Nine Inch Nails Album: “With Teeth”

Nine Inch Nails are back with their fourth effort "With Teeth," and once again Trent Reznor has made an outstanding album.

Although the album has a sense of urgency, "With Teeth" is not as angry or intense as "Pretty Hate Machine," (1989) or "The Downward Spiral" (1994). Overall, I think the actual songs on "With Teeth" sound most similar to those on "The Fragile" (1999). Unlike "The Fragile," however, there are not any instrumentals. "With Teeth" gets more to-the-point. Although I personally loved the long instrumentals on "The Fragile," fans who thought the album was too self-indulgent or long, may be more pleased with the format of "With Teeth."

One additional difference between "The Fragile" and "With Teeth" is the welcome addition of drummer Dave Grohl on several of the tracks. His playing gives the album more of a live, organic feel, and gives the sound a shot in the arm. Unfortunately, what tracks he plays on are not listed on the CD case and there is no booklet. However, you'll know when you hear him.

I liked "With Teeth" after the first listen. However, much like "The Fragile" this is definitely an album that grows on you with repeated plays. There's a lot going on in all of the songs-subtle things, solos, guitars and keyboards-things that you might not pick up on the first couple times. It definitely gets better with repeated plays. Like all Nine Inch Nails albums, each song is meticulously and painstakingly crafted, there is no filler.

The themes of "With Teeth" are similar to those on past NIN albums-loneliness, rage, fear, nihilism-but Reznor sounds less bleak, more confident, if only slightly so.

The album starts out with the rather sluggish "All the Love in the World," which has an almost claustrophobic feel. It sort of grinds itself along, and gives way to a satisfying buildup and sublime finale when the piano kicks in towards the end.

"You Know What You Are?" sounds frantic, and is intensified by the pounding drums.

"The Collector" has a really cool, almost funky bass line. It has a great groove and the chorus is really melodic. It's very infectious.

"The Hand that Feeds" was a good pick as the first single, as it is pretty representative of the album as a whole. This mid-tempo industrial rocker is very catchy.

The slow-paced "Love is Not Enough" is one of the album's more rock orientated songs, when the guitars kick in. The verse sort of rolls along, and then explodes into the chorus. The keyboard solo toward the end is a nice touch.

I think "Everyday is Exactly the Same" would be a good choice for the next single. It has a very cool, low-key industrial background. It reminds me somewhat of "That's What I Get" from "Pretty Hate Machine." The song is especially beautiful when the piano kicks in.

The album's title track "With Teeth" takes a few listens to get into. It starts out rather sluggish and claustrophobic...and then...you can hardly hear anything, as Trent Reznor whispers the words over a faint piano...it's very melancholy...and then it gets back to where it started, only now it is more intense.

"Only" has a bit of retro feel; it sort of sounds like something Gary Numan or Devo might do. It has a lot of synths going on and is very interesting. It's really catchy and I think a potential single.

The fast paced "Getting Smaller" is effective and keeps up the momentum.

The pacing of "Sunspots" is what makes the song really work. It starts out slow, builds up, intensifies, slows down again, builds up, intensifies, it keeps the listener intrigued. The keyboards and guitars are subtly added in and sort of creep up on you-it's a cool effect.

The distorted "The Line Begins to Blur" is mid-paced, but intense. It transforms and becomes hauntingly melodic. The guitar solo, while not technically brilliant, is really catchy and part of the song's highlight.

"Beside You in Time" keeps going on-and-off, like when you turn a radio off-and-on-this creates a really cool throbbing effect. The song actually sounds like it's throbbing. The throbbing gets more and more intense as the song rolls along.

The closing "Right Where it Belongs" is beautifully eerie. The piano and the underwhelming vocals really give the song a nice effect. The song builds up and gets more intense; but the song, and the album, go out with a whimper rather than a bang (not that that's a bad thing).

Again, this album takes a few listens to really appreciate. It gets better and better with successive plays. "With Teeth" is an album to be relished with repeated listens.

If you've never liked Nine Inch Nails, this album probably won't win you over. If you disliked "The Fragile," you also probably won't like this album. If you disliked "The Fragile" because of its long instrumentals, but liked the actual songs, you will probably like this to. Most NIN fans in general should be pleased with "With Teeth."

I have read many reviews on here calling this album too similar to the others, and that it should have been the album after The Downward Spiral because it's not close enough to the Fragile. This could not be farther from the truth. With Teeth, in the sound aspect and lyrical aspect, trancends so many fields of music in one album that it is impossible to call it too similar to the other albums. There are tracks that have elements of previous albums in them, but what Nine Inch Nails album did not have tracks that recall tracks from previous albums? And as a whole, With Teeth has a completely different feel to it than Pretty Hate Machine, Broken, The Downward Spiral, and The Fragile.

