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PINK FLOYD - The Dark Side of the Moon [FULL ALBUM, CLASSIC PROGRESSIVE ROCK]
The Dark Side of the Moon is the eighth studio album by the English rock band Pink Floyd, released on 1 March 1973 by Harvest Records. Primarily developed during live performances, the band premiered an early version of the record several months before recording began. The record was conceived as an album that focused on the pressures faced by the band during their arduous lifestyle, and dealing with the apparent mental health problems suffered by former band member Syd Barrett, who departed the group in 1968. New material was recorded in two sessions in 1972 and 1973 at Abbey Road Studios in London.
The Dark Side of the Moon built upon experiments Pink Floyd had attempted in their previous live shows and recordings, but it lacks the extended instrumental excursions which, according to critic David Fricke, had become characteristic of the band following founding member Syd Barrett's departure in 1968. Gilmour, Barrett's replacement, later referred to those instrumentals as "that psychedelic noodling stuff". He and Waters cited 1971's Meddle as a turning point towards what would be realised on the album. The Dark Side of the Moon's lyrical themes include conflict, greed, the passage of time, death and insanity, the latter inspired in part by Barrett's deteriorating mental state. The album contains musique concrète on several tracks.
Each side of the album is a continuous piece of music. The five tracks on each side reflect various stages of human life, beginning and ending with a heartbeat, exploring the nature of the human experience and, according to Waters, "empathy". "Speak to Me" and "Breathe" together highlight the mundane and futile elements of life that accompany the ever-present threat of madness, and the importance of living one's own life – "Don't be afraid to care". By shifting the scene to an airport, the synthesiser-driven instrumental "On the Run" evokes the stress and anxiety of modern travel, in particular Wright's fear of flying. "Time" examines the manner in which its passage can control one's life and offers a stark warning to those who remain focused on mundane pursuits; it is followed by a retreat into solitude and withdrawal in "Breathe (Reprise)". The first side of the album ends with Wright and vocalist Clare Torry's soulful metaphor for death, "The Great Gig in the Sky".
Opening with the sound of cash registers and loose change, the first track on side two, "Money", mocks greed and consumerism using tongue-in-cheek lyrics and cash-related sound effects. "Money" became the most commercially successful track, and has been covered by several artists in subsequent years. "Us and Them" addresses the isolation of the depressed with the symbolism of conflict and the use of simple dichotomies to describe personal relationships. "Any Colour You Like" tackles the illusion of choice one has in society. "Brain Damage" looks at mental illness resulting from the elevation of fame and success above the needs of the self; in particular, the line "and if the band you're in starts playing different tunes" reflects the mental breakdown of former bandmate Syd Barrett. The album ends with "Eclipse", which espouses the concepts of alterity and unity, while forcing the listener to recognise the common traits shared by humanity.
The Dark Side of the Moon built upon experiments Pink Floyd had attempted in their previous live shows and recordings, but it lacks the extended instrumental excursions which, according to critic David Fricke, had become characteristic of the band following founding member Syd Barrett's departure in 1968. Gilmour, Barrett's replacement, later referred to those instrumentals as "that psychedelic noodling stuff". He and Waters cited 1971's Meddle as a turning point towards what would be realised on the album. The Dark Side of the Moon's lyrical themes include conflict, greed, the passage of time, death and insanity, the latter inspired in part by Barrett's deteriorating mental state. The album contains musique concrète on several tracks.
Each side of the album is a continuous piece of music. The five tracks on each side reflect various stages of human life, beginning and ending with a heartbeat, exploring the nature of the human experience and, according to Waters, "empathy". "Speak to Me" and "Breathe" together highlight the mundane and futile elements of life that accompany the ever-present threat of madness, and the importance of living one's own life – "Don't be afraid to care". By shifting the scene to an airport, the synthesiser-driven instrumental "On the Run" evokes the stress and anxiety of modern travel, in particular Wright's fear of flying. "Time" examines the manner in which its passage can control one's life and offers a stark warning to those who remain focused on mundane pursuits; it is followed by a retreat into solitude and withdrawal in "Breathe (Reprise)". The first side of the album ends with Wright and vocalist Clare Torry's soulful metaphor for death, "The Great Gig in the Sky".
