{"id":41215,"date":"2008-11-11T00:00:00","date_gmt":"2008-11-11T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/the-slip\/"},"modified":"2008-11-11T00:00:00","modified_gmt":"2008-11-11T00:00:00","slug":"the-slip","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/the-slip\/","title":{"rendered":"The Slip"},"content":{"rendered":"<p class=\"MsoNormal\" style=\"text-align: justify\">Trent Reznor\u2019s second release of 2008, <i>The Slip,<\/i> almost comes as a present for those fans and casual listeners of Nine Inch Nails that wouldn\u2019t be too excited about or courageous enough to try out a four-disc album of mere instrumentals. After all, Reznor\u2019s witty yet straightforward lyrics coupled with his fustian singing played a huge part in giving his music such uniqueness. For a man who made industrial music so accessible by exhuming it from the nadirs of the underground movement, alienating his walloping fan-base &#8212; which also consists of casual listeners of top 40 radio &#8212; without accompanying <i>Ghosts I\u2013IV<\/i> with a regular album would be quite uncharacteristic, especially since his brand has such mass appeal. <i><o:p><\/o:p><\/i><\/p>\n<p class=\"MsoNormal\" style=\"text-align: justify\">Similar to Reznor\u2019s 1992 release <i>Broken<\/i>, <i>The Slip<\/i> for the most part has a sense of urgenc and delivers quick punches in a very short time. The opening instrumental \u201c999,999\u201d sets the stage for the meat of the album, which is quick barrage of five back-to-back intense, high-octane tracks. Reznor has the same bite in these cuts as he had as a genius waiting to happen twenty years ago in 1989. Whether it be the punk-rock danceability of \u201c1,000,000\u201d and \u201cLetting You Go\u201d or the catchy \u201880s disco rhythm of \u201cDiscipline,\u201d \u201cEchoplex,\u201d and \u201cHead Down,\u201d these songs resonate with Reznor\u2019s post-The Fragile work like \u201cOnly\u201d and \u201cYou Know What You Are?\u201d (from 2005\u2019s With Teeth).<o:p><\/o:p><\/p>\n<p class=\"MsoNormal\" style=\"text-align: justify\">But what follows these five highly-charged cuts is a dire and unwelcome twist in the album. While the immediate cut \u201cLights In The Sky\u201d is a classy piano ballad, the two tracks following it, \u201cCorona Radiata\u201d and \u201cThe Four Of Us Are Dying,\u201d make up a long and tedious instrumental section on the album, which almost completely snuffs out the fire with which the album begins. Although these instrumentals are tolerable &#8212; and even good, in the case of \u201cThe Four Of Us Are Dying\u201d &#8212; they don\u2019t fit well on this album, unlike \u201c<st1:street><st1:address>A Warm Place<\/st1:address><\/st1:street>\u201d (<i>The Downward Spiral<\/i>) or \u201cLa Mer\u201d<i> <\/i>(<i>The Fragile<\/i>) or even the short ones on <i>Broken<\/i> that were great build-ups to the subsequent numbers. \u00a0The disc feels so tepid towards the end that even the enthusiasm of the concluding number \u201cDemon Seed\u201d does nothing to bring it back to the vigor it started off with.<\/p>\n<p class=\"MsoNormal\" style=\"text-align: justify\">For a record so accessible and aggressive, <i>The Slip<\/i>, even for its short length, is a few songs too long. The deal would have been much sweeter had it ended with just the beautiful piano-ballad and hadn\u2019t gone much further. For the masses that avoided <i>Ghosts I\u2013IV<\/i> on purpose, the last thing they need is a sample of what they missed.<\/p>\n","protected":false},"author":40,"featured_media":29618,"comment_status":"open","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"artist":[5836],"rating":[5615],"class_list":["post-41215","review","type-review","status-publish","has-post-thumbnail","artist-nine-inch-nails","rating-rating-b"],"acf":[],"_links":{"self":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/41215","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review"}],"about":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/types\/review"}],"author":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/users\/40"}],"replies":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/comments?post=41215"}],"version-history":[{"count":0,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/41215\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media\/29618"}],"wp:attachment":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media?parent=41215"}],"wp:term":[{"taxonomy":"artist","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/artist?post=41215"},{"taxonomy":"rating","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/rating?post=41215"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}