Sifting through the ashes

Early September, the WIltern theatre in Los Angeles provided the stage for one of the most historical, tear-shedding moments in the alternative music scene. Industrial rock band, Nine Inch Nails performed their last explosive concert, faithfully executing thirty seven songs which spanned; Nine Inch Nails founder Trent Reznor’s, two decade career. The last incarnation of the band, composed of Robin Finck, Justin Meldal-Johnsen and Ilan Rubin maintained and brought a new dimension to the ferocity and viciousness which defined the band from the beginning. Leaving only three hours and thirteen minutes for the world to remember what has proven to be the most influential band on alternative music, Nine Inch Nails vigorously displayed how far the boundaries of musician radicalism can be pushed; defining, smashing up and redefining the madness of the postmodern world and the inevitably hatred and angst of millions of fans. The concert itself was immortalised with the presence of many special guests who have worked with the band throughout the last two decades including Synth-pop legend Gary Numan, Jane’s Addiction guitarist, Dave Navarro and the Dillinger Escape plan who single-handedly, annihilated the entire stage, leaving nothing but the corpse of dismantled drum kits and broken lighting equipment. The industrial wrecking ball was brought to a final conclusion with a heart-aching performance of “Hurt” (famously reproduced by Johnny Cash) and “In This Twilight” where Trent left the audience with the final lyrics of the song.
“And the longing that you feel
You know none of this is real
We will find a better place
In this twilight”
Despite the hurt many have felt by this emotional goodbye, this was indeed not a final goodbye for Nine Inch Nails, merely an end to touring for the “foreseeable future”. Trent Reznor has continued with the same musical innovation which brought Nine Inch Nails to popularity in the form of a variety of new projects. Nevertheless, Nine Inch Nails last performance was largely ignored, even by the alternative musical scene whose lights constantly shine on the latest boy band’s in disguise, a definite sign of the deteriorating musical standards in the twenty first century. For those who followed Nine Inch Nails “Wave goodbye tour”, one couldn’t help but feel the major significance and impact the band has made on the lives of so many. More importantly, however, the band should be remembered not only because of its innovative musical style but its revolutionary methods of communicating with fans, its constant criticism of the corporate side of the music industry and its sociological impact, which paved the way for radical “shock” musicians to take the stage.
Nine Inch Nails entered the music scene in 1989 with the album “Pretty Hate Machine” which introduced an Industrial noise within the traditional pop framework. The musical direction changed radically with the release of the EP “Broken” in 1992 which fleshed out a barbaric Industrial-metal element, accompanying the release of a banned movie of the same name following the kidnapping, torturing and killing on an unknown individual who is forced to watch Nine Inch Nails Videos. It was, however, the release of “The Downward Spiral” in 1994 which brought the nihilistic, destructive power of Industrial rock to the masses. Acquiring inspiration from David Bowie and Pink Floyd, the album reached widespread popularity with the release of the bands two most famous songs, “Closer” and “Hurt”. Trent had created a new dimension for music to exist in the postmodern world where the angst of thousands had yet to be defined artistically. “The Downward Spiral” essentially paved the way for artists such as Marilyn Manson (whose earlier albums were produced by Reznor) to take the stage and shock the world further.
The band suffered from the dictation of its corporate label, “Interscope records” on several occasions throughout Reznors career. “The Fragile” (largely considered his best work) which was released in 1999 was largely ignored by both the mainstream and alternative audience. Although striking back with “With Teeth” in 2005 and “Year Zero” in 2007, Reznors constant battle with Interscope records reached its final peak for their pricing and distribution plans for “Year Zero”. Reznor described their plans as “absurd” and urged his fans to steal his music online instead of purchasing it legally. Nine Inch Nails has now revolutionized the path for radical musicians to take, avoiding corporate labels, assisting musicians such as Saul Williams by offering the music for free while urging fans to buy the music in order to support aspiring artists. Nine Inch nails latest two albums were released in such a fashion with “Ghosts” (the first nine songs being free for download) and “The Slip” which was available for free download in its entirety.
These are simply few of the battles Nine Inch Nails has fought against corporatism from its freedom to include radical politics within its music on a live stage, several battles with fox News, and incorporating revolutionary methods of interacting with fans bypassing the common advertising “sell-out” methods to its most recent campaign against Guantanamo Bay following the use of Reznor’s music to torture detainees. More so, however, Nine Inch Nails reminds us of the constant need for art to be a relevant force in today’s world. While most artists today shy away from politics and sociological issues in an attempt to avoid controversy, it is always the artists with the greatest sincerity and self conviction that will give the powers that be the middle finger and a loud, resounding “Fuck you”.