Opening with the sound of cash registers and loose change, the first track on side two, "Money", mocks greed and consumerism using tongue-in-cheek lyrics and cash-related sound effects. "Money" became the most commercially successful track, and has been covered by several artists in subsequent years. "Us and Them" addresses the isolation of the depressed with the symbolism of conflict and the use of simple dichotomies to describe personal relationships. "Any Colour You Like" tackles the illusion of choice one has in society. "Brain Damage" looks at mental illness resulting from the elevation of fame and success above the needs of the self; in particular, the line "and if the band you're in starts playing different tunes" reflects the mental breakdown of former bandmate Syd Barrett. The album ends with "Eclipse", which espouses the concepts of alterity and unity, while forcing the listener to recognise the common traits shared by humanity.
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KING
King-Crimson
In the Court of the Crimson King (subtitled An Observation by King Crimson) is the debut studio album by English rock band King Crimson, released on 10 October 1969 by Island Records. The album is one of the earliest and most influential of the progressive rock genre, where the band combined the musical influences that rock music was founded upon with elements of jazz, classical, and symphonic music.
The album reached number five on the UK Albums Chart and number 28 on the US Billboard 200, where it was certified Gold by the Recording Industry Association of America.
The song "I Talk to the Wind" was written for King Crimson predecessor group Giles, Giles and Fripp (the only song on the album for which this was the case), but was retained by King Crimson in order to show the group's soft side. According to lyricist Peter Sinfield, the song was influenced by Joni Mitchell; in a 1997 interview he said it is still his favorite lyric that he ever wrote.
"The Court of the Crimson King" was written by keyboardist/woodwinds player Ian McDonald and Sinfield for their earlier group The Creation, and started as a country and western song before its final progressive rock configuration.
Multiple sources state that King Crimson made their live debut on 9 April 1969 at The Speakeasy Club in London, but Sinfield claims they did an earlier show in Newcastle, stepping in for a cancelled King Curtis. The Speakeasy Club concert, which Sinfield describes as their second, was smashed up by members of The Pink Fairies Drinking Club. King Crimson opened for the Rolling Stones in Hyde Park, London in July 1969, before an estimated 250,000 to 500,000 people, which brought them positive attention.
Initial sessions for the album were held in early 1969 with producer Tony Clarke, most famous for his work with The Moody Blues. After these sessions failed to work out, the group were given permission to produce the album themselves. The album was recorded on a 1" 8-channel recorder at Wessex Sound Studios in London, engineered by Robin Thompson and assisted by Tony Page. In order to achieve the characteristic lush, orchestral sounds on the album, Ian McDonald spent many hours overdubbing layers of Mellotron and various woodwind and reed instruments. In some cases, the band went through 5 tape generations to attain deeply layered, segued tracks.
While supervising a mastering cut, Ian McDonald discovered that the copy master had a problem on the right track, and because the first generation master tapes were missing since 1969, this problem was compensated for by EQ until 2002. Fripp speculated that the problem was caused by incompetent mastering engineers or "some tapes were mastered in different countries on machines that were not very well maintained or from copies made in the source country (normally US or UK in the case of rock music) where the second machine was inadequately maintained/monitored. These tapes were then sent out to licensee countries who had no adequate measure of comparison & trusted the source material from the record company office. Tape machines running at different speeds occasionally resulted in albums being a couple of seconds shorter/longer". The first generation master tapes were found in Virgin archives in 2002.
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ERIK
Erik-Satie
Eric Alfred Leslie Satie (17 May 1866 – 1 July 1925), who signed his name Erik Satie after 1884, was a French composer and pianist. He was the son of a French father and a British mother. He studied at the Paris Conservatoire but was an undistinguished student and obtained no diploma. In the 1880s he worked as a pianist in café-cabaret in Montmartre, Paris, and began composing works, mostly for solo piano, such as his Gymnopédies. He also wrote music for a Rosicrucian sect to which he was briefly attached.
The Gymnopédies, or Trois Gymnopédies, are three piano compositions written by French composer and pianist Erik Satie. He completed the whole set by 2 April 1888, but they were at first published individually: the first and the third in 1888, the second in 1895.
The work's unusual title comes from the French form of gymnopaedia, the ancient Greek word for an annual festival where young men danced naked – or perhaps simply unarmed. The source of the title has been a subject of debate. Satie and his friend Alexis Roland-Manuel maintained that he adopted it after reading Gustave Flaubert's novel Salammbô, while others see a poem by J. P. Contamine de Latour as the source of Satie's inspiration,[1][2] since the first Gymnopédie was published in the magazine La Musique des familles in the summer of 1888 together with an excerpt of Latour's poem Les Antiques, where the term appears.
