#Nine Inch Nails Wave Goodbye Tour

[iamtryingtobelieve]

Couldn't find the original so had to re-make it myself

The 2009 stomach flash gif that used to float around here from time to time

Source

[halo-eight-94]

NIИ | Wave Goodbye Tour Posters + Peter Murphy hanging upside down performing with nin 2009 | Posters designed by Rob Sheridan

[nastytransmasc]

nin performing "Somewhat Damaged" on 7/03/09 at Roskilde Festival, Denmark

[power-strength-appetite]

Trent and Robin onstage through the years, starting with shitty screencaps from Closure

Fragility Tour - slightly more pixels!

We're into the 21st century - pixels no longer a problem

Here's a rare moment you actually see them talking onstage

2018 version of Burn.

There are many great moments in the CBI version of Piggy. This was their last show together to date, 15 December 2018.

[jimjarmusch]

[howaminotinthestrokesyet]

All The Love in the World: A Tour History of Nine Inch Nails

Pretty Hate Machine Tour Series (1988-1991)

The first performance ever by Nine Inch Nails took place at the Phantasy Theater in Lakewood, Ohio on October 21, 1988. Their first performances came in support of the band Skinny Puppy, even before Trent Reznor had even signed to a label. The first major tour in support of their debut album, Pretty Hate Machine took place beginning in 1990. In a completely ridiculous occurrence, the band joked in an interview in 1989, probably while drunk, they would like to appear on the teen dance show, Dance Party USA. The absurd aspect of that statement came in the fact that the band actually did appear on the show after apparently mocking it in that interview. In support of the album, Nine Inch Nails would open for artists such as Peter Murphy and Jesus and the Mary Chain. For his part, Reznor began smashing all of his equipment on stage contributing to early success with rock audiences as they loved his aggressive persona. One should note that from the onset fans were probably not made completely aware that Reznor did everything in the studio, while he hired a touring band that had nothing to do with the album's creation.

Self Destruct Tour (1994-1996)

This full length tour came in support of The Downward Spiral released in 1994. A major change that occurred between this tour and previous ones came in the fact that each show was much more aggressive, angry, and even violent. Band members would actually try to injure each other during the performance. The curtains for the stage were completely filthy, while the dysfunctional lights on stage made it quite difficult to make out the band. The entire group would dress in all black leather while covering themselves in corn starch. They would change their hairstyles radically from show to show. Sometimes Reznor would bring out his protégé Marilyn Manson to sing with the band. The coming out party for them came at Woodstock in 1994. Through pay-per-view, their performance was seen by 24 million people throughout the world. This performance has become widely known among fans as the mud show because the group performed their entire set while completely covered in mud. Some have said that the band had preplanned doing so, but in truth they were only messing around backstage before the show. A reason why one should find this to be true was that all the mud made it hard for band members to see and Reznor to even walk around. Their set would win the band a Grammy award in 1995 for Best Metal Performance as Entertainment Weekly had this to say about it. "Reznor unstrings rock to its horrifying, melodramatic core--an experience as draining as it is exhilarating.” With The Downward Spiral and their performance at Woodstock, the band became a household name in the mainstream, so future shows could spend much more money production wise on visual effects and stage set ups. Later on the tour, Nine Inch Nails did 26 shows with David Bowie. The reviews said that they were not very good because the two musicians had music so vastly different that audiences did not respond very well to Nine Inch Nails. Trent Reznor does not remember that particular tour very well as he talked about in a 1999 interview. "On a lot of that tour, I don't even remember playing the shows. I got off the bus after two years going, 'Who am I?' That tour was really about excess… We were all drug addicts and full-on party machines, and that was one of the factors that led to me being in a very depressed state at the end."

The Fragility Tour (1999-2000)

This tour came in support of the 1999 album, The Fragile, which would be divided into two legs called 1.0 and 2.0 respectively. Each show saw a very high end video display developed by Bill Viola showing images of water and storms. Reznor would comment on increasing the budget for the tour on that end. “I don't want to do the standard 'rock band in a hockey arena' show. I want to up the par a little bit. I think our stage show has had a lot of thought put into it. It's not like a Korn or Rob Zombie show where they just go into the prop cupboard and pull out as much shit as they can. I hope, when people see our shows, they go, 'Fuck, that was smarter than that Korn tour I saw, but not in a pretentious way – it kicked ass.'” Rolling Stone would go on to name the Fragility 2.0 Tour as the best in music that year. In July 2000, the remainder of the tour was canceled due to band illness. Trent Reznor had overdosed on heroin while doing shows in London. He was addicted to cocaine at the time, so he snorted some heroin mistaking it for his drug of choice. Following the incident, the singer entered rehab and eventually got himself clean permanently.