The themes of With Teeth are strongly tied with Trent Reznor's addiction problems, his coming to grips with the fact he isn't where he thinks he should be, and finally, his facing of himself. These themes work in a concept like The Downward Spiral throughout the album.

I hate reading reviews by those who simply calssify With Teeth as "teen angst", because it simply isn't. It's a very thoughtfull and meaningful album, for the man who wrote it and for those who listen to it. I love each and every Nine Inch Nails album, and this is no exception. In fact, this is the most interesting of them all. As for fans who were unhappy with the album, I cannot be certain, but I think in time they will learn to like it. It is quite an adjustment from The Fragile to With Teeth.

An incredible album. Mr. Reznor has shown us what real music is once again.

I bought With Teeth on Tuesday and cant put it down.With Teeth is one of the most addictive,haunting and powerful and just great albums in a long time.As a 31 year old.I relate to every song.Trent Reznor is our generations John Lennon.Both the lyrics and music are layers and layers of depth that takes many listens to fully understand.Smarter then anything else in "Alternative","Hard Rock" or whatever you want to call it.

What may first seem like a love song turns out to be the sexy power of addiction or man's one sided relationship to God."Right Where It Belongs" not only lyrically takes you in the subconscious but musically too.the panning and flanger effects feel like the song is going through your skull.

The rockers are also great.Don't be fooled by the angst aspect.Reznor is not screaming about high school and bullies and daddy not loving you.But chosing islation over political,social and religious conformity.

The same way that many of the songs on Pretty Hate Machine were angry social commentary about the hypocrisy and indifference of the pappa Bush admininstration,"The Hand That Feeds","You Know What You Are" and "Getting Smaller" sound like political anthems about going to war,etc ("What if this whole crusade's A charade,And behind it all there's a price to be paid For the blood On which we dine")

I was thinking if there are any negative aspects to With Teeth.But even things that didn't seem to fit at first listen now do.The jazzy piano.The funk aspects.

With Teeth is a great album.A collection of some of NIN's most haunting and rockin' songs.And a few firsts (like the spoken word and atari-synths of "Only",the sexy beach vibe of "Sunspots)Easily 5 stars.The best Rock CD I heard in a long time.

I was a NIN freak throughout college (during the NIN heyday of '92-'96), and was underwhelmed by The Fragile, other than several tracks. I kinda wished Reznor would've continued in the vein of Perfect Drug (still my favorite NIN track), but other than Star****ers, The Fragile operated on a totally different key.

With Teeth is, well...it's pretty damn poppy. I mean that in a good way, though. I remember when The Fragile came out, a lot of critics opined that it didn't do well commercially and critically because people at that time were more into positive music -- re the late '90s success of Brittney, etc. I wonder if this made Reznor think he needed to do something less angsty?

Even though it's coming out 14 years later, With Teeth sounds more like a follow-up to Pretty Hate Machine than any of the preceding NIN albums. Because unlike them, it doesn't operate on one theme, and it isn't a "concept album" of any sort. It's just a bunch of songs with great production, good beats, good riffs, and insightful lyrics.

All the Love in the World: Starts off like "typical" NIN, with melodic bass, a brooding atmosphere, and an Autechre-style breakbeat. Gradually becomes a rocking stomper with piano accompaniment, a mean fuzz bass, a pounding beat, and a sing-along chorus with multiple Reznor vocals that reminds me, well, of like an advertisement or something: "I'd like to give the world a Coke," or something...but then again, that might just be me. Sing-along chorus is "Why do you get all the love in the world?", and trust me, it WILL get stuck in your head for days after hearing the album. A great opening track, and unlike any other in the NIN catalog.

You Know What You Are: Reminds me a lot of "Burn," from the Natural Born Killers soundtrack. A computerized drum pattern similar in some ways to "March of the Pigs." Sounds like an old-school NIN rager. Definite proof that Nine Inch Nails can still pound your head into the ground. Reznor screams "Don't you know what you [expletive] are?" in the chorus.

The Collector: Imagine "Piggy" from The Downward Spiral, only sped up a bit and with more of a dance feel than a jazzy one. Drums and bass guitar carry the verses, with distorted guitar on bridge and chorus. I don't think this one would've sounded out of place on The Fragile. The end descends into an off-kilter, jazzy piano deal that reminds me of David Bowie's "Outside"- era music.