However, it remains uncertain whether the poem was composed before the music. Satie may have picked up the term from a dictionary such as Dominique Mondo's Dictionnaire de Musique, where gymnopédie is defined as a "nude dance, accompanied by song, which youthful Spartan maidens danced on specific occasions", following a similar definition from Jean-Jacques Rousseau's Dictionnaire de Musique.
In November 1888, the third Gymnopédie was published. The second Gymnopédie did not appear until 1895, and its impending publication was announced in several editions of the Chat Noir and Auberge du Clou magazines. As a whole, the three pieces were published in 1898.
Pierre Puvis de Chavannes' symbolist paintings may have been an inspiration for the atmosphere Satie wanted to evoke with his Gymnopédies.
Satie's coining of the word gnossienne was one of the rare occasions when a composer used a new term to indicate a new "type" of composition. Satie used many novel names for his compositions (vexations, croquis et agaceries and so on). Ogive, for example, is the name of an architectural element which was used by Satie as the name for a composition, the Ogives. Gnossienne, however, was a word that did not exist before Satie used it as a title for a composition. The word appears to derive from gnosis. Satie was involved in gnostic sects and movements at the time that he began to compose the Gnossiennes. However, some published versions claim that the word derives from Cretan "knossos" or "gnossus"; this interpretation supports the theory linking the Gnossiennes to the myth of Theseus, Ariadne and the Minotaur. Several archeological sites relating to that theme were famously excavated around the time that Satie composed the Gnossiennes.
The Gnossiennes were composed by Satie in the decade following the composition of the Sarabandes (1887) and the Trois Gymnopédies (1888). Like these Sarabandes and Gymnopédies, the Gnossiennes are often considered dances. It is not certain that this qualification comes from Satie himself – the sarabande and the gymnopaedia were at least historically known as dances.
The musical vocabulary of the Gnossiennes is a continuation of that of the Gymnopédies (a development that had started with the 1886 Ogives and the Sarabandes) later leading to more harmonic experimentation in compositions like the Danses gothiques (1893). These series of compositions are all at the core of Satie's characteristic late 19th century style, and in this sense differ from his early salon compositions (like the 1885 "Waltz" compositions published in 1887), his turn-of-the-century cabaret songs (Je te veux), and his post-Schola Cantorum piano solo compositions, starting with the Préludes flasques (pour un chien) in 1912.
A year after the Gnosticism had been re-established in 1890, Satie was introduced to the Rosicrucian sect by his friend Joséphin Péladan. The work is influenced by occultism and esotericism, which spread in France at the end of the 19th century.
The Sarabandes are three dances for solo piano composed in 1887 by Erik Satie. Along with the famous Gymnopédies (1888) they are regarded as his first important works, and the ones upon which his reputation as a harmonic innovator and precursor of modern French music, beginning with Debussy, principally rests.[2] The Sarabandes also played a key role in Satie's belated "discovery" by his country's musical establishment in the 1910s, setting the stage for his international notoriety.
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ANIMA
Animal-Collective
Merriweather Post Pavilion is the eighth studio album by American experimental pop group Animal Collective, released in January 2009 on Domino Records. The group recorded the album as a trio featuring members Panda Bear (Noah Lennox), Avey Tare (Dave Portner) and Geologist (Brian Weitz), with co-production by Ben H. Allen. It is titled after the Maryland venue of the same name, where Portner and Weitz attended concerts in their youth.
Merriweather Post Pavilion saw the band continue to explore the electronica-based sound of their previous album Strawberry Jam, but favours a lusher, multi-layered production style compared to its predecessor. Drawing sonically from Panda Bear's 2007 solo album Person Pitch, and working largely without guitars, the band made extensive use of samplers and synthesizers as primary instruments, as well as prominent reverb. The band also installed PA systems in the studio in an attempt to replicate the energy of their live shows.
The album peaked at No. 13 on the Billboard 200 and No. 2 on the US Top Independent Albums charts. According to review aggregate site Metacritic, Merriweather was the most critically acclaimed album of 2009, and went on to sell over 200,000 copies by 2012. It spawned the singles "My Girls" (named the Best Song of 2009 by Pitchfork and Slant Magazine), "Summertime Clothes", and "Brother Sport". The album's reverb-heavy psychedelic pop sound would exert a wide influence on music of the subsequent decade.