Live: With Teeth (2005-2006)

This tour supported the band’s With Teeth release, which successfully brought Nine Inch Nails back into the public's consciousness after Trent Reznor‘s rehab stint. The supporting acts during the tour were Queens of the Stone Age, Autolux, and Death From Above 1979. One notable tour stop came at the Voodoo Music Experience in New Orleans, where the band was joined on stage by Saul Williams. Reznor had made a point to support any fundraising for his former home area as New Orleans had been completely devastated by Hurricane Katrina. In the summer of 2006, the band would participate in an amphitheater tour with Bauhaus, Peaches, and TV on the Radio called The Beside You in Time Tour.

Other Tours

Performance 2007 (2007)... This tour eventually supported the release Year Zero, but initially it had been meant as a greatest hits tour before the release of the album. They dialed down the stage set up and video for these shows to keep it at a bare minimum.

Lights In The Sky (2008)...This tour supported initially the Ghosts I-IV release and eventually The Slip as well. Supporting acts for the tour included Deerhunter, Crystal Castles, Does It Offend You, Yeah?, Ghostland Observatory, A Place to Bury Strangers, and White Williams. This would include headlining the Virgin Music Festival and Lollapalooza. A unique addition to each performance came as the band would perform acoustic versions of well-known songs. In order to stop ticket scalpers, premium seats were only offered to registered members of the Nine Inch Nails fan club, which gave them access to a pre-sale before tickets became available to the general public.

Wave Goodbye (2009)... This brief tour came after Trent Reznor‘s decision to not perform live shows in the name of Nine Inch Nails indefinitely. The band did a short autumn tour of small clubs that they had not played in a long time concluding at the Wiltern in Los Angeles.

Twenty Thirteen Tour (2013–2014)... This tour was to support the band's first album in almost 5 years, Hesitation Marks. The support on the tour would come from Godspeed You! Black Emperor and Explosions. The group would play at major festivals during the tour including the Fuji Rock Festival, Rockin’ Heim in Germany, and the Reading/Leeds Festival in England.

[tacochang0910]

20200310.

手頭上的工作告一段落，想當薪水小偷卻又不敢太明目張膽，於是起了整理今年至今看過哪些電影和書、聽過哪些專輯的念頭，一方面也為年底回顧時做準備。 從一月一號到今天，恰好七十天的時間，一共聽了（應該說有記錄到的）九十三張專輯、看了十本書與十一部電影。接連好幾個禮拜朝九晚五的平日接著放縱的周末，音樂、書和電影依然一如往常地，發揮了讓心安定的效果，一個人的時候、在公司的時候、抽菸發呆的時候，每一個時候。 以下列出清單，長度很長，敬請斟酌下滑。

專輯：

Porcupine Tree - Stupid Dream

林強 - 驚蟄

Loving - If I Am Only My Thoughts

Garcia Peoples - One Step Behind

TOY - Songs of Comsumption

City Flanker - Sound Without Time

暈蓋 - (((

yuragi - nightlife

Kevin Coyne - Marjory Razorblade

Mazzy Star - Among My Swan

SPAZA - Spaza

Felt - Crumbing the Antiseptic Beauty

Shout Out Louds - Ease My Mind

King Krule - Man Alive!

Tom Misch - Geography

Happy Mondays - Pills‘N’Thrills And Bellyaches

Yelena Eckemoff - Nocturnal Animals

阿爆（阿仍仍） - kinakaian 母親的舌頭

Ringo Deathstarr - God’s Dream

Black Mountain - Destroyer

街道殺死奇怪的動物 - B計劃-回到模擬時代

Ketil Bjørnstad - The Beginning - and the End

陳昇 - 七天

缺省 - California Nebula

The KVB - Submersion

envy - The Fallen Crimson

Hello, Blue Roses - WZO

Lightening Dust - Spectre

Jan Garbarek - Witchi-Tai-To

Keith Jarrett - My Song

Ketil Bjørnstad - The Sea

Enrico Rava - The Pilgrim And The Stars

Destroyer - Have We Met

Purple Mountains - Purple Mountains

Gang Of Four - Entertainment!

Caspian - On Circles

Alice In Chains - Jar Of Flies

Beach House - Teen Dream

David Cross - Crossover

Pet Shop Boys - Hotspot

Biffy Clyro - Singles 2001-2005

Pia Fraus - Empty Parks

Teebs - Anicca

The Sundays - Reading Writing And Arithmetic

Girl Band - The Talkies

She Her Her Hers - location

Celeste - Compilation 1.1

Wallows - Nothing Happens

hotel new tokyo - yes?

