{"id":39778,"date":"2006-05-31T00:00:00","date_gmt":"2006-05-31T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/with-teeth\/"},"modified":"2006-05-31T00:00:00","modified_gmt":"2006-05-31T00:00:00","slug":"with-teeth","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/with-teeth\/","title":{"rendered":"With Teeth"},"content":{"rendered":"

<\/p>\n

I think it’s safe to say that the industrial
\nrevolution has passed everyone by but its founder, Trent Reznor,
\nwho seems content to churn out the same album every five years to
\nan increasingly diminished fan base.<\/p>\n

There was never really anything like Nine Inch Nails,
\nand both Trent’s copycats and colleagues have moved on to other
\nthings. Not Reznor, who squirreled away and labored over this disc
\nfor six years before unleashing it in 2005. The fans were ecstatic,
\nand those who liked “Closer” were surprised NIN was still around.
\nIt was safe to say this one was not greeted with much hype.<\/p>\n

It’s hard to pinpoint why this isn’t as exciting as
\nit should be. Certainly, Reznor has not lost his gift for stomping
\nbeats, industrial noise and menacing sound. He still is able to
\nstart from nothing and build up to cathartic finales. But that’s
\nthe problem here — he can do all this and he does, but nothing
\nmore. It’s like listening to every other NIN record, and it seems
\nReznor never really left 1994 or even 1989’s Pretty Hate
\nMachine<\/i>.<\/p>\n

There is a bit of a rush in hearing a new NIN disc,
\nthough, since nobody ever did it better than Trent, not even
\nMarilyn Manson. “The Hand That Feeds” was a great summer rock song
\nin 2005, one that got played constantly by fans my age who were
\nhoping their band could be cool again. It’s one of the quickest,
\nloudest and most strident songs Reznor ever put down, and even
\nthough the lyrics are mundane the package as a whole works
\nwell.<\/p>\n

“Every Day Is Exactly The Same” sounds like a
\nconfessional from the notoriously-perfectionistic Reznor, who sings
\n“I used to have a voice \/ Now I never make a sound \/ I just do what
\nI’ve been told \/ I really don’t want them to come around.” It could
\nbe a parallel to modern-day life and the way in which we sludge to
\nwork every day and hope to get through the day, but I don’t see
\nReznor caring that much about his fellow humans. It’s part of his
\nappeal, in a weird way.<\/p>\n

The biggest surprise here is “Only,” which is a
\nfreaking INXS song, at least until the verses come in and Reznor
\nspeaks his words as a detached observer, which is cool if you’re
\nCake. Yet the song is far more appealing than it should be, mainly
\nbecause it breaks out of the normal NIN mold.<\/p>\n

Many of the songs are solid, if unremarkable, the
\ntype that sound great as they play but are instantly forgotten five
\nminutes later. Again, it’s not that they are bad songs — “Right
\nWhere It Belongs” is a rather poignant tune and “Sunspots” has a
\nwicked groove — but the feeling of deja vu is strong
\nthroughout.<\/p>\n

Had Reznor acted his age (40) instead of living in
\n1989, this might have sounded different. It’s lyrically Reznor’s
\nusual fare, and musically it is just as solid as his other discs.
\nBut ultimately, it’s the kind of disc that will only appeal to
\nfans, who will like these 13 songs very much. Points to Reznor for
\ndoing what he does best, but points off for not growing as an
\nartist in the six years he waited to drop this one.<\/p>\n

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