After recording Strawberry Jam in January 2007, guitarist Deakin (Josh Dibb) decided he would take time off from the group for undisclosed personal reasons. As a result, the group went about writing a new batch of songs to be played without guitar. The group debuted nine of these songs, most of which would later appear on the album, in May 2007 and toured with them through 2008.
To record their eighth studio album, Animal Collective sought the services of Ben H. Allen as co-producer. In an interview with the Baltimore City Paper, Allen stated that the band chose him due to "my work with Gnarls Barkley, and wanted my low-end expertise". According to band-member Brian Weitz, while "[t]hat was the original attraction", Animal Collective was also impressed by his eclectic music tastes, "[h]e seemed to be somebody that technically knew how to work in [urban hip-hop], but was open-minded to other styles as well... knowing that he'd been involved in a lot of the Bad Boy Records stuff from the '90s was exciting to us". Subsequently, the band and Allen met over a few conference calls on Skype in January 2008.
The band recorded the album February 2008 at Sweet Tea Recording Studio in Oxford, Mississippi, with mixing completed in June or July of that year at Chase Park Transduction in Athens, Georgia. Drawing inspiration from Lennox's 2007 Panda Bear album Person Pitch, the band used samplers as its primary instruments, specifically the Roland SP-404 and SP-555 samplers; of the former, Brian Weitz said "it's become an instrument that we know really well. It's really user‑friendly. You can do things in real time on it." The group also used synthesizers such as the Roland SH2 and Novation Bass Station (for bassier sounds) and Juno 60 (for higher melodic lines and arpeggiated parts). The Eventide H3000 Ultra‑Harmonizer also helped the group define the sound of the album: according to Allen, "those guys fell in love with the H3000. [...] A lot of times, with the piano and acoustic guitar stuff, we would run it through the H3000 and create a pitched‑up and a pitched‑down version and mix it back in so it'd have an otherworldly sort of feel.[11] Many of the percussion sounds were played acoustically by Lennox, then layered and processed through the samplers' effects units.
Privacy during the sessions was paramount for the group, and a significant factor for choosing Sweet Tea. According to Allen, "During the whole month we worked on the album, the only people there were me, my assistant, and the band. No phones or computers... It's a small town, we were in the South, no one knew who they were. It was nonstop [work]". The studio also offered other advantages; Dave Portner felt Sweet Tea was "the vibiest studio I’ve ever been in. It feels like you're making music in a living room that just happens to have a Neve 8038 desk in it". Further, since Animal Collective planned to record a sample-heavy album, the studio's large control room was ideal; Weitz stated, "we wanted to do most of the tracking in the same room as the engineer". On Merriweather Post Pavilion, the band wanted to capture a live sound on record, just as it intended to on Strawberry Jam. However, recording methods for the two albums were very different, in Noah Lennox's words, "we went about them in totally opposite ways".
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UNKNO
Multi-Love
Multi-Love is the third studio album from the New Zealand band Unknown Mortal Orchestra. It was released on 26 May 2015. Frontman and primary contributor Ruban Nielson produced, mixed, and engineered the entirety of Multi-Love. He explored themes such as euphoria, loneliness, existentialism and emotional exhaustion. The title Multi-Love is a reference to the intense polyamorous relationship which Ruban Nielson had with his wife and a younger woman from Tokyo, Japan for a year, before her visa expired and the relationship ended. The topic is a prevalent theme in the album's lyrics, and Nielson has won acclaim for how he made such topics into music form, and portraying sexual experimentation in a positive light. The fallout from the relationship and subsequent personal transformations for Ruban, his wife Jenny, and the younger woman is the basis of the album's existential themes, and contributes to an eventual catharsis and reckoning with the past Ruban had, once he could finally let go from his bygone "Multi-Love".
Considered the band's global breakthrough album, Multi-Love made it onto lists by The Guardian, NME and Consequence of Sound for the best albums of 2015. Singles "Multi-Love" and "Can't Keep Checking My Phone" were both A-listed at BBC's 6 Music. Alongside Tame Impala's Currents, it was sometimes labelled one of two major critically acclaimed works of psychedelic music in 2015. The album debuted at number 14 in New Zealand, number 44 in the United Kingdom, and at number 7 on the American Billboard Independent Charts. Like its predecessors, the album received critical acclaim, and appeared on various critics' lists of the best albums of 2015. In October 2019, Multi-Love placed at no.18 on Happy Mag's list of "The 25 best psychedelic rock albums of the 2010s".