CUP - Spinning Creature

YOUR SONG IS GOOD - OUT

Miles Davis - Rubberband

Bag Raiders - Bad Raiders

Yellow Magic Orchestra - Yellow Magic Orchestra

Kraftwerk - The Man Machine

American Football - American Football

Moon Monsoon - Moon Monsoon

Joni Void - Mise En Abyme

Pela - All in Time

Veruca Salt - American Thighs

Explosions in the Sky -The Earth Is Not A Cold Dead Place

Pela - Anytown Graffiti

Andy Timmons - That Was Then, This Is Now

Acetone - 1992 - 2001

Michael Kiwanuka - Kiwanuka

Alon Mor - Lands of Delight

Broken Social Scene - Let’s Try the After Vol. 2 EP

Frankie and the Witch Fingers - ZAM

Kikagaku Moyo - House in the Tall Grass

SHE IS SUMMER - WAVE MOTION

Dinosaur Jr. - "Is It Up To Me?" - Santa Monica, November 16th 1994 (Live)

LCD Soundsystem - This Iss Happening

Slowdive - Just For A day

Rachel Grimes - Book of Leaves

Winter - Infinite Summer

Room307 - Room307

The Marías - Hold It Together

Glok - Dissident

Carlos Santana、John McLaughlin - Love Devotion Surrender

Perigeo - Azimut

Car Seat Headrest - Teens of Denial

Angel Olsen - All Mirrors

Dirty Three - Toward the Low Sun

Caribou - Andorra

kent - Isola

Bright Eyes - I'm Wide Awake, It's Morning

Damien Rice - O

Cream - Goodbye Tour - Live 1968

McCoy Tyner - The Real McCoy

Nine Inch Nails - The Downward Spiral

Charlie Parker - On Dial

The Who - Quadrophenia

H3F - Family Product

電影

花生醬獵鷹的願望 The Peanut Butter Falcon，2019

雨天紐約 A Rainy Day in New York，2020

雙面任務 Layer Cake，2004

安娜 Anna，2019

新殺戮戰警 Shaft，2019

她們 Little Women，2019

獨家腥聞 Nightcrawler，2014

兔嘲男孩 Jojo Rabbit，2019

熱帶雨 Wet Season ，2019

愛情限時簽 The Proposal，2009

原鑽 Uncut Gems，2019

書籍：

陳思宏《鬼地方》

村上春樹《聽風的歌》

阮光民、小莊《天橋上的魔術師》

村上春樹《世界末日與冷酷異境》

包冠涵《B1過刊室》

包冠涵《敲昏鯨魚》

加布列·賈西亞·馬奎斯��沒有人寫信給上校》

平野啓一郎《那個男人》

三津田信三、薛西斯、夜透紫、瀟湘神、陳浩基《筷—怪談競演奇物語》

熊一蘋《我們的搖滾樂》

[iamtryingtobelieve]

Enjoy Trent Reznor diving into Ilan Rubin’s drum kit https://www.youtube.com/watch?v=qboe5CebixA

[projectalbum]

Art is Resistance. 149. “With Teeth” (Halo 19), 150. “Year Zero” (Halo 24), 151. “Y34RZ3R0R3M1X3D” (Halo 25), 152. “Ghosts I-IV” (Halo 26), 153. “The Slip” (Halo 27) by Nine Inch Nails

The 6-year gap between Nine Inch Nails studio albums saw the Internet become truly ascendant in popular culture, for better and worse.

Napster took a bite from the music industry and was put down like a mad dog. The Pirate Bay first unfurled its flag. Radio play and music videos were still the main avenue for displaying the wares of major label musicians to the general public, and success was still measured in units of CDs sold, but more and more people were becoming hip to the underground access provided by a DSL modem.

But the power of the Web to empower artists and connect them to their fans still evaded most of the recording industry; honchos and artists alike were largely clueless. Trent Reznor, the big ol’ nerd, was a notable exception. Posting on early message boards on Prodigy, embracing torrents, creating an online gateway for the band’s fans, leaking material from the archives, experimenting with an optional-pay release, even being an early adopter of Twitter— it was a white-hot fiber optic cable running through the life of the band. While this technological engagement didn’t always translate into sales (The Fragile was considered a financial disappointment), it was a 21st century incarnation of the connection between what the artist creates and how the audience consumes it, internalizes it, and hopefully finds some emotional release in it.

This uneasy alliance between organic emotion and technological chilliness is reflected in this era of Nine Inch Nails’ aesthetic, both musically and through the packaging. Where Downward Spiral and Fragile dealt in decaying earth tones, the releases starting with 2005’s reemergent With Teeth (#149) are shades of blue, black, ghost white, and slate gray, dirtied up by belching factory smoke, or distorted by broken pixels and lines of computer code. The songs are likewise colored by pulsating synth accents, digital distortion, hums and drones and beats. The instrumental stems for Reznor’s compositions were offered up to remixers both professional and amateur, so that even the boundary of artist and audience member became liminal. He had his carefully constructed versions of “The Hand That Feeds” and “Only,” but suggested that there were infinite alternate permutations to be created at the click of a button. For the once angry, brooding Prince of Industrial Rock, it was downright egalitarian.