The Hand that Feeds: It saddens me that so many so-called NIN "fans" deride this track as a "sell-out," "too poppy," etc. It's as if these freaks have never heard Pretty Hate Machine. In all honesty, this could stand as one of my favorite NIN tracks ever. It's got Pretty Hate Machine-era rhythm, Broken-era guitars, and great lyrics. It's the perfect symbiosis of NIN's early dance roots and later industrial-metal rage.

Love is Not Enough: Starts off slow and foreboding. Has that Pretty Hate Machine sound, only more modern, with more "live" instrumentation, except for the drums, which are a sampled beat. Wicked guitars on the chorus, totally distorted. Reznor does that "speaking/singing" thing during the verses. Toward the end, some very cool harmonics guitars pop up against the main riff.

Every Day is Exactly the Same: If there was ever an album titled "Pretty Hate Machine II," this track would be on it. It's got the keyboard rhythm foundation, the hummable melody, the sing-along chorus. Hearing this, it's hard to imagine this is the same guy who gave us "March of the Pigs." Middle section features Reznor speaking/singing about leaving a letter for a lover.

With Teeth: Starts off like "Piggy," again: heavy, jazzy drums from a real-life drummer, with fuzz bass and distorted guitar accompaniment. I like this track a lot, it's another example of how Reznor can take something so foreboding and craft it into a melody that sticks in your brain. Unfortunately, the track drops off three minutes in for a long spell of piano ambience, which some may find "arty," but I just find annoying. Goes on for a little over a minute before the song itself comes back with force, this time with distorted guitars blaring throughout. ROCK!

Only: After hearing the first few beats, you half-expect Gwen Stefani or Pink to start singing. Seriously, it's THAT poppy. You could probably argue that this track sounds more like something off Pretty Hate Machine than any other on With Teeth, like a cross between "Down In It" and "Sin." Reznor speaks the lyrics throughout the verse: "Sometimes I can see right through myself." Those who are quick to scream "sell-out" will hate this track more than any other, but I like it a lot. Word of caution: the bass riff will get stuck in your head, guaranteed.

Getting Smaller: This track rocks, plain and simple. But it doesn't rock like an older NIN track, like "Wish" or "Burn;" it rocks more like something by the Foo Fighters or recent Primal Scream. Ever wondered what NIN would sound like if they were a "traditional" hard rock group, without industrial instrumentation like keyboards, samples, and loops? Well, wonder no more. Raging guitars, pounding drums, screamed vocals, this is a definite standout. "My world is getting smaller everyday, and that's okay."

Sunspots: Another slow and mellow track with heavy drums and a thick bass. The chorus features the most melodic use of white noise I've ever heard. The guitars crop up eventually, and the rhythm speeds up a little, but this one's a slow burner all the way.

The Line Begins to Blur: Sounds a lot like something from The Fragile. Distorted rhythm section, repetitive beat. Reznor screams the lyrics, sounding like he's down a well. The chorus seems to be from a different song altogether, very melodic and mellow.

Beside You in Time: Another track with that Fragile-era sound. Reznor provides mellow vocals over a pulsing synth riff, with a drum loop quietly pounding beneath. This goes on without much variation until everything drops out except for the synths, which throb louder and louder until they explode into a welter of distorted guitars, which chug along on the same riff. A GREAT moment. Sounds truly evil. As if to contradict this malevolent vibe, Reznor provides airy, dreamy vocals, which seem to float unscathed above the din.

Right Where It Belongs: Similar in many ways to "Hurt," off Downward Spiral, especially the live version which can be found on Further Down the Spiral. Mellow and depressed, a piano provides the melody, with sinister feedback zapping alongside it. No drums. Reznor sounds a bit like he's on a short-wave radio. Eventually a sampled live audience appears, further giving it that "Hurt" sound. Doesn't build up to a crescendo; instead, it ends with the piano playing solo. A saddened ending to an otherwise upbeat album.

Here's something funny: while writing this review, and mentally comparing the tracks with those on previous NIN albums, I've realized this is my favorite Nine Inch Nails album. It's not as sterile as The Fragile, it's more song-oriented than The Downward Spiral, it's longer than Broken, and it's more edgy than Pretty Hate Machine. Every track has something great, and overall it's one hell of an enjoyable listen. Besides, who needs "all angst, all the time?" It's a new millennium, let's try to make it a more positive one.

This is a different Nine Inch Nails indeed at first you may be disapointed I know i was but it grew on me i started to realize the sheer beauty of the songs A great Cd and it proves that Reznor can still pack a punch