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REVOL
Revolver
Revolver is the seventh studio album by the English rock band the Beatles. It was released on 5 August 1966, accompanied by the double A-side single "Eleanor Rigby" / "Yellow Submarine". The album was the Beatles' final recording project before their retirement as live performers and marked the group's most overt use of studio technology to date, building on the advances of their late 1965 release Rubber Soul. It has since become regarded as one of the greatest and most innovative albums in the history of popular music, with recognition centred on its range of musical styles, diverse sounds, and lyrical content.
The Beatles recorded Revolver after taking a three-month break at the start of 1966, and during a period when London was feted as the era's cultural capital. Regarded by some commentators as the start of the group's psychedelic period, the songs reflect their interest in the drug LSD, Eastern philosophy and the avant-garde while addressing themes such as death and transcendence from material concerns. With no plans to reproduce their new material in concert, the band made liberal use of automatic double tracking, varispeed, reversed tapes, close audio miking, and instruments outside of their standard live set-up. Among its tracks are "Tomorrow Never Knows", incorporating heavy Indian drone and a collage of tape loops; "Eleanor Rigby", a song about loneliness featuring a string octet as its only musical backing; and "Love You To", a foray into Hindustani classical music. The sessions also produced a non-album single, "Paperback Writer" backed with "Rain".
In the United Kingdom, the album's 14 tracks were gradually distributed to radio stations in the weeks before its release. In North America, Revolver was reduced to 11 songs by Capitol Records, with the omitted three appearing on the June 1966 LP Yesterday and Today. The release there coincided with the Beatles' final concert tour and the controversy surrounding John Lennon's remark that the band had become "more popular than Jesus". The album topped the Record Retailer chart in the UK for seven weeks and the US Billboard Top LPs list for six weeks. Critical reaction was highly favourable in the UK but less so in the US amid the press's unease at the band's outspokenness on contemporary issues.
Revolver expanded the boundaries of pop music, revolutionised standard practices in studio recording, advanced principles espoused by the 1960s counterculture, and inspired the development of psychedelic rock, electronica, progressive rock and world music. The album cover, designed by Klaus Voormann, combined Aubrey Beardsley-inspired line drawing with photo collage and won the 1967 Grammy Award for Best Album Cover, Graphic Arts. Aided by the 1987 international CD release, which standardised its content to the original Parlophone version, Revolver has surpassed Sgt. Pepper's Lonely Hearts Club Band in many critics' estimation as the Beatles' best album. It was ranked first in the 1998 and 2000 editions of Colin Larkin's book All Time Top 1000 Albums and third in the 2003 and 2012 editions of Rolling Stone magazine's list of the "500 Greatest Albums of All Time". It has been certified double platinum by the BPI and 5× platinum by the RIAA.
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QUEEN
Rated-R
Rated R (also known on vinyl as Rated X and Rated RX on 2010 deluxe edition) is the second studio album by American rock band Queens of the Stone Age, released on June 6, 2000 by Interscope Records. It was the band's first album for the label, as well as their first to feature bassist Nick Oliveri and vocalist Mark Lanegan.
Rated R was a critical and commercial success and became the band's breakthrough album, peaking at number 54 in the UK and eventually being certified gold by the BPI. Two singles were released from the album: "The Lost Art of Keeping a Secret" and "Feel Good Hit of the Summer", with the former helping the band reach mainstream popularity.
Rated R has been described as featuring stoner rock, alternative rock, hard rock, and alternative metal. The album contains numerous references to drugs and alcohol. This is particularly prominent on the opening track, "Feel Good Hit of the Summer", which consists entirely of the repeated verse "Nicotine, valium, vicodin, marijuana, ecstasy and alcohol" followed by a chorus of "c-c-c-c-c-cocaine". Though frontman Josh Homme has emphasized the fact there is no definitive endorsement or condemnation behind the lyrics, he has confirmed he came up with the lyrics stumbling through the desert at night after a New Year's party, trying to remember what exactly he had consumed that evening leaving him so intoxicated.