“All The Love In The World,” a title that might suggest a big-hearted power ballad on a cornier band’s track list, is in Reznor’s hands an electronica-inflected paranoid dirge. Where crunchy guitars would have provided the backbone in the past, here woozy piano figures are the main melodic backup to the vocal, before shifting into driving major chords to signal minute 3’s complete tonal transformation. With its layers of harmonizing Trents, it’s completely unlike anything else in the band’s repertoire, but it was the perfect next course to stimulate my appetite. And then Dave Grohl’s superhuman drumming on “You Know What You Are?” kicked me through the door. The wailing chorus presented an aggressive musical release for me that I’d never had access to before.

“Right Where It Belongs,” the keyboard-driven closing track, is spooky and introspective, and one of the best songs in NiN’s catalogue. A stripped-down, electric piano and vocal version, originally exclusive to the Japanese release but eventually uploaded by Reznor to his website, captures that dark night of the soul uncertainty even better. This recording made its way into the end credits of my senior thesis film, at the point where it was obvious it wasn’t going to go anywhere and that I should at least put copyrighted stuff I liked into it. I also set a live version against grainy deleted footage from Pink Floyd - The Wall, a mashup I figure ol’ Trent would appreciate (the idea was to then do the reverse, matching “Hey You” to the visuals cut together for NiN’s stage show, but the result wasn’t as compelling).

I don’t have any supporting evidence, but Year Zero (#150) may well have been the first time I ever plunked down money for a physical copy of a NiN CD. Also lacking sufficient empirical backup: I’m convinced this speculative fiction about an increasingly plausible American dystopia represents some of Reznor’s strongest songwriting. Inhabiting characters like a brainwashed foot soldier, an underground Resistance fighter, a religiously-inflamed demagogue, even a judgmental alien intelligence, he moves away from the diary page introspection that could occasionally curdle into lyrics of questionable taste (Sorry, please don’t slip on all the tears I’ve made you cry).

The release of the album was notably attached to a labyrinthine “Alternate Reality Game” campaign, with in-character websites, USB drives hidden at concerts, and music videos with secret messages, adding plot strands and world building to the lyrics. (I missed the boat on all that, but the work that the same marketing company did for The Dark Knight was sure something to experience.) All of which would be near-impenetrable, if the actual music wasn’t so compelling. You don’t have to read the wiki pages to feel the apocalyptic beats and glitchy cacophony of “HYPERPOWER!,” “The Good Soldier,” and to pump your fist to the chorus of “Survivalism.” “I got my propaganda / I got revisionism” hits harder in a time, 10 years on from the album’s release, in which the most powerful voices in the U.S. government disregard reality on the reg, occasionally try to downplay the Holocaust. “Capital G,” a gleefully sociopathic near-rap by the forces of greed, could soundtrack one of Paul Ryan’s dead-eyed workout photoshoots.

“In This Twilight” and “Zero Sum” are the shattering two-part coda, in which the squabbling remnants of humanity face the end, whether by divine intervention or nuclear fire. The first juxtaposes crunchy, distorted percussion and fuzzed-out bass with perhaps the most perversely light and melodic vocal performance Reznor has ever delivered. He’s singing about encroaching extinction, but in a blissed-out religious reverie, optimistic for the afterlife. The character at the center of the closing track is not so sure: this is the End of this ridiculous human experiment, and we’ve brought oblivion on ourselves. “Shame on us / For all we have done / And all we ever were.” There’s the Nine Inch Nails nihilism we know and love!

Y34RZ3R0R3M1X3D (#151) filters the previous album through Hip-Hop and EDM, to uneven effect. The collection of remixes never quite sustains the highs established by the first two tracks: Saul Williams’ fiery rap verses turn the instrumental “HYPERPOWER!” into a polemic against a legacy of American violence, “Gunshots by Computer,” while modwheelmood frees the vocals of “The Great Destroyer” from the squealing synth breakdown and creates a whole new paranoid anthem. While it’s also interesting to hear the Kronos Quartet reinterpret “Another Version of the Truth,” the rest is largely skippable. The physical set includes a DVD with the multitracks for the original Year Zero recordings, so you too can fuck with the raw materials! (I’ve been trying to remix things for years, and I’m awful at it, but it’s fun to hear the individual instrumentation.)

