Review: Various Artists – 'We're In This Together: A Tribute To Nine Inch Nails'

VARIOUS ARTISTS 

'We're In This Together: A Tribute To Nine Inch Nails' 

TRIBULATIONS 

Only a month after their impressive tribute to Bile, the Tribulations team unleash to arguably the biggest band to ever come out of the industrial scenes, Nine Inch Nails. There have been a few tribute albums to NIN over the years, including piano, lullaby, acoustic, and string quartet versions... so the contributing artists have their work cut out for them to come up with some different variations on the ample source material.

Acts such as Corlyx, Killchild, Man Woman Machine, Acidrodent, Visions In Black, Marc Lowe, The Cryptids and more take on iconic tracks such as 'Reptile', 'Wish', 'Heresy', 'Hurt', 'Into The Void', 'The Becoming', 'Gave Up', and Something 'I Can Never Have.

The variations in artistic styles are far greater her than say the previous Bile compilation, and some acts stick close to the source material while others go off in other directions. It's a shame there are two versions of 'The Becoming', and 'Reptile' – while both versions of each track are great – with no representation from 'Year Zero' or 'Hesitation Marks' it feels like the album could have covered more ground.

As with all compilations the mastering ties things together nicely once again by creating a cohesive sound from amidst the various genres at play here. Even with some major stylistic shifts in the track list the album flows nicely from start to finish.

Nine Inch Nails are a band that have been covered many times and in many different ways. Approaching this as a tribute album curator or a contributing artist is no small feat, and everyone involved once again deserves praise. And if this wasn't enough we can expect a tribute to Front Line Assembly in the near future as well.

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Review: Nine Inch Nails – 'Bad Witch'

NINE INCH NAILS

'Bad Witch'
THE NULL CORPORATION

The third instalment of the EP trilogy that began in 2016, 'Bad Witch' finally emerges. Though classed as an LP by Trent Reznor the album is still of comparable EP length featuring a total of six tracks which is only one more that the previous two.

NIN's post 'Year Zero' output has often been criticised of being a bit safe and samey despite of its prowess. With that in mind this trilogy has been really refreshing with each offering possessing a frantic unfinished and raw energy that is at odds with the perfectionism that coloured his 90s and early 2000s output. The album has the noisy, low-fi edges of 'Not The Actual Events' and the analogue synth playfulness of 'Add Violence', and throws in overt saxophones that gives the album a hint of 'Outside' and 'Earthling' era Bowie. But most importantly out of the albums in the trilogy this one feels the most complete and well-rounded.

The Bowie influence is at its most overt on the brilliantly tense and frenetic 'God Break Down The Door' which sees Trent break out his best croon for the occasion. Tracks such as 'Shit Mirror', '
Ahead Of Ourselves', and 'Play The Goddamned Part' are a little less-user-friendly and employ more of the noise rock vibe from the first EP. However, there's a sudden turn with 'I'm Not From This World' with it's gritty and dissonant synths over a throbbing rhythmic bass line to create a haunting industrial instrumental before the album finishes on the which once again returns to Bowie territory with a nod to his late hero's final album 'Blackstar'.

The production maintains the raw and gritty atmosphere of the previous two outings. It's unpolished and almost live in its energy. But still crafted and mixed with a masterful hand and certainly doesn't feel rushed. Just honest and urgent.

'Bad Witch' pushes out from the safety of classic NIN. There is a cosmic anxiousness at play here, a sense of existential tension that permeates the tracks with discomfort and subversion. Out of the three releases in this trilogy it certainly stands apart as a stronger and more rounded release.

The trilogy as a whole, has led to a more revitalised NIN sound that raises the question that had these songs featured on one album, would the effect have been similar? Also, will we see the staggered format from Reznor and Ross again in the future? Time will tell.

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Nine Inch Nails announce new record and tour

Nine Inch Nails have unveiled their latest release in the form of new studio album 'Bad Witch'. The album carries on from its two predecessor EPs; 2016's 'Not The Actual Events' and 2017's 'Add Violence' rounding out the trilogy that Trent Reznor had previously alluded to.

