![]() But listening to NIN started to shift my awareness of this, and I became cognizant of all the ways you can treat and shape sounds. At that point, I hadn’t thought about music production - I just thought music was made with instruments and recorded and it sounded like how it was played. I bought it on CD and listened to it to death for the many years that followed.įor some context: I had only been playing guitar for a few years at that point and was playing Radiohead, Nirvana, Smashing Pumpkins, Deftones, etc - so The Downward Spiral was totally wild compared to anything else I had been listening to, and changed how I understood you could write music. At some point the same year, a stoner friend of mine showed me the Downward Spiral album in full, and I immediately became obsessed. It wasn’t long before me and my friends were obsessing over the irregular time signatures of “March of the Pigs,” the punk aggression of its stark, basic music video, and the weird, explicit sexual nature of the “Closer” video. I think the first videos I would have seen were “Wish” and “Head Like A Hole” on MTV2 - the latter of which I instantly loved because it was catchy, very heavy, but also had this weird dance music groove and production that I hadn’t heard before (or, at least, that I could only connect to the gritty heavy dance style of The Prodigy). ![]() ![]() I first listened to Nine Inch Nails when I was at school, around the ages of 12 to 15, which would have been the mid- or late 1990s.
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