Nine Inch Nails

This set contains all the FM Broadcast recordings made on the US leg of David Bowie s 1995 Outside tour, which featured then nu-industrial superstars Nine Inch Nails as support. With both artists trailing new, ground-breaking albums and - despite their generational differences - with their similarity of outlook and mutual respect, it was inevitable that a mix of the Bowie/NIN sound would ensue. So with each show including full sets from the Dame and his protégés, it was the mid-concert coming together of these two far reaching acts which stole the show night after night. Including concerts recorded at The Riverport Amphitheater, Maryland Heights, St Louis, MO, on 11th October 1995 and at The Shoreline Amphitheater, Mountain View, CA, on 21st October 1995, this set features the very best of one of the most challenging and futuristic tours of the past 30 years.

Add Violence is the second installment of Nine Inch Nails' three-part EP series. Add Violence finds the band becoming more accessible and impenetrable at the same time. The sonic palette expands significantly from 'Not The Actual Events', incorporating elements of beauty into the dark dissonance. The narrative arc linking the three records begins to emerge through the disassociated lyrics and the provocative and clue-filed cover artwork and accompanying physical component.

Artist : Nine Inch Nails
Album : With Teeth (HALO 19)
Genre : Aggro-Industrial, Electro-Industrial
Released: March 2005
Tracks: 13
Bitrate : 320 kbps
Size: ~134Mb

On the Outside tour, Bowie quietly served as a grounding point for Reznor; he offered, in his music and his performances, the potential of a future. … Bowie and Reznor designed an interim sequence to bridge their sets. There would be no NIN encore. Instead Bowie, then his band, would join NIN on stage, and then NIN would depart, leaving Reznor singing with Bowie's band. The concert featured on this remarkable set finds the entourage playing at The Riverport Amphitheatre in St Louis, Missouri, on 11th October 1995. With the entire gig broadcast by local FM radio, the sound quality is second to none and the performance - by both artists - among the finest of the whole tour. Not previously released, this rare recording is finally available and will prove an enormously attractive release, allowing fans to relive an essential event in the careers of both artists.

Virtually ignored upon its 1989 release, Pretty Hate Machine gradually became a word-of-mouth cult favorite; despite frequent critical bashings, its stature and historical importance only grew in hindsight. In addition to its stealthy rise to prominence, part of the album's legend was that budding auteur Trent Reznor took advantage of his low-level job at a Cleveland studio to begin recording it. Reznor had a background in synth pop, and the vast majority of Pretty Hate Machine was electronic.

Roughly a year after Year Zero – a year marked by lots of sniping with his record company first about their clueless promotion then devolving into a tirade about their general uselessness – Trent Reznor broke free of Interscope/Universal and became a free agent, releasing music where and when he wanted. To celebrate his freedom he released the four-part Ghosts, a clearinghouse of 36 instrumentals all created during the years he crafted Year Zero. It should come as no great surprise that Ghosts then plays like a sketchbook, a place where Reznor jotted down sounds and textures that flitted across his mind and then either took them no further, or decided to spin them into something entirely new for the full album.

Considering Marco Minnemann s EEPS was TMMP s second-favourite album of 2014, expecting its successor to top it might seem somewhat unreasonable on paper. Still, with Celebration Marco has done just that. For this 18-track (very) long player, the lighthearted quirky-playful approach which permeated EEPS has been largely set aside in favour of grim, determined seriousness. Opening tune Miami sets the tone with thrashy guitar, ominous brass, the occasional spy movie chord, and some cheeky synths to remind us that behind it all, Marco Minnemann s sense of the tongue-in-cheek is still present, if markedly restrained.