'Bad Witch' will be available from 22^nd June via The Null Corporation.

Track list:

1. "Shit Mirror"

2. "Ahead of Ourselves"

3. "Play the Goddamned Part"

4. "God Break Down the Door"

5. "I'm Not from This World"

6. "Over and Out"

In addition to the new album the band have released North American tour dates with support from indie legends The Jesus And Mary Chain.

For pre-order and ticket details visit www.nin.com

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Review: Nine Inch Nails – 'Add Violence'

NINE INCH NAILS
'Add Violence'
THENULL CORPORATION

A big criticism of Nine Inch Nails post 'Year Zero' is the settled and somewhat comfortable sound Trent Reznor has continued to craft. Deviations and experimentation are still present, but with his fascination with analogue synthesizers there has been to a degree a stock palette that has also reoccurred in his side project How To Destroy Angels, and his soundtrack work with long-time NIN producer, and now official member, Atticus Ross.

The first release in the trilogy of EPs being released on his own Null Corporation record label, 'Not The Actual Events' did kind of confound expectations. With it's noise rock meets drone and low-fi feel it was arguably one of the most challenging NIN releases since 1994's 'The Downward Spiral', though lacking the misanthropic anger of his youth. Fast-forward to the summer of 2017 and the second EP in the trilogy, 'Add Violence', is unveiled.

Sonically the new EP is a self-contained entity with an expanded presence than we previously had. We return to the analogue synth wizardry familiar from recent Reznor releases. There is an almost chip-tune element to some of the tracks while darker ambient textures play beneath them and the vocals begin to tie the narrative arc of the EPs together with their disassociated lyrics.

'Less Than' is a fairly typical NIN track to kick off the EP, a little retro synth lead, that classic guitar sound and vocal delivery that categorises recent output, balancing the subtle harsher elements with an upbeat and pleasing rhythm. 'The Lovers' has a more minimal vibe reminiscent of How To Destroy Angels, with a simple and rhythmic melody, a little piano and Reznor's distant spoken vocal it has an air of 'The Fragile' about it's atmosphere.

'This Isn't The Place' carries on that feeling, though with a more sinister atmosphere present throughout, that fades nicely into the low-fi rock of 'Not Anymore' with its “quiet-loud” construction that is the most obvious musical link to the previous EP. Finally, 'The Background World' ties the EP together with a sinister grooving track that nicely blends the melodic synths with the dirty guitars that gradually build into a wall of distortion.

Production-wise the EP walks a fine line between the top-shelf polish of the likes of 'Hesitation Marks' and the low-fi grit of 'Not The Actual Events'. It does tend to go one way or the other and never quite settles on an optimum balance, but that doesn't affect the overall feel of the EP.

'Add Violence' perhaps defaults back to some safer territory for Reznor and Ross after the dissonant noise of 'Not The Actual Events'. It still feels experimental, as though they are continuing to exorcise their sonic demons. But this time around, more so than the last, it feels like these were originally destined for other things, but have been reworked and re-imagined to fit this narrative. It's certainly a good EP, recognisably NIN and utilising some tried and tested set pieces, but still an infectious listen. It just raises more questions about the final instalment of the trilogy and how that will tie everything together.  

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Review: Nine Inch Nails – 'The Fragile: Deviations 1'

NINE INCH NAILS
'The Fragile: Deviations 1'
THE NULL CORPORATION

No sooner had Trent Reznor announced the new EP 'Not The Actual Events' that he also gives us a rather unusual offering in the form of 'The Fragile: Deviations 1'. The title alludes to more deviations to come, but that not withstanding the album is a reworked version of the 1999 double CD opus sans vocals. While there is an inherent purity to the music in its presentation here, it may prove a decisive release between those who year for any material with the NIN moniker attached, and those for whom the original album is a cornerstone of their musical identity.

