Halo 19 - With Teeth (Part 4)

[00:00:25] Speaker A: Sap right up. [00:00:48] Speaker B: It's nailed. A halo by Halo Journey through the music of Nine Inch Nails. I'm Blake. [00:00:53] Speaker C: I'm Jessica. [00:00:54] Speaker B: And this is Halo 19 with teeth, part four, the final part. That feels a little weird. [00:01:06] Speaker C: Yeah, it seems like it's too soon whenever we had, like, a 9 million part series on the fragile, but I. [00:01:14] Speaker B: Think we're doing it better this time. I probably wouldn't be healthy to spend a year on with teeth, especially since I don't love it as much as the fragile. It might drive me mad. I was driven mad by the fragile. So we'll see. So we're talking about the last few songs. What are we doing here? [00:01:34] Speaker C: So we've got. The line begins to blur beside you in time and right where it belongs. The final three. [00:01:42] Speaker B: Three strong candidates, a lot of people. The latter half stands. [00:01:48] Speaker C: I say these are at least two of these are the best songs on the entire album. At least two, in my opinion. [00:01:55] Speaker B: I think one of the best songs is in here. I mean, I think they're all strong. [00:01:59] Speaker C: They're all strong as a latter half, Stan. I think everything from only and on is much better than the first half of the album anyway. [00:02:11] Speaker B: Yeah, I tend to agree somewhat, but we'll get into it. Before we get into it, should we do some nine inch news? [00:02:18] Speaker C: Yes. [00:02:19] Speaker A: So everything is in the news today. [00:02:22] Speaker B: We actually have a few pieces of nine inch news this time, just a little bit. Multiple things happened. [00:02:30] Speaker C: So the first thing, the fall of the House of Usher, the latest Mike Flanagan Netflix series. [00:02:39] Speaker B: He's the guy who did the Haunted house shows. [00:02:43] Speaker C: House on Haunted Hill. [00:02:44] Speaker B: Haunting of Hill House. [00:02:45] Speaker C: Sorry. [00:02:46] Speaker B: House on Haunted Hill is a different thing. I can't remember what it is, though. Hill House. And then a bunch of other things got haunted. He's done a bunch of series. [00:02:56] Speaker C: He's done movies, too. Oculus. If you've seen Oculus, he did Dr. [00:02:59] Speaker B: Sleep, which we just watched. [00:03:00] Speaker C: I thought that was not fun. [00:03:02] Speaker B: Have you heard the Gorlian rust? [00:03:04] Speaker C: I have not listened to it yet. Did they like it? [00:03:05] Speaker B: They fucking loathed it. [00:03:07] Speaker C: Yeah. I did not like, never. [00:03:09] Speaker B: I don't think they've ever loathed a movie. Like, I liked it more than they did. But Anyway, the guy that made Dr. Sleep has a new series. We're in the middle of it. I think it's pretty entertaining. Fall of the House of Usher, it's all gothy because it's based on Edgar Allan Poe and shit. [00:03:26] Speaker C: Yeah. [00:03:27] Speaker B: And, well, the news is everyone, I got told by, like, ten different listeners all simultaneously. You got to watch House of Usher Show. There's a closer remix in it. I think it's episode two. [00:03:41] Speaker C: It's episode two, the Mask of the Red Death. It's a party scene. [00:03:44] Speaker B: It's at a club dance scene. [00:03:47] Speaker C: And it uses closer in what I think is probably one of the most grotesque parts of the series so far. [00:03:53] Speaker B: Yeah, it's pretty raunchy. [00:03:54] Speaker C: Honestly, it kind of bugged me because now I associate closer with that clip and I just picture those like, hang. [00:04:02] Speaker B: On, these are spoilers. I don't know if we want to spoil the. I'll bleep it, because I don't know. [00:04:09] Speaker C: Anyway, the imagery that the song is associated with towards the end of it, not the beginning, per se, when everyone's dancing and having a good time. [00:04:18] Speaker B: Well, I have a comment and a question for you. Okay, well, my comment is this version is so different sounding that I don't really make the association okay, I guess. But my question is, closer came on at a Halloween dance party thing that. [00:04:34] Speaker C: We were at, and I've never associated it with spooky music or Halloween before. [00:04:40] Speaker B: I think it works well in that context. [00:04:43] Speaker C: It does. [00:04:43] Speaker B: I think it was good. It was a good playlist. Anyway. The house DJ played closer, regular version, closer, a bunch of other stuff. Did you make that connection while you're out there? [00:04:54] Speaker C: About this show? [00:04:55] Speaker B: About the show, you said you can't get the nasty images out of your head. So when we were out there, we were in our Halloween costumes dancing to closer. You were just thinking about Jet a. [00:05:07] Speaker C: Little bit, but I was also thinking about how my gummy was hitting and everything. Good. But, yeah, I just wondered if now it's going to be like something that people put on Halloween playlists and shit because of this show. [00:05:23] Speaker B: Anyway, I think it's good. [00:05:24] Speaker C: I mean, it's always kind of had visually kind of Nightmare. Not really nightmarish, but grotesque imagery with the video. [00:05:32] Speaker B: Yeah, the music video is spooky, but they weren't like, again, I can't spoil everything. [00:05:38] Speaker C: Anyway, I don't know. I tried to do some research on this to figure out who remixed it. I could not find a definitive. [00:05:45] Speaker B: The show doesn't really tell you. [00:05:47] Speaker C: It is either the Newton brothers, who do all the scoring for Mike Flanagan's projects, they've worked with him since Oculus, or it's the sound editor, Jonathan Wales. It's one of those people probably more. [00:06:05] Speaker B: Likely to be the score guy, but you never know. [00:06:08] Speaker C: Maybe both. Maybe they work together or could be. [00:06:11] Speaker B: An uncredited third party I don't know. [00:06:13] Speaker C: Do you want to play it? [00:06:14] Speaker B: Well, yeah. I was going to ask, should we or should we let people be surprised and go watch the show? [00:06:19] Speaker C: Just play it. You don't like it? [00:06:21] Speaker B: I'll play a few seconds. [00:06:31] Speaker A: You let me violate you. You let me desecrate you. [00:06:39] Speaker C: It's like it was sped up for the TikTok generation or something. [00:06:44] Speaker B: Yeah, it's just like it's double timed. I wasn't expecting that, but I haven't heard closer double timed before, so kind of cool. But if you want to hear the rest, especially the end part, just go watch the show. [00:06:56] Speaker C: Yeah. Where they have the TDS theme. [00:06:59] Speaker B: Okay. [00:06:59] Speaker C: All right. [00:07:00] Speaker B: Second thing. [00:07:01] Speaker C: The killer came out with the original score by Reznor and Ross, and we. [00:07:08] Speaker B: Went and saw it. [00:07:09] Speaker C: We did go see it. It was very minimal. I don't know what to say. It really didn't stand out that much except for in a few scenes. [00:07:17] Speaker B: The new David Fincher movie, by the way. [00:07:19] Speaker C: Yeah, sorry. [00:07:19] Speaker B: Yeah, they get a very brief little intro title sequence with some music. And then in the movie, it's just like, atmospheric, noisy. Very, like you said, minimal quiet. [00:07:34] Speaker C: You'll hear it the most during fight scenes. There's like this weird staticy burst that they like to use throughout it. [00:07:40] Speaker B: Ambient more than it is musical. [00:07:42] Speaker C: I would not expect a vinyl release. I don't know if there's enough material. [00:07:46] Speaker B: I'd probably still buy it, but. No, I'm sure there's enough material. [00:07:50] Speaker C: You think so? [00:07:50] Speaker B: It's just all noise. [00:07:52] Speaker C: I don't know. [00:07:54] Speaker B: But don't go in expecting the Ninja Turtles. Exciting type thing. [00:08:00] Speaker C: No, it gets the job done. Just go in expecting to hear a lot of the Smiths. [00:08:06] Speaker B: Yeah, the music in the movie is taken care of, unfortunately, by Morrissey and the Smiths, but pretty good movie. [00:08:15] Speaker C: It's good. Not my favorite finger, but it was good. [00:08:17] Speaker B: No. [00:08:18] Speaker C: Okay, that's it. [00:08:19] Speaker B: Not as good as Mank. Sorry. [00:08:20] Speaker C: Oh, sorry. Go on. [00:08:21] Speaker B: Not as good as Mank. [00:08:22] Speaker C: That's all I enjoyed. Mank. I don't understand. All the mank haters out. [00:08:26] Speaker B: Just. I need to see it again. I barely remember. [00:08:28] Speaker C: Well, we're doing a Fincher rewatch anyway, because one of our favorite movie podcasts is finally doing a director that I like. Blank. It's called Blank Check. [00:08:37] Speaker B: I can't believe it took them this long to do Fincher, but they're finally doing them. [00:08:42] Speaker C: Yeah. [00:08:43] Speaker B: So, yeah, it'll be exciting to get to the social network and after to the resident Ross era. Anyway. Okay, so all right, what do we have for these songs? So let's get into them. [00:08:57] Speaker C: Let's go. First song. The line begins to Blur. Not a lot that I could find about most of the songs we're going to cover tonight. [00:09:07] Speaker B: Yeah, they're not singles, but live drums. [00:09:10] Speaker C: On this one was Dave Grohl again. [00:09:11] Speaker B: Yeah. This is a very grolly drummy track. [00:09:15] Speaker C: Yeah. And I believe that this was part of the leak in February of five that included the hand that feats and getting smaller. [00:09:22] Speaker B: Yeah, I remember downloading this. Yes. [00:09:24] Speaker C: Do you remember what it sounds like at all? I think I've asked you about this. Was it kind of shitty sounding? [00:09:28] Speaker B: It was like a full quality MP3. I mean, it lossy and everything, but still it sounded like the album. [00:09:35] Speaker C: Okay. And that's all I have. I'm not even kidding. There's not a lot to say about. There's not a lot out mean. [00:09:44] Speaker B: Yeah, the line begins to blur. I can't remember now if there's anything. [00:09:48] Speaker C: On our spreadsheet, also in D leaked in February. And then. [00:09:54] Speaker B: Oh, yeah, I'll talk about Trent's vocal distant vocal mic, which Nintend also brought up when I get to my clips. I thought it was interesting, maybe you don't care at all that this I realized, because I have a spreadsheet where I put the tempo of every song and what key it's in. And I realized by the end there are seven of these, 14, if you count home, seven. So half songs in the key of D, which is not a little weird, but Nintend pointed out, maybe not so weird if you're a guitar or bass player who just likes to play and drop D. And maybe it's just that kind of album. Anyway, the last side here is entirely in the key of D, and as you'll hear, each song flows into the next while without changing keys. So it kind of makes sense. I like the effect of that. [00:10:58] Speaker C: I haven't kept track. Are these the only consecutive three that kind of flow like that? Because I feel like this is my favorite part of the album, and I feel like that Flow has something to do with it because they do flow so seamlessly into each other. [00:11:13] Speaker B: The rest of the album is generally not like that. They're more isolated little songs, but it's like the final side gets to be almost a little bit of a concept, or at least something that's linked together, like sonically. Yeah, they bleed into each other, I guess pun intended, just for the last three here. So surely that means something, but it sounds cool. [00:11:40] Speaker A: All right. [00:11:41] Speaker C: Do you want to listen to the line begins to blur. [00:11:43] Speaker B: Yeah, let's play it, I guess. [00:11:45] Speaker C: Okay. [00:11:46] Speaker B: For context in the album, I do want to say it's kind of going into the song is kind of a jump scare right after sunspots ends on, like, the twos and fours. Whatever. Insane distortion, whatever's going on there, I love it. Just the note D played on the filthiest bass you've ever heard. [00:12:30] Speaker C: I love that filthy bass. [00:12:33] Speaker B: And then Trent yelling loudly across the room. That's all we're hearing right now. I like that harmony, though. More gets more dreamy in the chorus. It's a little less harsh. Ours are more like. I don't know if I want to say psychedelic. Fragile. More fragilely than they are edgy with teethy. It sounds nice. And bend up pretty piano, which is almost mandatory