After freeing himself lyrically from his old methodology, the next release from Reznor eschewed words and melody completely. Ghosts I-IV (#152) is nearly 2 hours of ambient experimentation, a precursor to the Oscar-winning film scores with Atticus Ross (a few tracks were literally reworked for The Social Network, and several others continue to be licensed for film and documentaries). The buzzsaw distortions, dark piano chords, oddly organic synthesizers, and industrial beats identify it as a NiN record even in the absence of vocals. Though good luck recommending your favorite tracks, with titles like “26 Ghosts III” and “09 Ghosts I” not exactly sticking in the memory.

The Slip (#153), originally released free of charge, is more of a return-to-form. Arguably too familiar— it’s essentially With Teeth Part 2, but leaner and meaner. It’s not held in especially high regard, but it was there right at the outset of my fandom, and as such I continue to have a soft spot for it. I even bought the physical copy after years of listening to the decent quality MP3’s. “Discipline,” with its uncommonly funky bass line and high hat-favoring drum beat, is my number 1 “trying to sneak it onto a party playlist but not very successfully” NiN song. Along with the following track, “Echoplex,” the dark dance floor vibe is a preview of the sound Reznor and co would explore with How To Destroy Angels. “Lights in the Sky,” “Corona Radiata,” and “The Four of Us are Dying” create a kind of suite, insinuating and ethereal. I can understand if you bow out of that middle, 7-minute-and-33-second, ambient track before the library sample of fighting cats kicks in. But “LITS” is Reznor’s sparsest, prettiest piano lament, announcing the eminent “retirement” of Nine Inch Nails as a touring/recording entity.

Wave goodbye. They’ll be back.

[cantilenis]

Review: Circa Waves - Different Creatures

Virgin Emi Released: March 2017

‘Different Creatures’ is at its centre, a large departure from its predecessor. The follow up to their breakout album ‘Young Chasers’, ‘Different Creatures’ sees Indie Rock outfit Circa Waves start to shed some of the naivety and the sugar sweet melodies which instilled a sense of summertime year around. The band haven’t lost their memorable guitar riffs which made them popular in the first place, though much heavier tones have replaced the bouncy, singalong riffs of the ‘T-Shirt Weather’ days.

It is quite clearly the works of a band developing their sound, whilst trying to find their place in the industry. Pegged quite quickly and easily as an Indie band following their first album, the band venture more into the Rock genre with the sound they curated on this follow up. The lyrical narratives of this album are more mature, focusing on deeper topics at hand which are touched on in songs ‘Different Creatures’ and ‘Out On My Own’, and less on having a girl on their minds as in ‘Stuck In My Teeth’. As a whole you can tell the band are trying to shed their skinny jeans, with some calling the album title apt as the album’s sound as a whole is that of four boys-turned men no longer messing around with guitars. Though the differences between the two are almost akin to day and night. It leaves room for them to evolve still, as has been evidenced with newly released hints of the follow up to ‘Different Creatures’ teasing at a blend of their two prior releases with more experimentation even then.

It has been established time and time again that second albums can be tricky territory, especially if the first was a success. ‘Young Chasers’ was without a doubt a success, one which some would find hard to follow, but the band have grown with their sound, bonding more which has inevitably helped hone the sound they wanted to go for with this album. The genre shift wasn’t something which seemed to phase them, as it would other bands who stick to their tried and tested formulas (looking at you, The Wombats), shifting the sound as Circa Waves have done with this record can often be received badly by fanbases, though theirs seemed to approach it with an open mind as they can understand the need to grow and mature.

Circa Waves know what works when it comes to creating semi-anthemic songs which can be belted out with your old friends and a large audience at a festival, tunes you can envision yourself enthusiastically playing the air guitar to just as easily as you could picture yourself in an early 2000’s teen flick. They have never been shy of their noughties influenced brand of Indie, fitting in easily with the likes of Pigeon Detectives and The Wombats with their catchy and memorable melodies which get stuck in your head for days, as was evidenced by GiffGaff using one of their early tracks in an advert. Different Creatures doesn’t stray from that formula which they figured out with the first album, it simply dials it all up to eleven. ‘Goodbye’, one of the singles from this release is at its essence the kind of track other bands strive to release when touring the festival circuit; something which bands like Catfish and the Bottlemen, Courteeners and The Fratelli’s have achieved, it is a signature song of the band, kind of. Something which people snap their fingers at, with an invisible lightbulb going off above their head, something which is instantly recognisable and is easily known as that bands.