Objectively though, 'The Fragile: Deviations 1' is a beautiful album. 'The Fragile' in it's original form was beautiful as well, but by giving this the instrumental treatment and focusing on the deep layering of the tracks and the pure skill of Reznor and co. the album presents a more meditative and and intimate listening experience that almost encourages the listener to fill-in the blanks. It is a similar effect and feeling gleaned from the instrumental and improvisational 'Ghosts I-IV'.

Given this instrumental orientation and reconstructed approach the new album yields elements that were otherwise lost in the mix on the original or overshadowed by Reznor's vocal performance. Given that at the time of the original release Reznor told MTV's Kurt Loder that he “wasn’t sure what I wanted to say musically. So I didn’t.” the album, even in an instrumental form, says a hell of a lot for itself through the juxtaposition of dark and light, harsh and melodic, and through the complex nature of its composition.

While fans of the original album may initially shy away from the thought of buying a new version, it does have some benefits with new tracks, b-sides, and alternate versions not hear on the previous version. Songs such as 'Missing Places', 'One Way To Get There', 'Taken', 'White Mask', 'Can I Stay Hear', 'Feeders', 'Claustrophobia Machine (Raw)', and 'Last Heard From' fit into the album's track list with ease and give an extra experimental dimension to what is already an impressive album.

It may be a hard sell for some but 'The Fragile: Deviations 1' is certainly worth the money for long-time NIN fans. It is a strong album in it's own right that adds a new dimension to the original. While it may find ready favour with collectors it is not purely one of those releases for the sake of it, and it is obvious Reznor has taken his time in preparing this for public consumption. It will also be interesting to see what further deviations he has planned in the future.  

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Review: Nine Inch Nails – 'Not The Actual Events'

NINE INCH NAILS
'Not The Actual Events'
THE NULL CORPORATION

Trent Reznor promised new NIN material in 2016 and he left it pretty close to the wire before announcing the first original EP release from the band since 1992's 'Broken', in the form of 'Not The Actual Events'. While the last NIN album 'Hesitation Marks' was released via Columbia / Polydor, 'NTAE' sees Trent (and for the first time official NIN member Atticus Ross) return to The Null Corporation label that was previously set-up to self-release NIN albums such as 'The Slip', as well as How To Destroy Angels, and Trent & Atticus' soundtracks for 'The Social Network' and 'The Girl With The Dragon tattoo'. What this means for NIN's release model in the future is unknown, but with vinyl re-releases planned and a special edition of 'The Fragile' on the cards, it looks like 2017 will be a busy year for fans.

But back to the new EP. Trent described the sound of 'NTAE' as being “unfriendly” and “fairly impenetrable”. While this may bring to mind the previously mentioned 'Broken' EP for a lot of fans, that isn't quite what he meant. What we get here is thick walls of noisy atmospheres, drone rock and thick, soupy production. It is still damn catchy though with tracks such as 'Branches / Bones', 'Dear World', and 'The Idea Of You' in particular making good use of simple but addictive rhythms combined with signature NIN guitars, synths and vocal hooks.

The tracks that may divide most though are the slow and malevolently methodical 'She's Gone Away', and the low-fi drone rock of 'Burning Bright (Field On Fire)'. Although these are recognisably NIN tracks when you break them down they still present a swerve in style compared to the recent albums that may throw some. But they still have merit and really 'Burning Bright (Field On Fire)' is a very addictive track.

As mentioned the production is thick, noisy and very raw. A marked difference from Trent and Atticus' film work as well as the more recent NIN and HTDA output. It feels hasty, paranoid and thrown together, as though it was written and recorded quickly and as an antidote to their film work in order to rediscover their dissonant roots.

In that respect the EP is a success. It is a rawer and more impenetrable NIN sound certainly than we have been used to recently, but at the same time very organic and recognisable. It's a sonic demon rearing it's head from the early 90s that needed to be exorcised in 2016. This probably won't be a major indicator for what the next full-length NIN album will probably sound like, and may remain an experimental oddity in the band's lengthy discography. But it is definitely enjoyable and NIN fans that prefer the band's more noisy expressions will undoubtedly get into this. 