in every song on here. [00:13:22] Speaker A: I knew outside of mine, but now I'm not so sure. [00:13:31] Speaker B: Really heavy shaker there, too. [00:13:34] Speaker A: Begin to. [00:13:41] Speaker B: Like a layer of noise over the grol drums. They almost kind of sound like they're one thing, but I don't think they are. [00:13:54] Speaker A: I don't know. [00:13:56] Speaker B: I kind of like this. Do you like the delivery on this verse? How. I don't know. Desperate and pleading. It sounds. Maybe those are the wrong words. [00:14:14] Speaker C: I do. I don't understand some of the lyrics. [00:14:20] Speaker B: I understood most of them. I had to. A few words. [00:14:23] Speaker C: I mean. I don't mean the words are what he's saying. Is there somebody on top of me? I don't know. I don't know. Isn't anybody stopping me? I don't know. [00:14:33] Speaker B: I think it's more like paranoid thinking. There's a lot of that throughout this album. Is there someone watching? Do I have eyes on me? Why is no one stopping me? And then we talked about how that paranoia continues big time into the next album. I do like this guitar solo, of course. And this is yet another one. We have verse, chorus, verse, chorus, and then sort of an instrumental outro. That's it. The with teeth song formula. Those vocals are nice, too. That was the most Dave Grohl drum fill ever right there. Almost out of place on Nine Inch Nell's album. But I'll allow. [00:15:37] Speaker A: It. [00:15:39] Speaker B: You already hear the. In the same key, the drone coming in for the next song. See, I like the screamy verse vocals, and then more screamy on the verse. Dreamy on the chorus, and then dreamy and soft again on the. Yeah, the ooze and Oz. But did that make sense, what I said about the lyrical content, I mean. [00:16:04] Speaker C: Yeah. [00:16:06] Speaker B: Is there somebody on top of me? I don't know. Isn't anybody stopping me? Spotify says, while they're trying to hold my breath, but I think it's I. [00:16:15] Speaker C: Am trying to hold. [00:16:16] Speaker B: Yeah. Just how far down can I go? That's a very downward spiral, fragile lyric. [00:16:24] Speaker C: Yeah. It's definitely either talking about his depression or addiction or both kind of spiraling down there. But the first lyric always kind of gets me like, is there somebody on top of me? [00:16:37] Speaker B: Don't take it, like, literally. [00:16:39] Speaker C: I am taking it literally. [00:16:40] Speaker B: Don't take it that way. [00:16:42] Speaker C: You want me to read what genius tells me? [00:16:44] Speaker B: Sure. It's probably dumb. [00:16:46] Speaker C: Depression is making it much harder for the narrator to think. He does not have any answer to any of his questions, no matter how much he tries to think. Yet thanks to depression, he can't think. As mentioned in the song, he feels detached from the reality. He seems confused, does not know what is going on around him. He expresses fears and anxiety in all of these lines. Is there somebody on top of me? He anxiously asks himself if there's a person that is holding him back, but he has no answer to this. There you go. [00:17:11] Speaker B: When you put it with the last few lines, to me, it seems like, okay, I'm spiraling out here. Isn't anybody going to say anything? Is anybody noticing this? Hello, I'm spiraling here. Is no one going to stop me? Like a cry for help? [00:17:30] Speaker C: I mean, I can catch that towards the end, but that first lyric always kind of trips me up and I don't know why. [00:17:37] Speaker B: You're trying to imagine someone laying on top of Trent? [00:17:40] Speaker C: Yeah, how would you not know, buddy? [00:17:45] Speaker B: For my soul is too sick and too little and too late. I kind of like that line. If you've ever been self loathing, self pitying and wallowing in misery, that line kind of hits. [00:17:59] Speaker C: I mean, I've never been any of those things, especially not when I was a teenager. [00:18:05] Speaker B: No, you were. [00:18:08] Speaker C: I was a totally normal, well adjusted person who had no issues whatsoever with depression and wallowing and sadness. [00:18:15] Speaker B: That's why you didn't become a nine inch Nells fan. [00:18:18] Speaker C: Exactly. [00:18:20] Speaker B: So you're a Normie. [00:18:21] Speaker C: I was too normal. [00:18:23] Speaker B: Oh, I guess I have clips for this. Should I move on to those? [00:18:26] Speaker C: Yes, please. [00:18:28] Speaker B: Well, as mentioned before, I got good vocal clips from this one, so you can hear Trent singing from across the room. As Nintend pointed out, we never hear this from Reznor. Almost never. He's the type to always be right up on the mic. Close. Dry sounding. [00:18:53] Speaker C: He's so close. Never mind. Basically, I was going to make a reference to the closer video and licking the mic. [00:19:01] Speaker B: That's what I was about to say. It's like lips on the mic. Close. That's his normal vocal mode. But this one, he's trying something a bit different. [00:19:11] Speaker C: Yeah. Once I was a guest on a podcast and the host asked me to get up so close to the mic that my lips touched it. [00:19:17] Speaker B: I mean, I'm like an inch or a few centimeters away. But nobody podcasts with their lips on the mic. I mean, you do it when you sing. Sure. [00:19:25] Speaker C: Anyway, people put their lips on the mic when they sing. [00:19:29] Speaker B: Oh, yeah. Why do you think rock band people are constantly getting their mouths shocked? [00:19:35] Speaker C: What are you talking about? [00:19:36] Speaker B: Oh, you don't know? [00:19:37] Speaker C: No. [00:19:37] Speaker B: Okay, well, you didn't play in bands. [00:19:39] Speaker C: No. [00:19:40] Speaker B: But Shitty PA systems with shitty electrical will give you the worst shock right in your mouth you can ever imagine. [00:19:50] Speaker C: Have you been shocked in the mouth before? [00:19:52] Speaker B: Yes. Not as bad as. I didn't do much singing, so I didn't get that bad. [00:19:56] Speaker C: This is a fact I did not know. So you're telling me that Haley Williams has probably been shocked in the mouth. [00:20:03] Speaker B: Back when she was playing basements as a teenager? Probably, yes. But all that to say, live singers have a thing of getting their lips right up on it. Usually not everyone. Not everyone's the same, but this technique is kind of like the opposite of his usual. We're hearing on almost every song on this and other albums. Very dry. Trent, verse, vocal, wet reverbie. Trent, chorus vocal. This is pretty much the opposite. Anyway, here's the verse. [00:20:37] Speaker A: There are things that I said I. [00:20:42] Speaker B: Would never do sounds like a slapback in addition to the room sound. [00:20:59] Speaker A: For my soul is too sick and too little too late in myself I have grown down where into hate okay. [00:21:20] Speaker B: This part I really like. It's the harmonies for my soul is. [00:21:27] Speaker A: Too sick and too little and too late what? And myself I have grown to weary to hate. [00:21:43] Speaker C: I don't know why this make me laugh it's the delivery. [00:21:45] Speaker B: I think it's a nice little. Nice little delivery. Cool stuff from the chorus, including the falsetto vocals he does throughout. Really heavy shaker and some guitar. This one doesn't have tambourine. It has shakers. Close the piano. Yeah. What you just heard there is. I did not know that existed until today. I was like, what the fuck is that? Another jump scare? I was also hearing some really high synth pad type things just kind of glistening over the top of the mix that didn't really know was there I'll get back to that whispered line begins to blur thing, but let's do some main chorus vocals and some more guitar. [00:23:27] Speaker A: The more I stay in here the more it's not so clear the more I stay in here the more I disappear as far as I have gone I knew what side of my but now I'm not so sure the land begins to blow. [00:24:11] Speaker B: Okay. The whispered thing that I guess was kind of buried under so much drum and noise, I didn't know it was there. Here's what happens with that in verse two. [00:24:36] Speaker A: Is it somebody on top of me? I don't know I don't know isn't anybody stopping me? I don't know I don't know I don't know I don't know just don't. Fuck that. Can I go? [00:24:56] Speaker B: I don't know I don't know I liked how the whisper turned into a really long reverb tail, which then turned into white noise. Actually, I called the first part pink noise, and then it went higher up and sounded more like white noise. Here's what I called the pink noise. Kind of blizzardy, maybe. And then after that, the white noise. Never really knew that was there till today, but there you go. Okay, this is a longer one because it has verse two and chorus two vocals. And by the way, chorus Two has different vocals or different lyrics from the first chorus, which is little unusual for Nin. [00:25:53] Speaker A: Is it somebody on top of me? I don't know I don't know Isn't anybody stopping me? I don't know I don't know while trying to hold my breath I don't know I don't know just don't fuck down Can I go? I don't know I don't know down now technical start to tear it's far beyond repair and I don't really care as far as I have gone I knew what side I'm on But now I'm not so sure the line begins to blow. [00:27:01] Speaker B: Okay, I cut off abruptly. Abruptly there too, because the next thing will be its own clip. Miscellaneous stuff from chorus two. I put pretty stuff. And, oh, some additional drums are added in the second chorus that weren't in the first. [00:27:30] Speaker A: World. Sa. [00:28:46] Speaker B: I really like that same. Okay, the last one I have is the guitar solo. [00:29:11] Speaker A: Sam. Dumb. [00:29:40] Speaker C: One more thing on the lyRics. I just want to clarify. I know what the phrase stay on top of someone or stay on top of the project or whatever. I know what that means. I'm not a dumb dumb. I've just never in my life heard anyone say, is there somebody on top of me? Referring to that. Okay, so I think that's a weird way to phrase that. [00:30:03] Speaker B: I think it is. Yeah, it is weird. [00:30:05] Speaker C: It's kind of clunky. [00:30:06] Speaker B: People probably have a different interpretation than me. [00:30:09] Speaker C: Well, maybe. I don't know. But I did not even think of that. It didn't occur to me because I've never heard anyone say, man, is there someone on top of me right now? [00:30:20] Speaker B: I never said this was the height of poetry. I'm not claiming that, but that's the. [00:30:27] Speaker C: Way I took it, and that makes more sense with the rest of the song and the lyrics, but I could not get over that. [00:30:35] Speaker B: Okay, that's just a hump you couldn't get over. [00:30:37] Speaker C: I just didn't think of it that way until you said it, and I was like, oh, it makes sense, but it's just really clunky. [00:30:43] Speaker B: I feel like to me, that part is fine. The clunky part is the chorus, because it's too many rhymes of the same rhyme. That's where the clunkiness is for me, lyric wise. You're okay with AA rhyme? [00:31:03] Speaker C: It's fine, I think, because the chorus is pretty. Yeah, it is. And also, it's different. Like, the first four lines are different on the chorus from the first chorus and the second chorus, so I don't think it bothers me as much. Maybe if it had been the same chorus for both choruses, maybe it would stand out more to me and bother me, but it does. [00:31:23] Speaker A: I guess. [00:31:23] Speaker B: The rhyme scheme in the verse is not more complex than the rhyme scheme in the chorus. I shouldn't have implied that because it's also just the same. [00:31:31] Speaker C: Well, songwriting is hard. We'll talk more about songwriting when we talk about where it belongs. And I'm not complaining about resident songwriting on that, just a different version of it. Okay, so Live made its live debut on March 23 of 2005 and was played at the majority of the live with teeth shows, but then was revived again for the 2022, like a little mini tour. [00:31:57] Speaker B: We saw it live. [00:31:59] Speaker C: I don't even remember it. [00:32:00] Speaker B: Oh, wow. [00:32:04] Speaker C: No, it's not that it didn't stand out or that the performance wasn't great. It's just sometimes when you're so excited for something, things are a blur. [00:32:12] Speaker B: A blur, you say? Things begin to blur. [00:32:15] Speaker C: Exactly. [00:32:16] Speaker B: It wasn't of the two nights. I