Following the theme, "Monsters in the Parasol", which originally appeared on the Desert Sessions album, Volume 4: Hard Walls and Little Trips, is about Homme's first experience on LSD, kicking in just as his friends' father and sister came home leading to a bad trip. The song "Better Living Through Chemistry" offers an opposing stance on prescription drugs, while Homme's favorite song from the album closer, "I Think I Lost My Headache", is described as being about "Paranoia... when you think something strange is going on, and everyone around you is so adamant about telling you it's fine... but then you start thinking 'Wouldn't that be exactly what you'd say if you didn't want me to know, and there is something going on?' And so it's kind of about that paranoid mentality which maybe I have sometimes." The song is also notable for its unconventional intro and outro in the 15/8 time signature, with the outro culminating in several minutes of an incessantly jarring and repetitive horn part, added to punish those who may have fallen asleep listening to the album.
Rated R features the debut of bassist Nick Oliveri and guest vocalist Mark Lanegan, who both made vocal and songwriting contributions to the band. In addition to providing backing vocals for "Auto Pilot" and "I Think I Lost My Headache", Lanegan sang lead vocals on "In the Fade", a song about clarity following a comedown/sobriety, while Oliveri sang "Tension Head", a re-recording of the song "13th Floor" off Oliveri's Mondo Generator's debut album Cocaine Rodeo, and "Quick and to the Pointless", which follows the singer's experiences on heroin and speed, and cocaine and meth, respectively. "Quick and to the Pointless'" drum, bass, guitar and vocal tracks were recorded simultaneously in just one take. Oliveri's vocal performance was originally intended to be a scratch vocal, but the band liked it so much that this original recording remained on the finished song including the two verses in Dutch.
One of the few songs not involving drug use is the albums' lead single, "The Lost Art of Keeping a Secret", which is a response by Homme to people who had lost his trust, particularly involving trysts. Another one, the acoustic instrumental "Lightning Song" was penned by touring keyboardist, second guitarist, and lap steel player Dave Catching.
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PUBLI
Public-Service-Broadcasting
Inform - Educate - Entertain is the first album by alternative British group Public Service Broadcasting. It features samples from the British Film Institute (BFI) and The National Archives (UK) and features themes from the first expedition of Mount Everest, the invention of colour television, road safety, fashion, the creation of the Spitfire plane and Thomas Woodrooffe's 1937 radio broadcast at the Spithead Review. It peaked at No. 21 on the UK Albums Chart.
Public Service Broadcasting are a London-based musical group consisting of J. Willgoose, Esq. on guitar, banjo, other stringed instruments, samplings and electronic musical instruments, Wrigglesworth on drums, piano and electronic musical instruments, and J F Abraham on flugelhorn, bass guitar, drums and assorted other instruments including a vibraslap. The band has toured internationally and in 2015 was announced as nominee in the Vanguard breakthrough category of the fourth annual Progressive Music Awards, staged by Prog magazine, which they won.
The band mostly plays instrumental music; Willgoose has said that "singing is never going to work. I'm not going to be happy with it, I'm not going to be comfortable playing it to other people." They take samples from old public information films, archive footage and propaganda material. Despite Willgoose's prior reservations about singing, he did later contribute vocals to the duet piece "You + Me" from Every Valley, because the intended vocalist was not available.
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NILS
Nils-Frahm
Spaces is the seventh studio album by German musician Nils Frahm. It was released on 19 November 2013 on the Erased Tapes record label. It has been described by Frahm as a "collage of field recordings", and includes music recorded over a 2-year period at different locations using a variety of methods including cassette and reel to reel tapes.
Spaces received general acclaim upon its release. At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream critics, the album received a score of 90 based on 15 reviews, which is categorised as "universal acclaim". In his review for Pitchfork, Nick Neyland called it "an absorbing work, full of pensive moments cut together by music that thrives on dovetailing melodies that can be simultaneously mesmerizing and beautiful". In his review on The Arts Desk, Kieron Tyler said the album does not feel like "a conventional live album", but rather a "seamless whole".
Spaces was given an honorable mention in Pitchfork's Albums of the Year 2014, with Nick Neyland remarking, "There are magical properties here, giving Spaces a quality that makes it easy to forget the world outside during its absorbing duration". "Says" was ranked at number 47 on Pitchfork's list of The 100 Best Tracks of 2014, with critic Andrew Rice writing that the track comes closest to capturing "the experience of seeing a Frahm concert".