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Film Review: Nine Inch Nails – 'Broken'

NINE INCH NAILS 'Broken'
Dir: Peter Christopherson
UNOFFICIAL/LEAKED RELEASE

The 'Broken' movie is one of those mythical artefacts of modern alternative culture. Never officially released and widely bootlegged in various incarnations the explicit film accompaniment to Nine Inch Nails' 1992 EP of the same name was a holy grail amongst fans. However in the post broadband world of the 21^st century web it has periodically become available to download and distribute electronically. First to the net came the digital rips original early versions derived from existing bootleggs that missed the odd piece of footage. Then came the torrent by the anonymous “Seed0” (widely believed to be the NIN front man himself Trent Reznor due to this post on the band's site "12/21/06: Happy Holidays! This one is a guilt-free download. (shhhh - I didn't say that out loud). If you know what I'm talking about, cool.") who also freely gifted a number of rare treats such as the 'Closure' DVD version to fans through The Pirate Bay. This version of the film released by "Seed0" appears to be complete and in DVD quality which saw a resurgence in its distribution in the NIN fan community. And now the short film has found its way onto archive.org the time seems right to review it.

So what exactly is the 'Broken' movie? Well it is a short 20-minute long film shot partly cinematic and partly in the style of found VHS footage which connects the promotional videos from the 'Broken' EP (directed by Eric Goode, Peter Christopherson, Serge Becker, and Jon Reiss receptively) with a vague but graphic narrative. It' doesn't sound so bad does it? We've all now seen the videos for 'Pinion', 'Help Me I Am In Hell', and the universally banned 'Happiness In Slavery', and while dark and explicit by music video standards, they're no more un-watchable than a lot of horror films out there. The 'Broken' movie does take things a few steps further though.

The director is credited as Peter 'Sleazy' Christopherson of Throbbing Gristle/Coil fame, and aside from a brief cameo appearance by Trent Reznor on the television scree, the other actors identities are conjectural. The film opens with a manically grinning character about to be executed by hanging and as the trap door opens the footage cuts to amateur looking film of someone driving around. The “n” from the EP cover and the title “Broken” are shown as a glass overlay on the footage. The car approaches a young man and the film cuts to him tied to a chair gagged and being forced to watch a TV as the video for 'Pinion' plays.

The scenes begin to escalate in severity between and sometimes in the middle of the music videos with the young man being forced to drink from a jerrycan, being revealed with a dark substance smeared on his face, implied sexual violence. The finale of the film sees the killer finally mutilate and kill the young man in a frenzied manner while footage is shown of two cops searching the premises uncovering a previous victim and a sign saying “Trespassers Will Be Eaten” set to the music of 'Gave Up'. The footage cuts back to the execution as the character of the killer drops with an very long rope down a black shaft until the rope tightens. We then get the “n” from the EP displayed again and after another 30 seconds of black screen we see the killer's head comically flying across the screen.

The violence shown is sadistic and graphic, but the effects are very much of their time and reminiscent of the low-budget video nasties of the 1980s. The film as a whole frames a darker narrative that can't help but affect future listening of the musical content of the 'Broken' EP. And while the sexual slant to the on-screen violence is certainly cringe-inducing, many Hollywood films in the years since have shown much more crude and visceral scenes.

Nine Inch Nails completeists will no doubt already have this release burned to a DVD already. But for those of a curious nature, this isn't some great mystery that underpins the 'Broken' and 'Fixed' EPs in any significant way. It is a dark oddity, a curio, and morbid footnote. The eerily shot amateur style VHS footage with it's rapid glitches and washed out colours is a strong counterpoint to the slick shot cinematic monochrome that frames it. From a technical standpoint it is a very well shot and well-edited piece of film, though the interstitial footage's reliance on graphic depictions removes any need for deeper analysis beyond what is seen. As a horror-exploitation film it is as an interesting piece with limited appeal. But as a lost/unreleased part of Nine Inch Nails' crazy early years it will always have a draw for their considerable fanbase. 