don't know that it was in my top 50 favorite songs because there were so many good songs, so I can understand how it gets lost in the mix. People were pretty excited for it, though. I guess it hadn't been played in a while, to say the least. [00:32:35] Speaker C: Okay, that's pretty much all I've got for the line begins to blur. So let's go to beside you in time. A fan favorite, I'm going to say maybe. [00:32:48] Speaker B: Are you a fan favorite or just a you favorite? [00:32:50] Speaker C: I think it's a fan favorite. I think a lot of people really love it. It's so different from everything else on this album. Yeah, it's different from stuff they've done previously. Again, couldn't find a lot of information about it, so I pulled out a little section from the Onion AV Club. Review by Josh Modell from With Teeth they were not a fan, by the. [00:33:16] Speaker B: Way, but of the whole album. [00:33:18] Speaker C: Well, here we go. When Reznor gets away from Nine Inch by numbers again, I hate that style of writing. It's not clever or cute. Stop it. [00:33:25] Speaker B: Don't try to do puns, okay? [00:33:28] Speaker C: Unless you're really good at them anyway. When Reznor gets away from nine Inch by numbers, things perk up beside you in time stretches into unexplored territory. Neither rote electro rock or too far experimentalism on it. And the weirdo final track? Right where it belongs. I guess it's a weirdo track. I wouldn't call it that. But whatever. Reznor sounds inspired rather than pushed sonically, these tracks have little to do with the music that made Nine Inch Nails famous. And maybe that's where middle age means for Reznor to go. He's clearly still capable of finding sparks, but they've changed a location. Thoughts? [00:34:06] Speaker B: Not entirely a wrong assessment. It is experimental, somewhat. It's getting more into the psychedelic ish. I like where it's going in that different experimental direction. Do you just mean my thoughts on the review? [00:34:26] Speaker C: Oh, I was just wanting to know what you thought in general. About. Well, yeah, maybe about what he's saying. [00:34:30] Speaker B: Well, I don't care that much. [00:34:35] Speaker C: Did you find these last two songs to be more inspired than the rest of the album? I think they're hard to judge. [00:34:43] Speaker B: Maybe sonically, the last half tends to be more interesting and going in a more interesting direction. But again, there's a lot of stuff on the first half that I really like, but maybe the first half is more reminiscent of older. [00:34:58] Speaker C: You mean it's more nine Inch by numbers? [00:35:00] Speaker B: Yeah, whatever the fuck that means. I guess doing things in the same way, which really with teeth, is a very different album from what they've done, it just has a whole different sound. [00:35:14] Speaker C: But I think if you're not an Uber fan and you just know Nine Inch Nails for noisy tracks, then you probably wouldn't really think about it being so sonically different. [00:35:26] Speaker B: But if all you knew was closer on the radio and then you hear, like, every day is exactly the same on the radio, there's almost no similarity at all. [00:35:38] Speaker C: But here's the thing. Is every Nine Inch Nails track sounds so Nine Inch Nailsy. [00:35:43] Speaker B: Yeah. [00:35:44] Speaker C: Even if they are so sonically different. [00:35:46] Speaker B: That's true. [00:35:47] Speaker C: It's the same with, like, rage against the machine. I mean, they just have such a distinct. [00:35:52] Speaker B: They don't have as much of a. [00:35:53] Speaker C: They don't have the range. [00:35:54] Speaker B: As great as they are, they don't have a range. [00:35:56] Speaker C: They don't. But you can immediately tell just right off the bat, and I feel the same way about Nine Inch Nails. That's just such a distinct sound. You just know the guitar. [00:36:10] Speaker B: There's an incredibly noisy guitar with a pretty piano inexplicably over it and a guy shrieking about painful sex, then you might be listening to Nine Inch Nails. If you sample the sound of a whip hitting a pig and turn it into a drum beat, you might be Nine Inch Nails. [00:36:41] Speaker C: You. If you like to buy weird, broken, out of tune instruments and use that to shape the organic sound of your double album, you might be Trent Reznor. [00:36:52] Speaker B: We got to make this a whole thing anyway. Come up with your own folks and send them in at nailed Pod on Instagram. [00:37:03] Speaker C: Anyway, I really don't have a lot. [00:37:06] Speaker B: I just like it. [00:37:07] Speaker C: I just like this song a lot. It's tied with right where it belongs as my favorite track, I think. [00:37:16] Speaker B: Okay, I haven't decided favorite tracks yet. Maybe I should have, since we're wrapping. [00:37:20] Speaker C: Up here, but it's really hard sometimes for me to pick favorite tracks. [00:37:23] Speaker B: I can't. [00:37:23] Speaker C: It's definitely going to be the latter half of the album, so I have that narrowed down. But I think these last two songs have my heart, and I think a lot of it is because they do stand out so much compared to the rest of the album, and they're so different. [00:37:37] Speaker B: For me, it's all about that climax of the song. When that hits, the loud part hits, and then the big vocal harmonies hit, that's like, okay, this is the climax of the album. It's not just the climax of the song. This is when the album hits its high point. [00:37:54] Speaker C: Do we want to play this song? [00:37:56] Speaker B: Sure. Drones this song is mostly a D drone on what I'm assuming are incredibly distorted guitars. Distorted by means I'm not sure of. And then this clicky boom click, double time drum beat throughout. It's a strange structure. [00:38:26] Speaker A: I am alone this time around. [00:38:30] Speaker B: And then a plunky, plunky, plunky. Stringed instruments are back from the fragile. We have that in the left speaker there, which I think is probably just like a clean, electric. [00:38:49] Speaker A: Feel the little pieces bleeding through. [00:38:54] Speaker B: Almost whispery vocal, and. [00:39:04] Speaker C: Love the whispery vocal. And I love the repetition in this song. I think it's so soothing. [00:39:12] Speaker B: Yeah, it's incredibly repetitive. [00:39:14] Speaker C: It's like it's pulsing through your body. I don't know how to describe it. [00:39:20] Speaker B: Yeah, it is almost like a really fast heartbeat. And I said it had a hypnotic quality. [00:39:27] Speaker C: Definitely. [00:39:27] Speaker B: Like, on paper, I don't think that on and on and on and on is a good lyric over and over and over, but I get how it's effective as almost a hypnotic mantra type thing, you know? [00:39:46] Speaker C: I think the song is very soothing. Yeah, up to a point. [00:39:55] Speaker B: There's a comfort in those side chained drones. And we'll talk about the side chain in a minute. [00:40:01] Speaker C: Yeah. But I do want to say, if you're a gummy fan, take a gummy and listen to this song right when it hits, because you will feel. [00:40:08] Speaker B: This is the drug song. [00:40:09] Speaker C: You will feel that pulse that I'm talking about. This is a song you can feel all over your body. [00:40:16] Speaker B: It's amazing, but only if you're high. [00:40:19] Speaker C: I mean, you probably can if you're sober, too. You don't have to be high. You can just get caught up in the music and the song. [00:40:26] Speaker B: True. There's kind of like a fake out. It's almost like a fake out climax, or you think it's over. Maybe everything drops out except for the drones. And it takes, like, a weirdly long time to actually get into the Sonic's climax, which I like. I like how strange the structure is here. We've finally broken far away from the first chorus versus chorus out. And this is the longest track, I think, other than the title tracks. So long. With this side chain beat you like you yet another jump scare. You don't know. You almost don't know when it's coming. There's zero warning that that is coming. And it's not like there's a build up or a drum fill that's like, here. It's coming. Just really like that chord progression, too. [00:42:04] Speaker C: Yeah. It also doesn't feel harsh to me. Like, this song. I find it very soothing and lovely. [00:42:14] Speaker B: I mean, listen to those vocals. Yeah. And the drum beat, it's not Dave Grohl. It's this almost like soft drum thing that just pulses throughout. [00:42:31] Speaker A: Never. [00:42:34] Speaker B: Harmony. Then it ends with even more side chain drone than drum. [00:43:14] Speaker C: So you're going to explain what a side chain is? [00:43:16] Speaker B: Yeah, I will. [00:43:17] Speaker C: Right. Okay. [00:43:18] Speaker B: Note that almost machine like noises we hear coming in because they're leading into the next thing again. They're all bleeding into each other. More stuff in the key of D. So should we just say that? Well, we talked about on a bonus episode that there's a song by wire. [00:43:38] Speaker C: I mean, you can look it up and listen to it. It's very similar to. [00:43:43] Speaker B: Yeah, it definitely sounds like an inspiration for where this came from. [00:43:47] Speaker C: Yes. And Resner listed Wire in particular, the album send, which was a new release for Wire, early Aughts. I can't remember the exact year. 2003, maybe, but he referenced that album in particular, and there's a track on there. Do you remember the track name? [00:44:04] Speaker B: Something about Marks. [00:44:05] Speaker C: I'll look it up. [00:44:06] Speaker B: Marks's table or something. I'm going to say Marks's table. Dinner with Jeff. [00:44:13] Speaker C: My brunch with Jeff. Isn't that weird? Okay, so on the album sent, there is a track called Mr. Marks's table. [00:44:20] Speaker B: Oh, I was so close. [00:44:22] Speaker C: Yeah. And that is very sonically a sonic inspiration for beside you in time. And we talk more about it on. [00:44:29] Speaker B: A bonus episode about with teeth influences. Okay, so clips. [00:44:36] Speaker C: Clips. Blake's clips, corner. Sorry, that was awful. Don't keep. [00:44:45] Speaker B: I meant to hit that. And I hit remix. Okay, so we'll hear the drone and then we'll hear what it sounds like when the drone is side chained. And then I'll explain what side chaining is for those who don't know. [00:45:26] Speaker A: It. [00:45:29] Speaker B: So you probably noticed that the drone started at just one level and then it suddenly started going in and out almost rapidly. That's because a side chained compressor was applied to it, triggered by the kick drum. And side chain compression is. I'm reading off Google here and I'll try to do a better explanation when the level of one instrument or sound triggers a compressor to control the level of another sound. Okay, so the kick drum is controlling the level of the drone because it's run into a compressor that then tells the level of the drone. The kick tells the compressor, push down the level of the drone every time this kick goes through. It's been popular in like four on the floor dance music for a few decades. Now or more. That's what you'd usually hear it in. [00:46:35] Speaker C: Do you not hear it a lot in rock songs? [00:46:37] Speaker B: No, not really. I mean, now I don't even know what rock songs are, so maybe, but I don't know, like, old Kesha stuff and Dead mouse. Everyone else. Everyone does it. It's a cool effect, and it's really trippy in the song because it's usually not this rapid. You almost, like, lose. Sometimes I lose the rhythm for some reason, listening to this rapid side chaining. But, yeah, in a nutshell, the kick is telling the drone noise to be quiet every time the kick comes through. So it's kind of like you're only hearing one at a time. When you're not hearing the kick, you are hearing the drone come back in in those little silences between the kicks. [00:47:23] Speaker C: Could you play it one more time? [00:47:24] Speaker B: Sure. Okay. I made a little loop of the. What I called the boom clap drums. No relation to Charlie XCX at work, for sure. It's just a super thumpy low kick and almost like a snappy clappy snare. I don't really know the source. Also sounds like there's a delay on it. Okay, vocals for the first verse. [00:48:19] Speaker A: I am all alone this time around. Sometimes on the side, I hear a sound places, parallel. I know it's. You feel the little pieces bleeding through. [00:48:49] Speaker B: He said bleed through. They're close enough. In the chorus, there's what I