Customer Reviews

Ghosts I-IV

5 star:		(107)
4 star:		(50)
3 star:		(19)
2 star:		(12)
1 star:		(12)

 

 

What a diverse album! Amazon didn't include the PDF with the download, but you can get it directly from nin.com -- http://ghosts.nin.com/main/pdf

Nine Inch Nails' Trent Reznor, infamous for long delays between albums, sure has been productive lately. 2007 saw Reznor release the critically acclaimed "Year Zero" and its' follow-up "Year Zero Remixed." In addition, last year Reznor produced Saul Williams' "The Inevitable Rise and Liberation of Niggy Tardust." Now, out of nowhere, with no advance notice, Reznor is back with NIN's sixth album, the instrumental "Ghosts I-IV."

"A soundtrack for daydreams," is how Reznor sums up the new album...and that, I feel, is the best way to appreciate the new NIN. Rather than listening to this album as background music while driving or doing housework, "Ghosts I-IV" is best appreciated with relaxed, yet concentrated listening. Lie in bed or on the sofa, relaxed, and immerse yourself with this CD. Just sort of daydream--meditate, think about whatever...and let "Ghosts I-IV" be the soundtrack...

And as the mood of the album changes, allow your mood to flow with the album...try to get lost in the music.

Some have commented that "Ghosts I-IV" sounds similar in style to the instrumental music from "The Fragile," (1999) but I don't know if it's all that accurate to say that. While the instrumental music from "the Fragile" sort of held the vocal compositions from that CD together like glue, "Ghosts I-IV" is a little more "out there." It can, therefore, be seen as a mosaic--of several different styles--piano compositions, industrial beats, the avant-garde--all mixed together, with no real dominant flavor overpowering the rest. And while the album is all-over-the-place, treading many territories, everything works; "Ghosts I-IV" takes so many twists-and-turns-its always interesting. At the same time, with almost two hours of music to absorb, "Ghosts I-IV" is best appreciated with repeated listens--to fully appreciate all its' rich textures and intricacy.

Trent Reznor and Nine Inch Nails (they are more or less synonymous) have been on an amazing creative surge that shows no signs of abating. With Teeth marked a decisive turning point away from navel-gazing and outward to social criticism. Year Zero took it even further, coalescing into a conceptual album every bit as fascinating (in its own way) as anything by Pink Floyd. Now...this.

Anyone who has read my other reviews knows my musical tastes run the gamut from Renaissance to Industrial. There are only two kinds of music in my world - good and bad. Still, I never thought I would hear an album that is at once so eclectic and yet so pure in its artistic persuasion as Ghosts I-IV.

How to describe the music? In 36 tightly structured, highly disciplined instrumental tracks, Reznor and company create a vivid soundscape that begins in melancholy, travels through industrial wastelands, and ends in transcendence. It is an epic song cycle without words, as perfectly constructed as anything by Bartok or Berg - but in a set of styles that defy easy categorization. Frequently ambient, often noisy like the best NIN cuts from years past, the sonic tapestry requires many listenings to absorb. There is real, honest-to-God Classical-type form in this work - repeated motifs, variations, developing ideas that morph unexpectedly.

It's a breathtaking work. Some NIN fans will undoubtedly feel left behind. Others will feel like they have suddenly taken a breath of fresh air.

Approaching his mid-forties, clean, sober, and maturing, Trent Reznor has, I think, only begun to truly come into his own as an artist. It's an amazing thing to behold. Spend the five bucks, download some great tunes, and feel the magic.

The downward spiral away from music with any semblance of song structure continues. The God of Anger Pop, who once created the singularly perfect musical moment that was Pretty Hate Machine, must have reached his seventh day of creation: for he is clearly resting on Ghosts. This is Reznor on a lazy day, bored with nothing better to do.

Ghosts I-IV is an organized chaos of happy (and angry and sad) accidents. I imagine a herd (or pod?) of Macs and samplers, pots and pans; left to their own devices, could produce something akin to Ghosts if they tried real hard. And I suspect Trent made exactly what he intended to make.

I admit that I'm still a pathetic hold-out waiting for Pretty Hate Machine II - The Revenge. Thus, nothing less will ever truly satisfy. Ghosts is neither fixed nor broken. It's really not that bad, but it's just not that good. And for a small fistful of dollars, I shouldn't complain.

I certainly like the progressive and revolutionary distribution (a la Radiohead's Rainbows) where the evil middle-man record company is kept out of the artist's and fans' relationship. I have to give kudos to NIN for fighting the good fight. So at worst, Ghosts I-IV will take up some precious space on your iPod. At best, it's harmless background noise. NIN Ghosts is a little haunting but definitely not scary.

I haven't been anything but a casual fan of NIN since Pretty Hate Machine but wanted to say 2 things. This is an AMAZING collection of art. It is simply ART.

Secondly everyone who has any love for the future of music MUST BUY THIS and help put an end to the current music industry. It is stifling and killing all creativity. Even if you're not a fan of NIN but still believe in freedom of creativity and are fed up with the current state of music...BUY THIS ALBUM. Do your part. This is history in the making and it really will make a difference.

Nine Inch Nails' Trent Reznor, infamous for long delays between albums, sure has been productive lately. 2007 saw Reznor release the critically acclaimed "Year Zero" and its' follow-up "Year Zero Remixed." In addition, last year Reznor produced Saul Williams' "The Inevitable Rise and Liberation of Niggy Tardust." Now, out of nowhere, with no advance notice, Reznor is back with NIN's sixth album, the instrumental "Ghosts I-IV."