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Review: Nine Inch Nails – 'Seed Eight (Remix 2014 EP)'

NINE INCH NAILS
'Seed Eight (Remix 2014 EP)' 

BEATS MUSIC 

Trent Reznor has always been one of the few artists who you can guarantee will compile an interesting remix album. As far back as 'Fixed' and 'Further Down The Spiral' the companion remix album has been a mainstay of the NIN discography. 'Seed Eight (Remix 2014 EP)' is a bit of an anomaly though. Just like 'With_Teeth' and the 'Everyday Is Exactly The Same' single/EP, this is a somewhat low-key release. Exclusive to Beats Music, 'Seed Eight' is an inter-promotional tool certainly. However it isn't lacking on content.

Kicking off with the Hot Chip remix of 'Satellite', we're treated to a dark deep house take on the Nine Inch Nails sound. It's an unashamedly dance-orientated mix that evokes the more commercial remixes that accompanied David Bowie's 'Earthling'. Cold Cave's take on 'Running' is an up-tempo, icy electro track that focusses heavily on repetition to effectively ensnare the listener. 'Copy Of A' gets a stripped back remix from Simian Mobile Disco that borders on sounding like a Nitzer Ebb dub mix. Autolux round the EP off with their version of 'Everything', a track that in it's original form was roundly criticized as the album's weakest link, and even in this reworked form is likely to divide opinion with it's hip-hop style breakbeats and choppy style.

'Seed Eight (Remix 2014 EP)' doesn't feel as though it has had the forethought of previous remix albums such as 'Fixed', 'Further Down The Spiral', 'Things Falling Apart' and 'Y34RZ3R0R3M1X3D'. However the individual remixes themselves are well constructed and do their job at creating new ways of engaging with the source material. What is the biggest missed opportunity though, is that none of the source tracks were made available through the remix.nin.com website for the fans to have a bash at, as in the past this has yielded some very positive results.

This EP may pass many more casual listeners by, especially as it is exclusive to one website. But for Nine Inch Nails fans and completists it is certainly worth getting hold of.  

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Review: Coil / Nine Inch Nails – 'Recoiled'

COIL / NINE INCH NAILS 

'Recoiled' 

COLD SPRING RECORDS 

The legendary Coil, made up of Jhonn Balance and Peter Christopherson, were a truly transcendent entity capable of soul-lifting beauty and mind-crushing brutality in the same breath. They inspired their contemporaries as well as those who have come since. It's therefore no surprise to learn that Nine Inch Nails main man Trent Reznor is a big fan and sought them out to add their majick to his own brand of sonic dissonance back in the early 90s.

'Recoiled' is one part analogue remixing master-class one one part nostalgia trip. The five pre-studio software remixes featured here have a wonderfully warm and organic feel to them. Wires, real-time effects and a variety of improvised sound effects give the fiv e tracks a whole new experimental feel.

Yes, there are other versions of these tracks by other artists that appear on the 'Fixed' and 'Further Down The Spiral' remix EPs that also play up the experimental aspects of the source material. However, Coil are completely unrestrained, with all five songs totalling a 40-minute run-time, 'Recoiled' feels indulgent and opulent. With the likes of 'Closer (Unrecalled)', 'The Downward Spiral (A Gilded Sickness)' and 'Eraser (Reduction)' in particular sounding like they're freely evolving and reforming themselves with every second that passes.

It's a shame that all but 'Closer (Unrecalled)' haven't seen a physical release until after the deaths of Balance and Christopherson. And that the songs only came to light after diligent searching by Nine Inch Nails fans. Nevertheless, they have been worth the wait.