call the plunks. There's, like a plunky, possibly piano sound or maybe just another string sound that is added. Well, I don't know if it's a chorus, but it's the on and on part. [00:49:11] Speaker A: You. It. [00:49:16] Speaker B: Hear it. Breath, breath, breathy hearing some breath. Okay. The hypnotic on and on ad nauseam vocals. [00:49:48] Speaker A: And this goes on. [00:49:51] Speaker B: The delay makes it even more so. [00:49:56] Speaker A: And on and. And this goes on and on and on and on and on and on and on and on. [00:50:23] Speaker B: His vocals sound very tired. I think I'm just now realizing, like, there's no power left in them. And if you're singing this goes on and on and on, et cetera. I guess it makes sense that you would sound tired. Vocals from the second verse. [00:50:42] Speaker A: Everything is back where it belongs I will be beside you before long I. [00:50:56] Speaker B: Don'T have to play every line. I've just clipped some of them out here and there. There was like, a little bit of, like. It sounded like guitar feedback. Hang on. But it was caught in the vocal mic. [00:51:06] Speaker A: Everything is back where it belong. [00:51:13] Speaker B: Okay. The big ass. [00:51:23] Speaker C: Drone break. [00:51:24] Speaker B: We all know what it sounds like. I just wanted to get some more of it. And this has certain parts isolated that aren't in the stereo. Album mix from the surround, the side chain, climax, you it. They just get way louder and brighter there. Okay. Some guitars from the final part or the climax part, I guess I called it. [00:52:06] Speaker A: Close. [00:52:20] Speaker B: The tone on those is nuts. I don't know if that's through the line six pod or what. Or how much manipulation is done. It's cool, though. My favorite part, vocals from the end. [00:52:33] Speaker A: Who we will never die beside you in time we will never die I. [00:53:10] Speaker B: Sadly, I couldn't get the harmony, the vocal harmonies there. I couldn't isolate because they are not separated in the surround tracks, sadly, which I think is a crime. [00:53:23] Speaker C: I do, too, but I was looking forward to that. [00:53:27] Speaker B: I know someday when the multi tracks are released. [00:53:32] Speaker C: Okay. [00:53:33] Speaker B: The last one I have is the last guitar part you hear when it changes up. [00:54:02] Speaker C: Lyrically. I think this was part of the Bleed through project and is very much. Obviously, he says bleeding through. [00:54:09] Speaker B: Says it. [00:54:10] Speaker C: Bleed through. [00:54:11] Speaker B: Fans are, like, pointing. [00:54:13] Speaker C: Yeah. So I think this is very much connected to the ideas from Lathe of heaven. That was inspiring. [00:54:22] Speaker B: Bleed through, definitely. [00:54:25] Speaker C: I wonder how many people have bought. [00:54:28] Speaker B: Lathe of Heaven based on our podcast. [00:54:30] Speaker C: Yeah. At least five. [00:54:33] Speaker B: We've possibly made sales shoot up into the double digits now. Maybe it's more like five. [00:54:40] Speaker C: Yeah, I mean, I bought a copy. [00:54:42] Speaker B: Yeah, that's one. [00:54:42] Speaker C: I know Laura was reading one. Maybe from the library, too. I don't know. But still. [00:54:48] Speaker B: Don't go to your library. Buy it, folks. Just kidding. Just kidding. [00:54:52] Speaker C: Blake works at a library, so please use libraries. [00:54:55] Speaker B: Yeah, we like libraries. We do want to get Ursula paid, though. [00:54:58] Speaker C: I mean, she's no longer with us. [00:55:00] Speaker B: But her estate, Ursula Jr. Her daughter. [00:55:08] Speaker C: So live at the beginning of the with teeth tours. I believe this was a theater tour. A partial version of Beside you in time was used as an intro. I believe it was pre recorded, but it made its real proper debut on September 19, 2005. And according to Nin, Wiki has not been performed live since 2014. [00:55:31] Speaker B: Whoa. [00:55:32] Speaker C: Long time. [00:55:33] Speaker B: Interesting. [00:55:34] Speaker C: Almost ten years now. Anyway, it's time for right where it belongs. But do you want to take a little break first? Because this is going to be kind of a long one. [00:55:44] Speaker B: Oh, boy. Yeah. [00:55:45] Speaker C: And then we got to rate this thing. Some tough stuff coming up. [00:55:50] Speaker B: Not envying me in the future. Future me. I don't envy that guy. [00:55:57] Speaker C: Future you. Why? [00:55:58] Speaker B: Because he has to give this album an inch rating. [00:56:02] Speaker C: Okay, well, we'll come back and we'll talk about that weirdo track right where it belongs Peel up my skin. [00:56:13] Speaker B: All the ashes around I want to kill. [00:56:17] Speaker A: Away the rest of what's left and. [00:56:19] Speaker B: I do, yes, I do. You ready for the last song? [00:56:27] Speaker C: Yeah. It's time to talk about right where it belongs. I feel like this is maybe not everyone's favorite on with teeth, but I know some listeners have. When I've talked about how much I like this song, they've also come to me and told me that they also love it. Yeah. Are you a big fan of it, or are you kind of indifferent or. [00:56:49] Speaker B: Somewhat of a fan of it? Although I think hearing the version two for the first time kind of ruined my opinion of the version one forever. [00:56:57] Speaker C: And that's one thing I was going to talk about, was right where it belongs. Version two. It's available on the Japanese and UK releases of with Teeth. And we talk about it on a bonus episode. [00:57:07] Speaker B: Right. Where we talk about B side. [00:57:08] Speaker C: Yeah. So we're not gonna play it here for you, but definitely go look it up and find it. It's beautiful. [00:57:13] Speaker B: It is. It's minimal and. Yeah. It's just good. [00:57:18] Speaker C: Yeah. Or listen to that episode because we play it there. So the original version, though, of right where it belongs. [00:57:25] Speaker B: Album version. [00:57:26] Speaker C: That's right. Version one. First, I want to read from a Karang article where Reznor talks about this song, and he says there is an optimism there. Absolutely. The catalyst was getting sober. Certainly the biggest part of that was just not getting high. But the bigger part was allowing myself to see things differently and realize there's a lot of things I've been wrong about. At the beginning of everything, I was a lot younger, a lot more immature, and I thought I knew everything. I had to give myself the freedom to rethink things. My priorities started with staying alive and sober, figuring out if I could ever write music again, whether I could ever do a tour, and then if I could ever get rid of my fucking ex manager. It led to a jury trial. But now it's over. It's done, and I feel like I've got very little to complain about now. The whole album felt that way. It wasn't laziness. It was very focused and disciplined. But I wasn't beating myself up every minute. It was like, hey, here's an idea. It might suck, but I'll figure it out later. And here I am. It's come full circle. [00:58:33] Speaker B: Okay. [00:58:33] Speaker C: I don't know if that changes your interpretation. [00:58:36] Speaker B: No, I'd also read that and I think it's good. It helps. [00:58:41] Speaker C: I'm going to read a little bit from some reviews, some snippets I picked up. [00:58:46] Speaker B: Okay. [00:58:47] Speaker C: The first one is from Pitchfork and I just want to point this out. [00:58:50] Speaker B: I love reading them. [00:58:53] Speaker C: Why I picked these two is. These are two very different opinions. One is from Pitchfork and one is from NME. [00:58:59] Speaker B: So Pitchfork, two magazines that love Trent Reznor. Well, one's. Sorry, one's not a magazine, but you know what I mean. [00:59:06] Speaker C: I know what you mean. So from the Pitchfork review, the disc ends with the tortured Bowie esque Balladry of right where it belongs. It's Rezner as a leather clad Elton John sitting at the piano to play candle in the Wind one more time. What? [00:59:24] Speaker B: I kind of get what they mean, although I wouldn't really compare it to candle in the wind. [00:59:31] Speaker C: And I wouldn't call it. Would you call it Bowie esque? [00:59:35] Speaker B: Maybe a little bit. I mean, there's so much of what he does that is a little Bowie inspired, you know? [00:59:43] Speaker C: Yeah, I'd have to think about that one. [00:59:46] Speaker B: I don't know of a specific Bowie comparison to make, but there probably is one. [00:59:52] Speaker C: I'll think about it. I can't think of anything. [00:59:54] Speaker B: A Bowie ballad, I don't know. [00:59:57] Speaker C: However, NME wrote. And then there's the final track, the slow burner, right where it belongs. A gorgeous piano led dirge that soothes away much of the earlier fury even when Reznor introduces the sounds of an appreciative audience. Just in case you didn't realize how loved Nin in fact are, I think. [01:00:17] Speaker B: It'S oversimplifying, maybe, what the audience is. I don't think he's just inserting it like, hey, look, they love me. This fake audience I put in here, they're cheering me. [01:00:29] Speaker C: Yeah, well, we'll talk about it when we get to it. But I don't think that's the whole meaning of it. We'll talk more about it. I want to go ahead and play it. [01:00:38] Speaker B: Okay. [01:00:43] Speaker C: First off, I immediately love this piano part. [01:00:49] Speaker B: There's the low synth and then there's a piano and there's a lot of atmospheric noise and then a vocal that's low, passed and weird or mid past maybe, and kind of over on the right. Kind of like, maybe purposely off putting. Just how, like, unconventional the whole mix is. Think I hear, like, cars revving up and driving down the street. [01:01:36] Speaker A: Feel the hollowness inside of your. [01:01:44] Speaker B: Also a little acoustic guitar following the synth line, I think. [01:01:47] Speaker A: Where is what if? [01:01:51] Speaker B: Everything around I like when the noise quiets on this chorus part, it's more peaceful. [01:02:03] Speaker A: What if all the world you think. [01:02:07] Speaker B: You know the piano also sounds super like EqEd mid past? We'll kind of learn. I guess there's a reason why it's also filtered sounding right now. [01:02:24] Speaker A: Is that all you want? [01:02:26] Speaker B: Maybe for comparison's sake. [01:02:31] Speaker A: What if you could look right through the cry? Would you find yourself. Find yourself afraid to see. [01:02:49] Speaker B: Voice kind of glitches out there? That's kind of cool. [01:02:56] Speaker A: You it. What if all the world inside of you. [01:03:02] Speaker B: A little bit of bass just entered, too? [01:03:05] Speaker A: Just creations of your own devils and your gun. [01:03:16] Speaker B: Also there's like a shuffle to the beat, which is interesting. [01:03:25] Speaker A: You can live in this illusion. You can choose to believe. [01:03:37] Speaker B: Here comes the reveal. Jess, you keep looking, but you can't find stereo. [01:03:47] Speaker A: Hiding. [01:03:50] Speaker B: There's his real voice. The crowd. [01:04:00] Speaker A: Isn'T quiet. [01:04:04] Speaker B: It really opens up here. Obviously get kind of the full EQ frequency spec room. For the first time. People are cheering for some reason. [01:04:18] Speaker C: You love Nin. [01:04:22] Speaker B: I wonder what that's taken from. Stock library. [01:04:27] Speaker A: Is that all you want it to be? [01:04:33] Speaker B: Piano sounds way more full and nice. [01:04:35] Speaker A: Could look right through. [01:04:37] Speaker B: The stereo image is definitely wider. [01:04:41] Speaker A: Would you find yourself. Find yourself afraid to see this one again? [01:04:50] Speaker B: Sticks with the standard with teeth song structure. Burst course, verse course out. And is another up to several with the pretty oohs and Oz at the end of that. Follows those vocal lines, too. Piano sounds really brittle and warped. Like almost broken warbly, but still very pretty. And, yeah, weird almost. For that album. To the bombastic rock album with teeth to end on. A brittle, almost toy piano sounding piano line there. But that's how it ends. [01:05:58] Speaker C: And we talked before about why version two wasn't used. And I just think sonically, it doesn't fit. Yeah, while it's beautiful, it would have really stuck out with how it's, like. [01:06:10] Speaker B: Too minimal with teeth. Yeah, this one is more with teethy with its synth sounds. Which is pointed out to me, probably Arp Odyssey, which