Meatier, punchy songs litter this album, from it’s strong opening track ‘Wake Up’ to the rubber-sounding bass lead ‘Stuck’. The band start as they mean to go on with this record, with a few small moments which let you catch your breath in the process. The lyrics mainly stick to the tried and tested theme of love and loss, with some other, more serious topics thrown in for good measure. There are a few stand out tracks which don’t necessarily fit in which this ‘large’ sound they have crafted for the album, which when listening to the album, can be jarring, which I’ll get to in a bit. With the heavier sound, came more mature narratives and melodies which take advantage of the nature of the songs, ‘A Night On The Broken Tiles’ touches on navigating your way through a relationship where you’re there to help, but you can acknowledge it’s not always needed. Whilst ‘Without You’ hints at their former album, had it featured less distortion; it has the echoed melody of the chorus played by the guitar, to the almost wistful verse breakdown in the second verse before it breaks back into the sound you become familiar with when listening to this record, it’s cynical and egotistical all at once, something which many of Circa Waves target audience can relate to in an age of social media and it’s intricacies.

‘Out On My Own’ is one of the record’s deeper tracks with frontman Kieran Shudall mentioning it came about when he found himself feeling isolated and alone when writing for this album, following off of a large tour. When listening to the track it’s a wistful and sorrowful blend of soft cymbal and guitar which comes and goes, peaking on the lyrics ‘Talk to me, talk to me, I am alone in here’ leading to a build up which could be described as waves crashing against the shore, a release of the pent-up emotions. ‘Old Friends’ the closing track of the album is a nostalgia tinged call to wanting to relive your old days, to let go and have more to look back on than just memories as Shudall pleads with his unseen partner to see if they would mind if he went to let of some steam, the track is encapsulated by its line ‘I wanna reminisce with my old friends’, something which we can all relate to at some point or another in life.

It’s the mellow and acoustic led ‘Love Runs Out’ which comes as an odd fit within the record, though not an unwelcome change of pace from the prior track ‘Crying Shame’, it is a contrast to such in many more ways than just the instrumentation, ‘Love Runs Out’ is an ode to Shudall’s girlfriend, and a song many can relate to due to it’s raw emotion and honesty, ‘I don’t have much, but what you get is what you see’, at the end of the track there is a moment where you can hear Shudall comment on the texts he was receiving from his girlfriend, a moment which gives a deeper, personal meaning to the song as she is its subject matter, the video largely reflects that familiar and intimate vibe. The use of this clip is a throwback to the likes of what The Beatles recordings sounded like, with them saying that they wanted to try and let the listener feel like they were in the studio too.

The title track, ‘Different Creatures’ feels much like any other plucky guitar led rock-pop track, with verses sounding mainly monotonous, the vocals never moving much opposed to the climbing guitar riff as Shudall sings about the differences and changes if people were to swap places. It is the chorus of the track which amps it up to another level, the instruments moulding together into a build up which almost sounds faster than the verses, it flies by as he sings ‘I don't know, how to feel, but I feel alive / I don't know how to live, to live a lie’, something which many could quite easily find themselves listening to and relating. It’s the small interlude which ventures into what is known as Circa Waves take on the political happenings, though only a brief mention of such at the same time, the lines ‘Twenty thousand souls are sold tonight / Making us their home’ refer to the Syrian Refugees. It’s not by any means the kind of political track you want to hear, the kind released by larger bands such as Green Day and The Sex Pistols. But perhaps it is the mark of a band who may venture further into the inclusion of more political and protest songs in the future? Maybe this was the band’s first time of dipping their toes in the metaphorical pool of protest music, but I suppose that’s something to keep in mind when looking at their follow up album.

A well made comparison in the change of sound between their two albums is one which other’s have made to Foals, another British Indie band who leaned towards a darker sound with their second album, a band which Circa Waves toured with prior to ‘Different Creatures’ which could lead to some suggesting that they were influenced by such, which by no means is a bad thing when you look at the finished product. They have both matured within the industry, changed their music as much as the way they present themselves in a more ‘grown up’ fashion, gone are the skinny jeans and denim shirts, now replaced with sleeker shirts and trousers. Comparisons are always going to be prevalent, however. Others have likened tracks off ‘Different Creatures’ to some released by The Smashing Pumpkins, though perhaps that is down to the production of the record, as much as it is the songwriting.

For this album the band worked with producer Alan Moulder, who has worked with acts like The Killers, The Smashing Pumpkins and Nine Inch Nails. Having worked with plenty of alt-rock icons it could be said that Moulder helped mould the band’s sound into the large guitar rock it is on this album. It’s clear that he knows what he’s doing in terms of production which makes sense when you listen to the sheer amount of instrumentation and effects happening within this album, even with such happening it never sounds overcrowded, or like it’s a large blend of sounds. You can still pick up the layers and softer parts of the instrumentation, as is clear with the latter half and strings in ‘A Night On The Broken Tiles’, a busy track which cleverly sounds like it is almost rewinding itself at times.