There is no doubt that this EP is going to be snapped up by both hardcore Coil and Nine Inch Nails fans. The remixes are a law unto themselves and display a playful proficiency with analogue experimentation sadly lacking from many remix albums these days. In fact, 'Recoiled' is sonic alchemy in its purest sense. The source songs may be etched into “Industrial 101” by now, but even 20 years on Jhonn Balance and Peter Christopherson's take on them still add something different and give the tracks a new jolt of life.

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Nine Inch Nails release 'Seed Eight' EP through Beats Music

Nine Inch Nails have announced the release of a companion remix EP to 2013's 'Hesitation Marks'. The 'Seed Eight' EP has been released exclusively through Beats Music and features four new remixes by Hot Chip, Simian Mobile Disco, Cold Cave, and Autolux.

Beats Music subscribers can listen to and download the new EP HERE, and can follow both NineInch Nails and Trent Reznor on the site.

For more information on Nine Inch Nails. please visit their official website.

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Nine Inch Nails announce return to the UK

Nine Inch Nails have announced their return to the UK for a selection of dates in 2014. The band will kick off their run of shows on 18th May in Birmingham and will finish in Manchester on the 25th.

The band will be supported by fellow US act, Cold Cave.

Tour Dates:

May 18 Birmingham LG Arena
May 20 Glasgow Hydro
May 21 Cardiff Motorpoint Arena
May 23 London O2 Arena
May 24 Nottingham Capital FM Arena
May 25 Manchester Phones 4U Arena

Presale and general ticketing info can be found at http://tour.nin.com/. Nine Inch Nails' latest album, 'Hesitation Marks' is available to buy now. For more information in the band, please visit their official website.

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Review: Nine Inch Nails – 'Hesitation Marks'

NINE INCH NAILS

'Hesitation Marks'

COLUMBIA RECORDS / POLYDOR GROUP

Nine Inch Nails really need no introduction. One of the big alternative bands of the 1990's, Trent Reznor and his cohorts popularised their visceral industrial rock formula with classic releases such as 'Broken', 'The Downward Spiral' and 'The Fragile'. Despite high-profile lawsuits, falling outs and drug addiction Reznor maintained his position as one of musics most progressive artists. Then suddenly he pulled the plug. Reznor put the band on ice back in 2009 after a huge world tour and set about concentrating on his post-industrial project How To Destroy Angels, as well as penning award winning soundtracks to the films The Social Network (2010) and The Girl With The Dragon Tattoo (2011). But as suddenly as he pulled the plug, Reznor has resurrected the old beast once more. But is he simply pounding the nails into a dead horse?

Aside from the lack lustre pop-punk style of the 'Everything' single released into the run-up to the album's launch date, things have been exceedingly promising. Even though the accompanying David Lynch directed video didn't really live up to the hype, 'Came Back Haunted' distilled the essence of the band's début 'Pretty Hate Machine' into a modern package. While 'Copy Of A' harked back to the band's better club-orientated remixes.

Out of the first three tracks on the album, two are lead singles and the fourth – the sumptuously dark 'Find My Way – has also received airplay, which may set alarm bells ringing that the album may peak way to early. But thankfully, Reznor has a few tricks up his sleeves. 'All Time Low' recalls 'The Fragile' era offerings such as 'Into The Void' and 'The Big Come Down' (with a hint of the 'Prelude' from the Final Fantasy series of computer games). 'Satellite' evokes the infectiously funky grove of 'Capital G' from 'Year Zero'. While 'Various Methods Of Escape' down-tempo, quiet verse and big chorus formula recalls 'With Teeth'. The driving rhythm and bass of 'I Would For You' take notes from 'Year Zero' and 'The Slip'. 'In Two' and 'While I'm Still Here' take inspiration from the more upbeat moments on 'The Fragile' with a sly nod to the recent How to Destroy Angels output and a little saxophone for good measure.