is responsible for a lot of the synth on this record. [01:06:27] Speaker C: All right, is it time for clips? [01:06:29] Speaker B: Yes. Afraid to see. As I said, that line kind of decays out and gets really affected and weird. [01:06:43] Speaker A: Find yourself afraid to see. [01:06:58] Speaker B: And turns into, like, this nice infinite reverb type thing. Now we know there's, like, the noise in the first verse. That almost sounds like they took a microphone out into the street. And recorded traffic and ambient sounds. There is a different kind of noise in the second verse, though, to see more like a more white noisy. But also, there's another song that reminds me of. Let's see if you can guess. It is very tuned to the key of the song, though, which is cool. [01:07:42] Speaker C: I don't know. Were you going to say hurt? [01:07:44] Speaker B: Yes. [01:07:45] Speaker C: Okay. [01:07:46] Speaker B: There's probably a lot of comparisons to make with hurt. They're both the last song. They're both quiet and minimal for the most part. They both have a lot of noise. They both have a vulnerable sounding little piano line. Although I guess this song has a lot more piano. But does this seem like, kind of like the Hertz Cousin song? [01:08:16] Speaker C: I mean, maybe. Yeah. [01:08:17] Speaker B: Album ender. Anyway, just pointing that out. Okay. The applause section of kind of a long clip here. So strap in. [01:08:54] Speaker A: Sam. [01:09:20] Speaker B: The floss doesn't continue for the whole thing. It dies out halfway through. I like when the piano Goes to the two octave part there, and then at the very end, the broken sounding piano. I don't mean broken, the EP. I mean, like, it sounds like a broken tape machine recorded it or something. Also, I guess, reminds me of, like, maybe the piano at the end of closer. Of closer. [01:09:57] Speaker C: Yeah. [01:09:58] Speaker B: I was thinking that maybe even in the end of Piggy. [01:10:49] Speaker C: Got a little lump in my throat. It's just sometimes amazing how, like, a simple little thing like that can be so lovely. I don't know. [01:11:01] Speaker B: I get that feeling when I hear right where it belongs. Version two. That one is truly beautiful to me. Not that this one isn't. Okay. I had to get. If you listen to the instrumental version of with Teeth, some of the songs have, like, extended intros and outros. This has more of the engine noises and atmospheric sounds from the beginning. [01:11:40] Speaker C: This is basically what I hear every night. [01:11:44] Speaker B: It's not that noisy here. [01:11:46] Speaker C: No. But sometimes in the morning, like during the morning rush, you can hear those. Maybe those traffic sounds. [01:11:53] Speaker B: Maybe he took a stereo recorder into the street. It's hard to say. Hard to say. It's, like, not quite mechanical, not quite organic. It's another one of those interesting things where he makes it hard to pinpoint the source. Okay. And I thought it fitting to end on my last clip. The trent ooze vocals. Nice, right? Yeah, very pretty. So why do you think the applause. I should put the Lady Gaga song applause in here. [01:13:09] Speaker C: Why don't you give me your thoughts first? [01:13:12] Speaker B: I think I wrote it down somewhere. I already forgot. Okay. When we hear the applause or the crowd noise come in, it's at a point where the filters are being pulled away and we hear something that sounds more real, as in unfiltered and more bright. And then suddenly this loud, bright crowd sound comes in. And maybe it's like a coming back to reality because it's almost like a towel was put over our ears or something. A wet towel, so cold it could sting, was put over our ears, and it muffled the sound of the world. And then it was pulled away and everything got opened up, got brighter, More wide, more real sounding. And that's the point where we hear the sound of reality smacking us in the face, maybe. And that is. I don't know, maybe. Obviously, the whole metaphor for sobriety is there, but this is a thing that fits both themes. I talked about maybe on a bonus episode that there's, like, two albums in, one that kind of got shoved together. The album about bleed through and the multiversal stuff, and then the album about addiction and recovery. This kind of also has both things going on, possibly where the filtering and unfiltering could be the symbol for sobriety, but also for seeing reality for what it really is. [01:14:58] Speaker C: Maybe. I was thinking it definitely has something to do more with grounding in reality, mainly because a lot of this song is very. What's the philosophical term? I don't know that I've ever heard it pronounced, but it's, like, solid solit. [01:15:12] Speaker B: Solipsistic. Is that the word? Solipsistic? [01:15:17] Speaker C: Hold on. [01:15:18] Speaker B: Soliloquy. Solipsism. Oh, my God. [01:15:25] Speaker C: It'S solipsistic. [01:15:26] Speaker B: She doesn't trust unless she looks up a robot pronouncing a word. [01:15:30] Speaker C: I have a hard time with word pronunciation sometimes, and I don't know why. So it's very solipsistic. Right. If you don't know what solipsism is, it's a philosophical idea that is, yourself is the only thing that you know exists. So, like, only my mind exists, is it? Kind of. [01:15:55] Speaker B: I think, therefore I am, baby, maybe. [01:15:59] Speaker C: I don't know if I'm getting this outright. Some people have talked about how this song is very solipsistic. [01:16:04] Speaker B: Yeah. [01:16:05] Speaker C: So whenever he talks about, like, what if everything around you is quiet as it seems? What if it's all a dream? What if the world's inside of your head just creations of your own? Would that be considered solipsism? [01:16:18] Speaker B: Well, especially the next line. [01:16:20] Speaker C: That's where your devils and your gods, all the living and the dead, and you're really all alone. [01:16:25] Speaker B: That's what seals it. And you're really all alone. Everything else you kind of made up. [01:16:30] Speaker C: Yeah. [01:16:31] Speaker B: So, yeah, that is definitely solipsism. Right there. But then the whole crowd thing is like, oh, wait, no, I'm not. But it's also so tongue in cheek. [01:16:45] Speaker C: It is. I feel the same. [01:16:47] Speaker B: You can't take it seriously. As I was saying, it's not like we're not meant to believe these are adoring fans. That is like a live performance or something. That's clearly not what it is. When you put in crowd sounds where they shouldn't be, you're trying to make some kind of usually cynical statement, I think. [01:17:10] Speaker C: But maybe the crowd noise is just kind of. Yeah. Rooting the person back in reality, if. [01:17:18] Speaker B: That noise is part of the noise of the world that comes in when you sober up, have the filter taken off, whatever. Maybe it represents the anxiety that comes with that, or the anxiety that he was feeling at the time. I mean, we just heard him say from the quote, you pulled that what was on his mind after getting being alive? What was one of the first things on his mind? Can I tour again? [01:17:51] Speaker C: Can I write music again? [01:17:52] Speaker B: Can I write music? And then can I do a tour? So that's like anxiety number two. So the sounds of a crowd, I mean, I guess that's maybe where that comes from. This is what I'm scared of. [01:18:07] Speaker C: This is what I have to face. [01:18:08] Speaker B: This is what I have to face. As soon as the wool is taken away from my eyes, this is what I'm going to be met with, and I have to face it. [01:18:18] Speaker C: And we've talked about this before, but with drug use, I think that you create your own reality if you are in an altered state. [01:18:30] Speaker B: Yeah. You're just in a reality. Maybe the drug created it. [01:18:35] Speaker C: You just have a different perception of things, obviously. So it very much affects being in how you perceive and see the world around you. [01:18:46] Speaker B: Yeah, I think so. Okay, maybe we beat that too much, but I'd like to hear listener interpretations, too. [01:18:56] Speaker C: Yeah, because I'm just a dummy with a microphone. Probably a lot smarter people out there. [01:19:01] Speaker B: Hey, we have college degrees, but maybe somebody out there can put it better than we did. [01:19:08] Speaker C: Yeah, maybe. So before we go too far, let's talk about this song live, and then we'll talk about how it's been reworked a couple of times. So, first of all, it made its live debut on September 19 of 2005. And it wAs, I guess it's like the centerpiece of the slower part of the performance. During the fall five and winter Six live with teeth tours, it was always during this time, preceded by Eraser and followed by beside you in time, eraser. [01:19:49] Speaker B: Into this is killer Oscar. [01:19:54] Speaker C: And so when it was played live, a curtain was dropped on the front of the stage and it had images that were compiled by Andrea Jacobi. I don't know how to say that. I've also heard Jacoby. [01:20:07] Speaker B: Maybe it's Jacobi, like on Twin Peaks. [01:20:11] Speaker C: That's spelled differently, though. [01:20:12] Speaker B: It is, but I'm going to say it like that. [01:20:14] Speaker C: And they were projected onto this screen that was dropped or curtain, whatever that was dropped while they played. You should look those up, though. It's a mixture of very disturbing images and also images of conformity, like suburbia. I don't know. [01:20:33] Speaker B: It's a mixture dancing. [01:20:34] Speaker C: It's a very strange mixture of images, but it kind of works. But also animals. Yeah. A lot of war imagery, which if you open up your Instagram app right now, that's all you're going to see. It was just kind of a strange juxtaposition of images on such a beautiful song. But the song has some. I mean, I think it works with the lyrical content maybe, but look it up, you can find it. I think Jacoby has a vivo account and you can find it there. It's pretty easy to find. And while it plays, I believe there's a live version of right where it belongs as playing. [01:21:18] Speaker B: You know what I liked about that also, you get to hear the live version, which is very different. And I think I like more. It's not quite version one, it's not quite version two. It's like somewhere in the middle. [01:21:31] Speaker C: Somewhere in the middle. [01:21:31] Speaker B: I think it's really good. And I think you're hearing the band's click track for some reason. [01:21:38] Speaker C: Interesting. [01:21:39] Speaker B: And you even get to hear a voice count the band in 1234. [01:21:44] Speaker C: I don't know where that clip came. [01:21:45] Speaker B: From, but I don't know, something from the band somehow. [01:21:51] Speaker C: But, yeah, not the studio version that you hear. You're going to hear a live version. Also, according to Ni and Mickey, version two was played on the ninja Tour. Is that true? Anyone on the Ninja Tour? Did you see right where it belongs, version two? [01:22:05] Speaker B: I looked up a clip. It did happen. Yeah. Is it as lovely or it's not the same thing? Because it's like, I believe it's Robin Fink approximating that part on his guitar, but it's still pretty cool to hear. [01:22:22] Speaker C: Yeah. [01:22:23] Speaker B: But obviously not exactly the same, but yeah, it did happen. [01:22:26] Speaker C: So it has been reworked a couple of times in some surprising places. I think in one of them it kind of works and the other one it doesn't. But we'll talk about it. The first one, the one where I think it kind of works is that it was reworked and used in the trailer for the Game awards in 2022. This was like a four minute long trailer. [01:22:45] Speaker B: This was just last year. [01:22:46] Speaker C: Yeah. [01:22:47] Speaker B: This is so weird. It is long. [01:22:48] Speaker C: It is long. It's weird. But I guess it kind of works for gaming. I don't know. They're playing clips. If you watch it, you can hear the song and then it will cut to dialogue. [01:22:59] Speaker B: Like video game cut scenes. [01:23:00] Speaker C: Yeah. [01:23:01] Speaker B: It's one of these things where they take a song once again and make it ultra cinematic. For whatever reason, they chose this song, but then applied what sounds like Symphony Orchestra to it, like it's a movie score. It's, like, almost too arch, in my opinion. [01:23:21] Speaker C: But I think it works better than the second thing we're going to talk about. [01:23:25] Speaker B: I should just play a. Yeah, play. [01:23:27] Speaker