In a move which seemed both tactical and sensible in a time of so many forms of media, ‘Different Creatures’ was released in the standard CD and MP3 streaming format, with the addition of the recently more popular vinyl acting as another option for purchase and varying sound quality. A possible misstep in the mass of formats was the choice to release a certain amount of this album on cassette tape, a format which not many cares for or have access to considering the lack of cassette players on the market currently available, but a format which is none the less associated with the nostalgia it brings. There is a difference in sound quality from each different format which may have been a choice when looking at the production quality of the record. It could be seen quite possibly as a stretch to offer so many formats as a bid to seem relevant and ‘edgy’, though at the end of the day, I believe it to be a good move as the listeners who own whichever form will have actively gone and sought it out, and may well feel rather special to own one of the few cassettes, or pride themselves on having a new addition to their blooming vinyl record collection, it was a move which can appeal to the masses, regardless of what form of media they choose to listen to the album, inevitably leading to more people listening to it.  Since the release of ‘Different Creatures’, other bands have followed in similar footsteps, with them often offering bundle options of the formats when a new album is released. 

Described as ‘slightly lazy’ by The Guardian, they stick to the idea that ‘Different Creatures’ could fit in with any other 00’s guitar-rock, and is by no means anything ground-breaking as far as it goes, and inevitably settling on the decision that it makes guitar music look as if it has lost the ability to evolve and move forward. I can agree and disagree, as there is nothing wrong with sounding as if it would fit in with other guitar led music, there is always going to be a demand for such so I can’t see why there would be an issue with a band trying to live up to that; though it’s clear that that wasn’t Circa Waves intention with this record. There is also the attitude that it isn’t ground-breaking, though there is nothing implying that the band set out with the intention of being such, they have gone on record for thinking it is their best yet, but that could be viewed as the pride held over something they worked on for a long time, something they and many others view as a step up from their debut album.

Circa Waves are hardly strangers within the festival circuit, playing both smaller and larger stints alongside a wide variety of names on the bill, they played at Glastonbury the year of their debuts release and have only climbed further and further up the list of names, with ‘Different Creatures’ they worked their way to third to the headliner of some festivals, a position which I can only imagine they will continue to climb as their careers progress and their music grows with them.

Clearly a step towards being viewed as more serious and placing the band as contenders for larger festival spots, ‘Different Creatures’ was held to a high standard following the success of their first, though Circa Waves have hyped this record up to a great level. The band’s attitude has been scoffed at, but in all honesty as long as they can back their statements up and repeatedly throw out successful records, I don’t think there is any doubt that they will soon reach headlining spots and sell out tours (especially following their sold-out date at Brixton Academy when touring their first album). If Circa Waves have so much confidence in their work, there is nothing stopping them from achieving such feats, especially if their follow-on record is as spectacular as ‘Different Creatures’, after all; this is only a glimpse of what this band can achieve.

Reviewed by J.Rawlinson-Brown.

[djdeanbirchum]

"My Yamaha PSR 260 Use on many remix songs & reprise cover for over many years: . Korn's Fuels The Comedy Remix V2.0 2016 (Electric Piano, Wave On & Thick Saw) . Korn's My Wall Remix 2018 (Grand Piano, Strings & Thick Saw) . Chaos Lives On Everything Remix 2015 (Grand Piano) . Daniel Ingram feat. Rebecca Shoichet - Mad Twience Remix 2018 (Strings & Synth Bass) . Nothing Is Not Melody 2018 (Grand Piano & Flute) . Queen Chrysalis Theme Reprise (Stripped) [Chrysalis Campaign Story Soundtrack 2020] (Grand Piano) . Korn's My Gift To You (Stripped) Cover (Grand Piano) . Nine Inch Nails - Right Where It Belong V2 Cover (Electric Piano 1) . Nine Inch Nails - Ghost 9 Cover (Grand Piano) . Nine Inch Nails - Something I Can Never Have [Cover] (Grand Piano & Strings) . Nine Inch Nails - Zero Sum [The Wave Goodbye Tour Reprise Outro] (Grand Piano) . Rebecca Shoichet & dean birchum - I've Got Find A Way Remix 2015 (Grand Piano & Strings) . RED - Pieces [Intro Reprise Cover] (Grand Piano] #Intheremixstudio #deanbirchum https://www.instagram.com/p/BneR7TcjbR4/?utm_source=ig_tumblr_share&igshid=1x34l8kx5hjrg

[iamtryingtobelieve]

Walk in silence Don't walk away in silence. See the danger Always danger, Endless talking  Life rebuilding, Don't walk away.

Walk in silence Don't turn away, in silence. Your confusion My illusion, Worn like a mask of self-hate Confronts and then dies. Don't walk away.

People like you find it easy, Naked to see Walking on air. Hunting by the rivers Through the streets, Every corner abandoned too soon, Set down with due care. Don't walk away in silence, Don't walk away.