'Hesitation Marks' is a diverse collection of songs that form a new slant on the established NIN formulas. There is the nice heavy electronic element of 'Year Zero', the straight alternative rock of 'With Teeth' and the unabashed synthpop leanings of 'Pretty Hate Machine'. Less of the angst more thoughtfulness interspersed with melancholy.

It may not be the ground-breaking achievement that some of his previous albums have been, but the album thankfully lacks any sense of the hesitation of its title. Instead Reznor has done enough to justify the hype with a reflective but forward-looking album. Long-time fans should find plenty here to enjoy and new fans won over on the summer festival tour should find it pretty accessible as well.

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Nine Inch Nails release new single, announce album and tour dates

In typical style Trent Reznor of industrial rockers Nine Inch Nails dropped multiple bombs yesterday. First off we got to hear the long-awaited new singles 'Came Back Haunted' on soundcloud and vimeo. But if that wasn't enough, the album title, artwork and release date was broadcast on NIN.com along with the band's North American tour dates.

Speaking via the band's tumblr account, Reznor announced:

“Our new full-length album, Hesitation Marks, will be released September 3rd on Columbia Records. The first single, “Came Back Haunted,” is out now, and you can listen to it above or on Soundcloud. You can also download the song right now by pre-ordering the album from us or on iTunes.“We’ve also announced our new tour, Tension 2013, coming this fall to North America. Picking up where Lights in the Sky left off, this is the full-on NIN live experience realized as we never could before. View tour dates and on-sale dates on our tour page. As usual, we have a nin.com presale designed to get the best tickets in the hands of real fans at reasonable prices - check here for full presale details and times."This is just the beginning…”

An interesting note is that the new artwork for the album/single has been produced by British artist Russell Mills, who last worked with NIN on 'The Downward Spiral' as well as its related singles, remix albums and the 'Closure' VHS/DVD. The art direction for the band between 2000's 'Things Falling Apart' up to, and including, 2010's reissue of 'Pretty Hate Machine' had been down to Rob Sheridan.

For more information on Nine Inch Nails please visit their official website.

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Nine Inch Nails return for 2013

Never one to be content with all of the awards for his soundtrack work with Atticus Ross, nor the hotly anticipated full-length début album and tour from his How To Destroy Angels project. Trent Reznor announced via pitchfork.com yesterday that his first love, Nine Inch Nails, is set to return.

If this wasn't enough, Reznor has already revealed the new touring line-up that will see action later in 2013 and on into next year. Currently the band includes Reznor, Eric Avery [Jane's Addiction], Adrian Belew [King Crimson], and Josh Eustis [Telefon Tel Aviv], as well as previous NIN collaborators Alessandro Cortini and Ilan Rubin.

Here's what Reznor had to say:

“Nine Inch Nails are touring this year.“I was working with Adrian Belew on some musical ideas, which led to some discussion on performing, which led to some beard-scratching, which (many steps later) led to the decision to re-think the idea of what Nine Inch Nails could be, and the idea of playing a show. Calls were made to some friends, lots of new ideas were discussed, and a show was booked - which led to another, which somehow led to a lot of shows.
“The band is reinventing itself from scratch and will be comprised of Eric Avery, Adrian Belew, Alessandro Cortini, Josh Eustis, Ilan Rubin, and me. The first shows will begin this summer, followed by a full-on arena tour of the US this fall, and lots of other dates worldwide to follow through 2014.
“Lots of details and dates to come. See you soon.”

Trent's other project How To Destroy Angels which sees him collaborating with his wife Mariqueen Maandig as well as Rob Sheridan and Atticus Ross will release their début, album 'Welcome Oblivion' on March 5^th via Colombia Records, and will be playing the following live dates:

4.13 las vegas, nv
4.17 monterey, ca
4.18 san francisco, ca
4.19 indo, ca [coachella]
4.21 denver, co
4.23 chicago, il
4.25 toronto, on
4.27 boston, ma
4.28 wellmont, nj
4.29 new york, ny

For more information on Nine Inch Nails, please visit the officialwebsite.

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