C: A little bit of it. Close your eyes and hold that tight. You don't want to lose it. [01:23:36] Speaker B: Like God of War or something. [01:23:38] Speaker C: Maybe you have to trust in your own goodness. I don't think I recognize any of these games. That's how I recognize little. [01:23:44] Speaker B: I know there's a few clips of Elden Ring, so I don't lost. [01:23:49] Speaker A: Are you sure what side you're on? [01:23:51] Speaker B: I offer you an Eldon rule going to go forward. [01:23:56] Speaker C: I have no doubt you will become Elden Lord. You were part of something bigger once. Something good. [01:24:05] Speaker B: All that matters is that you are safe. [01:24:08] Speaker A: What if all the world you used. [01:24:12] Speaker B: I'm coming to you fucking nuts. [01:24:18] Speaker A: You are nothing if you look at your better than this. Is that all you wanted to be? [01:24:31] Speaker C: This wasn't fate. This was the future you made. [01:24:35] Speaker A: You. Why don't you just mail me the bullet? You can choose to believe I've got this. [01:24:56] Speaker B: So strange. Welcome to the show. That's the stinger at the end. It's one of those things that was never necessary or expected. Definitely was never expected, but still pretty cool, I guess. [01:25:16] Speaker C: Yeah. So the other time it's been reworked. We're going to go back to net the good time. Are you being facetious? [01:25:25] Speaker B: This is my favorite version of right where it belongs. [01:25:28] Speaker C: He likes it more than version two. [01:25:32] Speaker B: Oh, by the way, what we just heard from the game awards was done by someone I think goes by the name of Martin Wav. [01:25:42] Speaker C: Okay. [01:25:42] Speaker B: Martin Wav. [01:25:44] Speaker C: Okay. [01:25:44] Speaker B: I tried to look into it further. I didn't get very far, but he has remixes and stuff out there if you go look. [01:25:51] Speaker C: Okay, so we're going back to Netflix to a little series called Black Mirror. [01:25:57] Speaker B: Never heard of it. [01:25:59] Speaker C: And to a particular episode that we've discussed probably previously or touched upon way. [01:26:05] Speaker B: Back in Halo Three, I think. [01:26:10] Speaker C: Yeah, I think in Halo Three is when we would have talked about it. I don't think it was Halo two. [01:26:14] Speaker B: And I have the T shirt. [01:26:15] Speaker C: You do? You got it for me? Yeah. Well, for that version for the head. Like a whole remake. So the episode's called Rachel, Jack, and Ashley, too. And it's the one that stars Miley Cyrus as a pop star. [01:26:29] Speaker B: As a what? [01:26:31] Speaker C: It was a stretch for her to play that role. So Charlie Brooker wrote new lyrics to the song, and these are even cornier than the lyrics to the. Had, like a whole rewrite, which I. [01:26:46] Speaker B: Always thought those were just funny. They were corny. [01:26:49] Speaker C: They were corny. [01:26:49] Speaker B: Well, they were corny. But the joke worked well enough, I guess. [01:26:53] Speaker C: I guess I just think that this is a really weird fucking choice. Anyway, Cyrus recorded these rework covers, and you can find them under the name Ashley O if you want to listen to them. That was the character she played on Spotify. [01:27:08] Speaker B: Oh, hang on. [01:27:09] Speaker C: Yep. It's like her own little album. [01:27:12] Speaker B: Crazy. I'm only recently on Spotify. Ashley. Oh, she has her own artist listing I'm going to follow just in case Ashley O puts out anything. [01:27:22] Speaker C: Puts out any more. Nine Inch Nails Reworks. [01:27:25] Speaker B: Oh, my God. [01:27:25] Speaker C: There are remixes. [01:27:26] Speaker B: There's an EP of honor roll remixes. It's fucking nuts. [01:27:31] Speaker C: So these covers, though, were sanctioned and approved by Reznor. I do want to say if this was 2005, 2000, I don't think he would have sanctioned this or Blake is looking at me like I'm crazy, but there's no way he was so anti pop. [01:27:46] Speaker B: I know he lightened up, though. [01:27:48] Speaker C: I think time changes you, obviously, but. [01:27:51] Speaker B: He had a real vendetta against pop. [01:27:55] Speaker C: Circa 99, 2000, and probably still later. But I really think this would not have happened in previous eras, that he would not have approved this. [01:28:06] Speaker B: No, but he. [01:28:07] Speaker C: There was no way. The dude was like, yeah, let Britney Spears cover a song of mine. No way. [01:28:10] Speaker B: He wasn't paying five college education. He wasn't paying on a ten bedroom house at that time with a little. [01:28:19] Speaker C: Carriage for little fancy. [01:28:22] Speaker B: He wasn't buying five power wheels. [01:28:25] Speaker C: Oh, my gosh. [01:28:27] Speaker B: You know the upkeep on those. [01:28:29] Speaker C: So the title was changed to right where I belong. And I can read the lyrics just real quick and we can play the song, too, but I don't think this works. I think it's incredibly corny and I hate that they chose this song of all songs. I feel like this song is a special song. It's kind of like letting someone cover hurt and calling it, like, spurt or something. It's almost on the same level. To me. The song is kind of a. Now I want to hear the Sacred Nine Inch. [01:29:00] Speaker B: Hear the parody song called Spurt or Squirt. I will make you squirt. Oh, my God. It writes. [01:29:09] Speaker C: That's gross. [01:29:10] Speaker B: Okay, some rapper is going to do this. Now. You realize that. [01:29:14] Speaker C: It's going to be like. [01:29:15] Speaker B: It's going to be like Old Town Road, but way, way worse. [01:29:18] Speaker C: Maybe it'll be like Megan. And she'll be like, can you make me squirt? [01:29:22] Speaker B: Oh, okay. Featuring Cardi B. [01:29:25] Speaker C: Please take this. [01:29:26] Speaker B: No, this goes in. That's what she said. [01:29:30] Speaker C: You won't put in a little moan, but you'll put in me saying these. Really? [01:29:36] Speaker B: Yeah. [01:29:36] Speaker C: You should maybe bleep a little bit. [01:29:38] Speaker B: I'll bleep here and there. Okay, but I want to hear Megan Thee stallion featuring Cardi B. It's called Squirt. Parentheses. Can you make me. [01:29:55] Speaker C: YOu're welcome. Oral. [01:29:56] Speaker B: That's so fucking good. I'm going to put a trap beat behind the hurt guitar now. [01:30:01] Speaker C: I'm actually really good at writing parody songs. I'm not good at puns, but I can come up with a good parody song if you give me some time. Actually, I'm better spur of the moment. [01:30:09] Speaker B: If you were going to parody right where I belong, what would you call it? Would you call your version? [01:30:14] Speaker C: Oh, I would never parody that song. [01:30:16] Speaker B: Well, that's no fun. [01:30:18] Speaker C: I wouldn't even parody her. I was just saying an example. So here are the lyrics. See me dancing on the stage that I built? I wrote, no, you didn't. In my little. I understand what they're going for there, but whatever. [01:30:30] Speaker B: Okay. [01:30:30] Speaker C: Spotlight on me shining Strong Feel such happiness inside of my heart and it's all right here, right here in my song See my crew dancing around me Hear the audience's screams I wonder if that's a call to the audience. [01:30:44] Speaker B: Meta reference. [01:30:45] Speaker C: Yeah. Feel like I could jump right to the sky and just lose myself lose myself inside a dream I got all these songs inside of my head, just creations of my own. And I wrote. Not this one in my parentheses. The rhythm in the song as I'm sleeping in my bed it's got me dancing on my feet and then I wrote, I thought you were in bed. Awful. [01:31:03] Speaker B: Yeah. Or maybe she's dancing on the ceiling. [01:31:06] Speaker C: What a feeling see my crew dancing around me Hear the audience's screams Feel like this whole world I love to know is an elaborate dream and when I look at my reflection but it's all I wanted to be feel like I could jump right to the sky and just lose myself lose myself inside a dream it's almost like the opposite. [01:31:24] Speaker B: Well, it's kind of like the head. Like a whole honor roll thing was just like an anthem of self love, I guess. And maybe this is kind of like that, too. Like the evil right? Where I belong be like, yeah, this is where I belong I rule maybe. [01:31:49] Speaker C: I just don't think this one works for me. I think the lyrics are corny. Maybe that's the point. But I also feel like maybe is Bricker making, like, a commentary on pop music, because pop music is a lot more sophisticated now. And people do not release songs with lyrics like this. So I don't know really what's going on. [01:32:05] Speaker B: It is just too, like, saccharine and positive. There could be more layer to it because I think they're trying to come across as very serious in the show, when she plays this, I don't even. [01:32:19] Speaker C: Remember the scene when she. [01:32:21] Speaker B: I think she's, like, sitting at a piano and she's, like, very forlorn playing it. [01:32:26] Speaker C: Really? That doesn't. [01:32:27] Speaker B: I think. [01:32:27] Speaker C: So why don't you play the song? Because it sounds very different, if that's what. [01:32:32] Speaker B: Okay. No, this is not what you hear in the show. [01:32:35] Speaker A: See me dancing on the stage that I built okay. [01:32:40] Speaker B: No. [01:32:40] Speaker A: But light on me Shining strong Not. [01:32:43] Speaker B: What I was expecting feel such happiness. [01:32:46] Speaker A: Inside of my heart and it's all right here right here in the song. [01:32:56] Speaker B: Kind of got a reggae tone feel. No, I would not have approved this. [01:33:03] Speaker C: No way in hell I would have approved this. I hope Resner got a fat paycheck. Don't mind this part. [01:33:14] Speaker B: I was going to say, okay, I can fuck with that beat a little bit. This really has nothing to do with Nine Inch Nails. [01:33:21] Speaker A: I got all these songs inside of my head, just creations of my own. The rhythm and the song as I'm. [01:33:31] Speaker C: Sleeping in my bed it's got me dancing on my feet there's no rhyme. [01:33:39] Speaker B: What's up with the rhyme scheme? [01:33:41] Speaker C: I don't know. I honestly think it's kind of lazy. Right? [01:33:47] Speaker B: It is pretty lazy. I think it's just like Charlie Brooker, I'm sure is a nin fan. Was like, what if I just kind of inserted some Nen songs? [01:34:00] Speaker C: Obviously he's a nin fan. I just don't think he's a lyricist. And it does surprise me that Reznor approved this. I don't know why, but my only guess is he's a big fan of science fiction and horror and to be associated with, you know, this is just. [01:34:15] Speaker B: Twilight Zone for cell phones. [01:34:17] Speaker C: Yeah. [01:34:18] Speaker B: That's all this show is. [01:34:20] Speaker C: I mean, it kind of used to be. [01:34:21] Speaker B: Yeah. And then they kind of lost the plot of what it was. No, I think, Trent. Well, the cynical reading is he wanted that money. The nicer reading is he lightened up. And you don't have to have a stranglehold on every little thing as long as you live. [01:34:43] Speaker C: Who knows? Maybe he's a big Cyrus fan. I have no clue. [01:34:46] Speaker B: We know he's at least somewhat into pop music. I think he proved that with Halsey. [01:34:52] Speaker C: That and, you know, his love for Dua Lipa. [01:34:56] Speaker B: Oh, right. I'm just going to skip to the. I want to hear how it ends. It's like two minutes long. [01:35:02] Speaker C: It's not long. [01:35:19] Speaker B: Yeah. That just has so little to do with the original song, but sure, I guess. [01:35:25] Speaker C: Yeah. [01:35:26] Speaker B: Very sorry to the people that may have upset. [01:35:29] Speaker C: Yeah, I apologize. It's out there, though. We got to talk about. [01:35:32] Speaker B: It's out there in the world. You got to deal with it now. [01:35:35] Speaker C: It's just not my favorite thing ever. [01:35:37] Speaker B: No, I prefer honor roll, which is catchy. [01:35:39] Speaker C: I don't even care for that that much. [01:35:41] Speaker B: Funny. Better catchy. [01:35:42] Speaker C: But I feel like this is not even funny. I don't know. Is it supposed to be funny? [01:35:46] Speaker B: Maybe, but to me, I don't even think it is. Well, on the show, they were playing it a serious. I don't know. [01:35:51] Speaker C: I'd have to watch that clip again. So I need to rewatch that episode and see it in context because I do not. It's