[iamtryingtobelieve]

Nine Inch Nails - Ruiner

[iamtryingtobelieve]

All the love in the world and screaming slave :]

All The Love In The World : Favourite Nine Inch Nails Song? In This Twilight

It never fails to give me chills, especially knowing the story of the Year Zero ARG and how it all ends. I know the album doesn’t have a “narrative” and it more snapshots of the World of Year Zero but the story Trent tells of wanting to be with the one you love when it all ends. It’s a beautiful sadness.

Not to mention the live performances, especially the “final show” at Webster Hall in 2009 where it ends with Trent playing the Zero-Sum motif whilst each band member leaves and “waves goodbye”. As well as Trent’s “Bono” moment where he performed the song live for photographer Andrew Yousseff during the Tension tour as Andrew wasn’t able to go to the show due to his declining health. Trent whipped out his iPhone and facetimed him mid-show. Sadly Andrew died not long after this happened.

Screaming Slave : Do You Prefer Heavier Music or Softer Music? I quite like both but there are things that are a bit too heavy/soft for me. I’ve not strayed too far into Industrial or artsy stuff where it’s just noise for the sake of noise. Or I don’t usually keep up with a lot of modern chart music, I usually stick with artists i usually know and grew up with. But sometimes I do like to challenge myself. One of my favourite pieces is Whitehouse’s “Why You Never Became a Dancer” which is just chaos but there is a weird groove in there I keep coming back for even if it’s just someone having a rant about an artist, 

Thanks for asking :)

[poetyca]

Soft Cell

Soft Cell è un duo britannico di musica elettronica dei primi anni ottanta che riscosse un buon successo di pubblico e di critica, composto da: Marc Almond (voce) e David Ball (sintetizzatore) e riformatosi poi nel 2003.

Le loro canzoni, di orientamento musicale synth-pop, oltre che raccontare storie d’amore, si focalizzano spesso su tematiche controverse quali il sesso estremo, il travestitismo, l’uso di droghe e persino l’omicidio.

https://it.wikipedia.org/wiki/Soft_Cell

Soft Cell are an English synthpop duo who came to prominence in the early 1980s, consisting of vocalist Marc Almond and instrumentalist David Ball. The duo are principally known for their 1981 hit version of “Tainted Love” (#8 US) and 1981 debut album entitled Non-Stop Erotic Cabaret.

In the United Kingdom, they had ten Top 40 hits including “Tainted Love” (#1 UK), “Torch” (#2 UK), “Say Hello, Wave Goodbye” (#3 UK), “What!” (#3 UK), and “Bedsitter” (#4 UK), and also had four Top 20 albums between 1981 and 1984. In 1984, the duo split but reformed from 2001 to 2004 to tour and record new material, releasing their fifth studio album, Cruelty Without Beauty in 2002.

Soft Cell’s songs have been covered by various artists including Nine Inch Nails, David Gray, Nouvelle Vague, Marilyn Manson, and A-ha.[4] Their track, “Memorabilia”, earned recognition for the band as pioneers of the synth-oriented techno genre.[5] The duo have sold 10 million records worldwide.

https://en.wikipedia.org/wiki/Soft_Cell

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[poetyca]

Soft Cell

Soft Cell è un duo britannico di musica elettronica dei primi anni ottanta che riscosse un buon successo di pubblico e di critica, composto da: Marc Almond (voce) e David Ball (sintetizzatore) e riformatosi poi nel 2003.

Le loro canzoni, di orientamento musicale synth-pop, oltre che raccontare storie d’amore, si focalizzano spesso su tematiche controverse quali il sesso estremo, il travestitismo, l’uso di droghe e persino l’omicidio.

https://it.wikipedia.org/wiki/Soft_Cell

Soft Cell are an English synthpop duo who came to prominence in the early 1980s, consisting of vocalist Marc Almond and instrumentalist David Ball. The duo are principally known for their 1981 hit version of “Tainted Love” (#8 US) and 1981 debut album entitled Non-Stop Erotic Cabaret.

In the United Kingdom, they had ten Top 40 hits including “Tainted Love” (#1 UK), “Torch” (#2 UK), “Say Hello, Wave Goodbye” (#3 UK), “What!” (#3 UK), and “Bedsitter” (#4 UK), and also had four Top 20 albums between 1981 and 1984. In 1984, the duo split but reformed from 2001 to 2004 to tour and record new material, releasing their fifth studio album, Cruelty Without Beauty in 2002.

Soft Cell’s songs have been covered by various artists including Nine Inch Nails, David Gray, Nouvelle Vague, Marilyn Manson, and A-ha.[4] Their track, “Memorabilia”, earned recognition for the band as pioneers of the synth-oriented techno genre.[5] The duo have sold 10 million records worldwide.

https://en.wikipedia.org/wiki/Soft_Cell

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