![]() NIN tearing London a new one on the second date of a three. “The live drum solo at the end of Piggy is intentionally crazy and off-tempo, and for that piano part at the end of Closer, Trent played it but didn’t quantize the MIDI, so it wasn’t exactly the same feel or speed as the rest of the song.” “There are a few parts on the record that are purposely messed up structurally,” says drummer and sound designer Chris Vrenna, who was in the band from Pretty Hate Machine through the end of the tour for The Downward Spiral. It was a feast of unconventional rhythms, barbed hooks, abrupt tempo changes and torrents of noise that sometimes continued after the rest of the instruments cut out. Piggy balanced skewed samples with a sluggish, near-reggae bassline Ruiner drew from hip hop beats and a simple melody reminiscent of Pretty Hate Machine’s Down In It, before evolving into a near-orchestral wash of sound. Most of the rest of the album was mid-tempo, with an underworld of unnerving sounds that ebbed and flowed like a stop-motion film of contaminated ocean waves. ![]() ![]() Self Destruct and March Of The Pigs were fast, heavy and reminiscent of Broken but with more emotional depth. It’s what popped out of my head and was the strongest statement I could make. I didn’t do that just to fuck myself up, either. I thought I quite intentionally may have shot myself in the foot commercially. “And I was worried that people that were more into the metal sound of Broken wouldn’t like it. Trent never gave a shit about doing anything to please the fans Chris Vrenna
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