been like, what, four years since I've watched it? [01:36:00] Speaker B: Yeah, you probably wouldn't enjoy watching the episode again, but it was so clearly one of those. And then I looked it up and it was. It was like, gonna be a movie script, I think, and then just kind of didn't work out and was shoehorned into a Black Mirror episode script. [01:36:18] Speaker C: So did Brooker write it? [01:36:20] Speaker B: Yeah, I think it was always his. [01:36:21] Speaker C: So he had it written in hopes that it would be a screenplay for a film and that never happened. And he just reworked it into a black Mirror script. [01:36:30] Speaker B: Yeah, something like that. [01:36:31] Speaker C: Interesting. All right, Blake, I think we've talked about. Let me check my notes and make sure that I got everything about right where it began. [01:36:41] Speaker B: Yeah. Weird note to end the album on, but there you have it. [01:36:44] Speaker C: There you go. All right, it's time to do your favorite thing. We got to rate this halo. How do we rate halos, Blake? [01:36:53] Speaker B: We rate them by inches. I just went back and listened to Halo two the first time we did this for pretty hate machine. [01:37:00] Speaker C: Yeah, that's when we started the rating. Right. We didn't do it for the first one, I don't think. [01:37:05] Speaker B: No, we didn't. Because I think we kind of came up with it on the fly at the end of the Halo two episode, and I was like, what if we gave things inches out of nine? [01:37:15] Speaker C: Okay. [01:37:15] Speaker B: And then I think I went back and listened to an older Nine Inch Nails podcast, and they also did the same thing. And I was like, fuck. Not original, but. Oh, well, it's a good system. [01:37:24] Speaker C: Yeah, great minds think alike, guys. [01:37:26] Speaker B: Well, by good system, I mean, I hate it and it's meaningless and it's dumb, and I don't like it at all, actually. [01:37:33] Speaker C: But, Blake, we thought of it, and now we have to do it. It really means nothing. [01:37:37] Speaker B: I think I gave the fragile 9000 inches. This means nothing. You can't take it to heart. And whatever I say tonight, my opinion is going to change probably in two days. So, yeah, take it with a big grain of salt. [01:37:52] Speaker C: Do you want me to go first? [01:37:53] Speaker B: Yeah. [01:37:54] Speaker C: Okay, I will. So I kind of dreaded going into this era because with teeth was never my favorite. I never connected with it. I never really liked it. I liked a few tracks, but never enough that I went back and listened to it over and over again like I did with the fragile or broken or the Downward spiral, whatever. It's never been a favorite. But I vowed to go into this with an open mind and to try to drop any previous prejudices that I might have held about this album. And I found myself enjoying it much more. I'm not sure if it's age if I relate to some of the things that he's talking about because I'm older now and I can relate to some of the lyrics more. I'm not sure if it's just learning about the album. I didn't know much about it at the time. I wasn't very online. I didn't know a lot about what Trent was struggling with. I mean, no one really did until the album. But even then, I just never really connected with this album. And actually, what's really funny is today I was scrolling through Instagram and I found this little blurb that they had posted on Stereogum from an essay that Jeff Tweety recently wrote for the New York Times. And it's kind of weird to bring Jeff Tweety, the vocalist and Jeff Tweety thing about songwriter of Wilco, which, by the way, Yankee Hotel Foxtrot. What a brilliant album. [01:39:27] Speaker B: With Teeth. More like Summer Teeth. [01:39:29] Speaker C: Right? Good job. [01:39:31] Speaker B: I got there. [01:39:36] Speaker C: You were being there. Get it? [01:39:39] Speaker B: Okay. Wilco Heads will get these jokes. Real Wilco heads. Real Tweety heads. [01:39:46] Speaker C: So I actually really liked this little blurb. So I went and found the actual essay on the New York Times website. So let me pull it up and I wanted to read a little bit of it. And the essay is called I thought I hated pop music. Dancing Queen changed my mind. And he goes on and on about how when he was younger, he hated Dancing Queen, he hated disco, he hated pop. And how everyone just kind of aligned themselves like, we like punk, we don't listen to this garbage and just dismissed it as pop fluff and how liking underground or punk rock things made them unique and they were not going to listen to this mass produced pop. [01:40:32] Speaker B: Yeah, punk cred. [01:40:34] Speaker C: So let me just read a little bit. In this essay, he writes about having. He calls it a come to Jesus moment. Whenever he is in a grocery store and hears in the speaker as it was intended, he hears Dancing Queen. And he says, it was a real come to Jesus moment. He writes, before that day, I, along with many others, had denied myself an undeniable joy. Countless fantastic records and deep grooves were dismissed and derided out of ignorance. But of course, this song and this music was always going to win eventually because it's just too special to ignore forever. To this day, whenever I think I dislike a piece of music, I think about dancing Queen and am humbled. That song taught me that I can't ever completely trust my negative reactions. I was burned so badly by this one song being withheld from my heart for so long, I tried to never listen to music now without first examining my own mind and politely asking whatever blind spots I'm afflicted with to move aside long enough for my gut to be the judge. And even then, if I don't like something, I make a mental note to try it again in ten years. Dude, that's a good memory, I guess. [01:41:47] Speaker B: Yeah. [01:41:48] Speaker C: Melodies as pure and evocative as the one in Dancing Queen don't come along every day, and I mourn every single moment I missed loving this song, playing it again. As I write this making up for Lost spins, I feel overcome with gratitude for its existence. So if you take anything away from this, I hope it will be this recommendation. Spend some time looking for a song or a book or a film or a painting or a person you might have unfairly maligned. It feels really good to stop hating something. And music is a good place to start. Because while records don't change over time, we can and do. Better late than never. [01:42:26] Speaker B: Damn, I got to go revisit Limp Bizkit now. [01:42:30] Speaker C: I don't think that hits the same. [01:42:31] Speaker B: Now, but maybe give it ten years. [01:42:35] Speaker C: So I was thinking about that, and I was thinking about when I was 23 in this. [01:42:41] Speaker B: Are you going to say that in this, Nin is ABBA and with Teeth is Dancing Queen? [01:42:47] Speaker C: Yes. [01:42:49] Speaker B: Okay. [01:42:49] Speaker C: All right. This is my dancing Queen. Does that make sense? And I'm sure there are a lot of dancing Queens out there of. [01:42:58] Speaker B: I mean, there are a few songs on here that are pretty disco. [01:43:02] Speaker C: Yeah. It's surprising that I didn't connect with this album. I was really into, like, post punk stuff at this time and a lot of indie rock and dance rock. But for some reason, I just could not bring myself to like this album. I don't know why. And I will say, were you too cool? Maybe I was too cool for school. Maybe I was like, I don't know, man, Interpol. I don't know what to tell you. So I regret dismissing this album, mainly because what happened is because I dismissed this album. I missed ear Zero. I missed the slip. I did not listen to a Nine Inch Nails album until hesitation marks. Year Zero, I fucking love, and I'm so upset that I did that. But to rate this album, if it was just the last side of the album, it'd be a perfect. It'd be a nine inches. The last three songs, I think, are just amazing. However, it's not just those last three songs, and it's not just the last Half. So I think I like this album. I'm not in love with it. I'm in love with parts of it. I like it much more than I did in 2005, and I appreciate it and respect it more. And it laid the groundwork for Year zero. So as a whole, I'm going to give it a. [01:44:35] Speaker B: Oh, no, you're deciding right now. I thought you knew. [01:44:38] Speaker C: I'm torn between two ratings. [01:44:41] Speaker B: Why don't you round? If you're thinking of doing half inches. [01:44:45] Speaker C: Fine, it's a seven. I was thinking like 6.5, but you can do half. [01:44:51] Speaker B: Look, no, I'm being an asshole. If your heart tells you to do a half. Do a half. [01:44:56] Speaker C: 6.5. [01:44:58] Speaker B: Okay, that's lower than I thought you would go. Okay. [01:45:01] Speaker C: I just said if it was just like the last half, it'd probably be a nine. [01:45:05] Speaker B: Yeah, no, I pretty much agree. [01:45:07] Speaker C: There's some unevenness to the album. There's some lyrics I don't care for that I think detract a lot. And I missed the instrumentals. Although we do have some nice extended outros. And there is like a sonic mood to this album that I could really feel. Whenever you do your multi tracks and we can listen to it that I never would have noticed before, I think. [01:45:32] Speaker B: Yeah. [01:45:34] Speaker C: And again, this means nothing. It doesn't mean anything. [01:45:37] Speaker B: No, I know. Please ignore these inch ratings. We just do them out of tradition now. And truly, I'm going to. [01:45:44] Speaker C: And sorry that was so long with a long explanation, but I did think long and hard about this album. [01:45:48] Speaker B: We need the context for it. And if I were to come back, probably both of us, if we came back in a month or a year, we'd give it a different rating, maybe. [01:45:58] Speaker C: And maybe I need more time with it. I feel like I've spent a lot of time with it, but, yeah, I think that this album is a grower and not a shower. [01:46:10] Speaker B: Yeah, I feel like we've said that before a few times. I was listening to the end of Pretty Hate Machine. And by the way, you gave pretty hate Machine a 7.5. [01:46:22] Speaker C: I'd like to go back and change that. [01:46:24] Speaker B: Okay. It's going to say this is 6.5. Does that still track or you need to. [01:46:29] Speaker C: If I could, I would change pretty hate Machine to probably an eight. [01:46:34] Speaker B: Okay, well, we'll do a proper revisit at some point. [01:46:37] Speaker C: Yeah. Your tUrn. If you want, you can read an essay by Jeff. Do you want me to find you one? He writes for the New York Times a lot. And I didn't know that until I. [01:46:45] Speaker B: Oh, I didn't know that either. [01:46:46] Speaker C: Yeah. [01:46:47] Speaker B: But I will say along those lines, people need to give up any notions of coolness or hipness. I don't know if that still remains with anyone past mid thirty s, forty s. Maybe with some very sad people might try to cling to it. [01:47:07] Speaker C: Definitely. Coolness goes away. I feel like. Because when I was 20 people, there was no way in hell I was listening to pop music. [01:47:13] Speaker B: Well, I was, but secretly. And I was a fucking loser. [01:47:17] Speaker C: I mean, I think the only pop album I had, other than, like, my Janet Jackson's, was like, Kylie Minogue's Fever. Because that album slaps. [01:47:25] Speaker B: Yeah, fever is a perennial classic. But give up your preconceived notions and your prejudices against uncool music and just let that shit go. Just let it go, for God's sake. [01:47:40] Speaker C: Can I still hate on Limp Bizkit a little bit? [01:47:42] Speaker B: Yeah. I don't like them just a little bit. Don't care for them. But I'm not going to personally attack anyone who does. But sometimes you got to take your head out of your own ass when it comes to assessing pop culture. I don't know where I'm going with this with teeth. I was not like you. I liked it right away because as I talked about, I was anticipating it big time. So I had like, the fan, the whole fan experience, being super into it. And I was for a while. And then year Zero came, and then I didn't listen for a long time. And I think when I revisited, my opinion of it was a little bit lower. And that was before we did the podcast and really delved into it. As I was pulling apart all the tracks and stuff and really diving into it, I also had a newfound appreciation for so many of the pieces that went into it. And it's one of my favorite things about Nine Inch Nails music is