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NINE
Nine-Inch-Nails
The Downward Spiral is the second studio album by American industrial rock band Nine Inch Nails, released on March 8, 1994, by Nothing Records and Interscope Records in the United States and by Island Records in Europe. It is a concept album detailing the destruction of a man from the beginning of his "downward spiral" to his death by suicide. The Downward Spiral features elements of industrial rock, techno and heavy metal, in contrast to the band's synth-pop-influenced debut album Pretty Hate Machine (1989), and was produced by Nine Inch Nails frontman Trent Reznor and Flood.
In 1992, Reznor moved to 10050 Cielo Drive in Benedict Canyon, Los Angeles, where actress Sharon Tate was murdered by members of the Manson Family. It was used as a studio called "Le Pig" for recording Broken (1992) and The Downward Spiral with collaborations from other musicians. The album was influenced by late-1970s rock music albums such as David Bowie's Low and Pink Floyd's The Wall in particular, and focused on texture and space. The album spawned two singles, "March of the Pigs" and "Closer", in addition to the promotional singles "Piggy" and "Hurt". "March of the Pigs" and "Closer" were accompanied by music videos, with the former shot twice and the latter's heavily censored.
The Downward Spiral was a commercial success, and established Nine Inch Nails as a reputable force in the 1990s music scene, with its sound being widely imitated and Reznor receiving media attention and multiple honors, while descending into drug abuse and depression. It has been regarded by music critics and audiences as one of the most important albums of the 1990s, and was praised for its abrasive and eclectic nature and dark themes, although it was scrutinized by social conservatives for some of its lyrics. A remix album titled Further Down the Spiral was released in 1995.
The Downward Spiral was conceived after the Lollapalooza festival tour as Trent Reznor thought of a "negative vibe" felt by the band when they were in a European hotel. Nine Inch Nails live performances were known for its aggressive on-stage dynamic, in which band members act angry, injure themselves, and destroy instruments. Reznor had a feud with TVT Records that resulted in him co-founding Nothing Records with his former manager John Malm, Jr. and signing with Interscope. He wanted to explore a fictional character whose life is psychologically wounded and developed a concept about the album's themes; he later used the concept as lyrics. The concept was based on Reznor's social issues at the time: he had personal conflicts with band member Richard Patrick and was known for enjoying alcohol. When developing The Downward Spiral, Reznor struggled with drug addiction and was depressed as he wrote songs related to personal issues. His friends suggested that he could take Prozac (fluoxetine), an antidepressant, but this choice did not appeal to him. He wanted the album's sound to diverge from Broken, emphasizing mood, texture, restraint and subtlety, although he was not sure about its musical direction. The album was made with "full range" and focused on texture and space, avoiding explicit usage of guitars or synthesizers.
Reznor searched for and moved to 10050 Cielo Drive in 1992 for recording Broken and The Downward Spiral a decision made against his initial choice to record the album in New Orleans. 10050 Cielo Drive is referred to as the "Tate House" since Sharon Tate was murdered by members of the Manson Family in 1969; Reznor named the studio "Le Pig" after the message that was scrawled on the front door with Tate's blood by her murderers, and stayed there with Malm for 18 months. He called his first night in 10050 Cielo Drive "terrifying" because he already knew it and read books related to the incident. Reznor chose the Tate house to calibrate his engineering skills and the band bought a large console and two Studer machines as resources, a move that he believed was cheaper than renting.
Reznor collaborated with former Jane's Addiction and Porno for Pyros drummer Stephen Perkins, progressive rock guitarist Adrian Belew, and Nine Inch Nails drummer Chris Vrenna. Belew's first visit to the studio involved playing the guitar parts in "Mr. Self-Destruct", and he was told to play freely, think on reacting to melodies, concentrate on rhythm, and use noise. This approach improved Reznor's confidence in the instrument: he found it to be more expressive than the keyboard due to the interface. Belew praised Reznor for his "command of technology," and commented that the music of Nine Inch Nails made innovations "that are in [his] realm." Vrenna and Perkins played drum parts recorded live in the studio; the tracks were rendered into looped samples. Reznor took a similar approach to recording guitar parts: he would tape 20- to 25-minute-long sessions of himself playing guitars on a hard disc recorder with the Studio Vision sequencer.
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