genki Shock!

While I was at Barnes & Noble, I noticed a new Shonen Knife album had slipped under my radar. Apparently it's been out since April and I didn't even notice it. We didn't get the promo at the radio station at school, but I'm not surprised because it seems everybody has forgotten about once-hip Japanese rock duo. They're still doing pretty much the same thing: joyfully jaded takes on pop culture ("S*P*A*M," "Anime Phenomenon"), catchy half-mystic tunes ("Forest Walk," "World Atlas"), and of course, songs about cats ("Giant Kitty"). Not a life-changing record by any means, but a whole lot of fun. My Rating: 8 out of 10.

The Cars

I picked this up off the discount rack on my way out the door. It's not my favorite Cars album, but I realized that I hadn't actually owned any Cars since I got rid of all my cassette tapes during a move. An excellent record, and I really like "You're All I've Got Tonight," but I still think Heartbeat City was their peak. My Rating: 5 out of 10.

Sampler

Then I felt guilty for spending $50 at a big chain store, so I decided to head over to the local used store and see what I could dig up. I picked up a Cibo Matto sampler because A) It was only $4, B) I don't actually own Stereotype A and C) I really really really love "Sci-Fi Wasabi." My Rating: 10 out of 10.

The Modern Dance

I always love it when I can get the snobs at the record store to compliment my taste, but actually I only got into Pere Ubu recently, through this site. This seems like a very dense record, light years ahead of its time. I'm not sure how to describe Pere Ubu if you haven't heard it, and if you have, well, you know. Kind of like Chrome with less distortion. RIYL Chrome, Throbbing Gristle, Cabaret Voltaire. My Rating: 8 out of 10.

Night and Day
Non-Stop Ecstatic Dancing
Mingus

I love digging through crates of vinyl records, mostly because nobody else bothers to do it and there's some great stuff sandwiched inbetween the piles of crap. I love it when I can find a great 80s new wave record like the Soft Cell for less than $10. Sadly, these are merely curiosities until I can get around to fixing my record player. :(

So that was my Friday night. I blew a lot of cash, but I think I got a picked up a pretty decent mix of old and new music to add to my collection.