deconstructing and reconstructing it, because they're songs that are built rather than written, if that makes any sense. Maybe it doesn't. [01:49:13] Speaker C: No, it does. [01:49:13] Speaker B: There's songs that are constructed in a way, but I loved the pieces. Sometimes I love the pieces that I pulled apart even more than I liked the whole. Or maybe I didn't like the whole that much, but I liked the pieces more. Yeah, with Nin music in general, since starting the podcast, I've been talking a little bit about here and there a more than the sum of its parts theory of Did I ever refer to it as the Gestalt of Nine Inch Nails? Maybe I've probably used that highfalutin, stupid ass terminology before, but let's call it the Gestalt theory of Nine Inch Nails, that the parts are really cool, but when they're at their best, the overall sound is more than the sum of its parts with teeth has. My feelings on it now, after spending so much time with the parts, are that it has so many really cool sounding parts. But unlike with the fragile and downward Spiral and others, it might actually be less than the sum of its parts at points when you put it together, and many of them are still really cool songs. But I don't get the same feeling as I did with those. Like the album, we just came from, which is just impossible to follow the fragile up, because I like it too much. So this is almost doomed by comparison. But this one's just so different. It stands out as sounding more. There's a certain type of polish to it. When you pull it apart, it doesn't really seem like polish, even though you hear, for the first time, digital vocal tuning, which is a weird thing in itself. But as a whole, I don't think it's hurting because. Hurting the album, you're not hearing it stand out like you do in modern pop music. But the whole rock bandness of it, again, on less than the sum of its parts. Having Dave Grohl drum is great in itself. I love how he drums. I love his drum playing, but I don't know that it didn't amount to my favorite Nine Inch Nails record. I think I like Nine Inch Nails better when it's synthesized drums, sampled drums, except live, when almost everyone appreciates the energy of a live drummer. But on records are so much different than a live environment. And If I want to. I never went to Nine Inch Nails because I wanted to hear something that sounded like a rock band. I would just listen to a rock and roll band, I guess, if I was in that mood. Anyway, I've got. God, I've rambled. No, you're way too much about this. [01:52:26] Speaker C: I'm agreeing with almost everything you're saying, though. [01:52:31] Speaker B: I am not going to script any of this out, so I'm farting it all out right now. [01:52:39] Speaker C: Mine wasn't scripted, but the tweety pump. [01:52:41] Speaker B: No, I know it's off the dome right now, so I barely know what I'm saying and I'll forget it instantly after I say it, but it's a weird one and a different one. And there's like, no, they don't have another album like it before or since. But I gave pretty Hate Machine a seven. I'm actually going to give this a seven, too. [01:53:08] Speaker C: Okay. [01:53:08] Speaker B: That was the first thing that came to mind weeks ago, seven inches out of nine, and I'm still comfortable with that, comparing it to pretty hate Machine. To me, the whole record is not on an even keel. It has a few low spots, like pretty Hate Machine did for me, not naming any names, but a track or two I don't find to be great. That's what I get. [01:53:39] Speaker C: What is it on with Keith, like. [01:53:42] Speaker B: The title track, which I thought had the potential to be a good song but needed to be entirely reworked, the Collector, upon revisiting it, is like, just. Okay, the first section of all the Love in the world is fine. It's lopsided because the first part of all the love in the world is okay and then the end is great. Kind of like the album itself. It's not like TDs or the fragile where I can listen top to bottom and not be disappointed. [01:54:19] Speaker C: Like now listening to it as I'm older, I wasn't necessarily disappointed. It's just I was not in love with every track like I have been on previous efforts. [01:54:29] Speaker B: No, I mean, I feel the same. [01:54:30] Speaker C: Yeah. [01:54:32] Speaker B: So please don't be mad at us. [01:54:33] Speaker C: I feel like I ranked it way too low. But honestly, if it had been 2005, Jessica, I probably would have given it like a two. So I think I've grown a lot. [01:54:42] Speaker B: I have, too. Even though my opinion of it didn't grow, I guess I appreciated the pieces more. As I've said, I don't love the whole more. [01:54:57] Speaker C: Yeah. I think that listening to the pieces is what made me like it more, honestly. [01:55:03] Speaker B: The little pieces bleeding through. [01:55:06] Speaker C: Perfect. [01:55:08] Speaker B: So I'm sorry to the with teeth stands. And there are so many of you, the superfans. I hope this doesn't disappoint. But hey, seven out of nine, that ain't bad. [01:55:21] Speaker C: Not too shabby. [01:55:24] Speaker B: When we do like, a wrap up of the whole era, I'd like to revisit our thoughts and see if we feel any differently. [01:55:31] Speaker C: Like, after we watch, like, beside you. [01:55:33] Speaker B: I bet after going. Yeah. After going over the live show, it might change. It might give a whole new perspective. [01:55:39] Speaker C: Yeah, maybe so. Thank you for dealing with us as we rambled endlessly while trying to review this, even though our reviews mean nothing. [01:55:48] Speaker B: Kind of backed our way into a ranking. [01:55:51] Speaker C: Yeah. [01:55:52] Speaker B: Jess, 6.5. Blake, seven. [01:55:55] Speaker C: I could round up to seven. I feel bad. I round up on Goodreads all the time. Well, I have to. They don't let you give half stars. Okay, so that's that. That's with teeth, y'all. We did it. Halo 19 books. Next in our main feed, we'll be doing Halo 20 only and our next bonus EP. I'm hoping we'll have some participants. John has already sent us their version of Bleed through, but that's what we're wanting to do, is having listeners construct their versions of Bleed through. You can use any songs you want. I'm going to say stick to with Teeth era and anything after. Don't include anything before with Teeth era. So, like, if you want to include some of your zero tracks that you think fit with the bleed through theme or that you think were intended. [01:56:51] Speaker B: It's your alternate, alternate reality bleed through album. Like, keep it to a reasonable number of tracks. [01:57:00] Speaker C: You can put my dead friend on there, even though we have no idea what that song is. [01:57:04] Speaker B: That would be an example of something that would be good to put on there. [01:57:08] Speaker C: Yes. [01:57:08] Speaker B: Now, John actually sent us music that I will get into, but I have to emphasize, not only do you not have to send us music, not everyone should send us music. Please don't, because we will never have time to go through it all. Please don't make an album for us. Everyone, John is just a person who is constantly somehow outputting hours of music per week, very prolific, insanely productive. I wish I could do that. But anyway, yeah, we just want you to list a track list. And if you need a little explanation for your alternate reality album Bleed through, send that with it. But this is in the bonus feed next week. [01:57:58] Speaker C: Yes. Send it to our [email protected]. [01:58:02] Speaker B: [email protected]. We'll, we'll send out more details on how to do it to the patrons. [01:58:11] Speaker C: So that's what's coming up. Blake, how do you become a patron and what do you get? If you're a patron, you get to. [01:58:20] Speaker B: Participate in our bleed through challenge and you become a patron by going to patreon.com. Nailedpod. All of our stuff [email protected] if that's easier. So for as little as $5 a month, you can get patron perks such as twice the amount of episodes. We have more than 50 bonus episodes. If you're looking for more nailed to listen to, we call that feed nailed even deeper. You get to join our exclusive discord. You get discounts on all the merch, you get Instagram, close Friends Club, probably some other stuff. [01:59:02] Speaker C: I'm forgetting our monthly giveaways. [01:59:05] Speaker B: Oh, yeah. We give away a piece of merch or memorabilia every month. [01:59:13] Speaker C: What's going to be our next giveaway? [01:59:15] Speaker B: Our Nintend gave us a with teeth tour book, and we're going to give that away as a prize. [01:59:21] Speaker C: God, I hate to part with it because it's beautiful. [01:59:23] Speaker B: Yeah, actually, I kind of want to keep it. [01:59:25] Speaker C: No, we need to be good people and do what was intended. [01:59:31] Speaker B: No. Yeah. So we're going to give away the Wisdith tour book. [01:59:34] Speaker C: Not only are you going to wist Heath tour book, but it's a wis Teeth tour book that was loved by the Ninten. [01:59:41] Speaker B: Right. So it's a random drawing for members of the Patreon. [01:59:46] Speaker C: Yep. How many members do we have right now in our Patreon? [01:59:50] Speaker B: Let me look at the shitty Patreon app. [01:59:54] Speaker C: I thought this app was supposed to be better. Didn't they redesign it? [01:59:57] Speaker B: They did, and it's still bad. I think we're just shy of 150 at this point. [02:00:05] Speaker C: 50 more at 200. I'm going to get my Nine Inch Nail tattoo. [02:00:09] Speaker B: Yeah, we have little goals at 100. I put out the mashup album free to the public. And by the way, I'd like to do the follow up sometime. There will be a volume two. I'm calling it now. New members. I can read off a few new member names just from the past 30 days. [02:00:29] Speaker C: Let's hear them. [02:00:31] Speaker B: And by the way, if you join, I'll shout your name out. And I might shout you out more than once because I can't remember who I've shouted out. So thank you, Miles. Thank you, Daryl. John Two Johns. Oh, John and John. And these are different Johns from the John we were talking about earlier, by the way. So thank you to John's and thank you, Aaron. [02:00:54] Speaker C: Thank you. [02:00:56] Speaker B: Yes, thank you to everyone who listens and who joins the Patreon. And, yeah, you don't have to pay us to be appreciated. Of course, we understand that. Not everyone can. It's free to give us a rating and review, though. Five stars, only. Glowing reviews. [02:01:19] Speaker C: Hey, didn't Hannah leave a comment finally on our Spotify so we could see what that looks? [02:01:24] Speaker B: Oh, yeah. [02:01:25] Speaker C: Yeah. So finally we know what that looks like. [02:01:28] Speaker B: Yeah. Thank you, Hannah, for leaving a Spotify response. I kind of want to read that now. Spotify lets you send a response to an episode. [02:01:38] Speaker C: It's interesting. [02:01:39] Speaker B: Yeah, she said it's great. Love nailed. And I love hearing my own voice. That was the one where we did listener. Did listener voice memos. [02:01:50] Speaker C: It was called voicebag. [02:01:52] Speaker B: Voice bag. [02:01:52] Speaker C: Very. What a great name. Hold on, I'm checking. Apple. [02:01:57] Speaker B: Apple. Yeah. Thank you to people who left nice Words on Apple Podcast app. [02:02:04] Speaker C: No, I think that's been out for a while. [02:02:06] Speaker B: It is. That's old. Okay, we need some new ones. We need new ones on Apple, but they better be nice. [02:02:13] Speaker C: If you're mean, at least say something nice about our cat. Don't blame Oscar for this. [02:02:18] Speaker B: If you blame this podcast on a cat. [02:02:21] Speaker C: Look, you can hate us, just don't hate our cat. That's all we're saying. [02:02:24] Speaker B: Yeah, exactly. Be nice to the cat. [02:02:28] Speaker C: All right, so thank you to our Nintend Christopher G. Brown. And thank you to Tyler Snell, who does our artwork. [02:02:39] Speaker B: Thank you, everyone who ever listened or said something nice about us or told a friend, because that helps. [02:02:45] Speaker C: Thank you very much. [02:02:47] Speaker B: Okay. We'll see you in Halo 20, I guess. And in the bonus feed. [02:02:52] Speaker C: That's right. Bye. [02:02:55] Speaker B: Didn't that make you feel better? [02:02:57] Speaker C: Wait, did I do that wrong? [02:02:58] Speaker B: No, you're fine. [02:03:05] Speaker A: You sa. [02:03:42] Speaker B: Step right up. It's nailed. I'm Blake. [02:03:45] Speaker C: Nope, you messed. Fuck.