"A soundtrack for daydreams," is how Reznor sums up the new album...and that, I feel, is the best way to appreciate the new NIN. Rather than listening to this album as background music while driving or doing housework, "Ghosts I-IV" is best appreciated with relaxed, yet concentrated listening. Lie in bed or on the sofa, relaxed, and immerse yourself with this CD. Just sort of daydream--meditate, think about whatever...and let "Ghosts I-IV" be the soundtrack...

And as the mood of the album changes, allow your mood to flow with the album...try to get lost in the music.

Some have commented that "Ghosts I-IV" sounds similar in style to the instrumental music from "The Fragile," (1999) but I don't know if it's all that accurate to say that. While the instrumental music from "the Fragile" sort of held the vocal compositions from that CD together like glue, "Ghosts I-IV" is a little more "out there." It can, therefore, be seen as a mosaic--of several different styles--piano compositions, industrial beats, the avant-garde--all mixed together, with no real dominant flavor overpowering the rest. And while the album is all-over-the-place, treading many territories, everything works; "Ghosts I-IV" takes so many twists-and-turns-its always interesting. At the same time, with almost two hours of music to absorb, "Ghosts I-IV" is best appreciated with repeated listens--to fully appreciate all its' rich textures and intricacy.

The downward spiral away from music with any semblance of song structure continues. The God of Anger Pop, who once created the singularly perfect musical moment that was Pretty Hate Machine, must have reached his seventh day of creation: for he is clearly resting on Ghosts. This is Reznor on a lazy day, bored with nothing better to do.

Ghosts I-IV is an organized chaos of happy (and angry and sad) accidents. I imagine a herd (or pod?) of Macs and samplers, pots and pans; left to their own devices, could produce something akin to Ghosts if they tried real hard. And I suspect Trent made exactly what he intended to make.

I admit that I'm still a pathetic hold-out waiting for Pretty Hate Machine II - The Revenge. Thus, nothing less will ever truly satisfy. Ghosts is neither fixed nor broken. It's really not that bad, but it's just not that good. And for a small fistful of dollars, I shouldn't complain.

I certainly like the progressive and revolutionary distribution (a la Radiohead's Rainbows) where the evil middle-man record company is kept out of the artist's and fans' relationship. I have to give kudos to NIN for fighting the good fight. So at worst, Ghosts I-IV will take up some precious space on your iPod. At best, it's harmless background noise. NIN Ghosts is a little haunting but definitely not scary.

Ghosts I - IV is a great work of music that I think is going to appeal to more than just the hardcore NIN fan.

It's hard to imagine being shocked by anything Nine Inch Nails puts out, but I would have to say I was at least surprised by this new album from Trent Reznor's brainchild. NIN has always been somewhat of an experimental outlet for Trent. Yet even as minimal of a change it is in theory to go instrumental, it's the actual material here that I find so different and so interesting.

For starters, there is much more of a progression from song to song than on other NIN albums. Even as an instrumental work this seems more like a concept album than anything else he's ever done. There's a full range of songs and tones here, almost like an opera or a symphony. This is truly mesmerizing.

I also enjoyed the fact that so much of this album is more "mellow" than what NIN usually does. It produces something that I feel is almost more accessible than most previous albums. Anybody who is into Jazz and even people who are into newer classical music could probably get into this.

And that's the other thing, the pricing for this is awesome! Not only is there an MP3 download for only $5 but you can get the whole set on disk for $10. When you consider what's been going on in the record industry lately this is a breath of fresh air. Part of that might be because of the specialty nature of this recording. But I think most people who heard individual tracks wouldn't even know it was NIN. If anything the appeal is broader for this instrumental set.

You can download other stuff including a pdf document from the NIN website. This is a great set that I plan on listening to and studying for a while.

Hope you like it as much as I did.

Enjoy!

Ghosts is amazing. Short, to the point instrumental songs, some reminiscent of the beauty of Still, other's recall the best moments on The Fragile, a handfull of remix-types moving from one genre and style to the another. There are few hints of pop from later albums only shimmers of the ghost of future directions Trent Reznor and NIN are/will take, displaying the always evolving and maturing prowess as a musician.
Each track works more like a soundtrack than a standard NIN release, the deserted "1 Ghosts I", aggresive "4 Ghosts I" and a sleazy "8 Ghosts I" are not only surprising to the listener but hold the essence of what NIN has been about last few albums. New directions are hinted at the fast paced electronic beats of "14 Ghosts II" where middle-eastern/country- like guitarthings dance around a bonfire and then decide to go for a swim, an acoustic/electronic blend we haven't been treated to since The Fragile. "15 Ghosts II", is a breathy scared monster that works as a segue into more lighter slippy-nuxes of "16 Ghosts II".
The Third tome deals with more industrial grooves throughout, think Things Falling Apart vs Year Zero. Moments of grace and elegance of "21 Ghosts III" go where Thomas Newman hasn't been to but yearns to go, but that Vangelis has already been to, like the following track. Sounds move from rave to police car chases easily and without ruining the fluidity of the album.
And Ghosts IV, which are probably my favorite for their variety, execution, and knowing nods to past NIN titles. "28 Ghosts IV" is reminiscent of the acoustic version of TDTWWA while "29 Ghosts IV" is a hands on jamming session. "31 Ghosts IV"'s aggressiveness is not cold and icy but vibrating and alive with energy (not anger); there's a stunning section of guitar legend's Adrian Belew's in there and throughout. "32 Ghosts IV"'s thumping quiet beat is soothing as it is menacing, and are those eraser straws they're blowing on? Whatever it is, it sounds awe strikingly beautiful, and even more so as the album heads for it's climax reaching a setting the strays on The Fragile back on track with none of it's despair, just it's patience.
This album is as imaginative as every other NIN effort, making reinvention sound like an easy task. This is obviously the score to a movie we have never seen, and that exists in the mind of it's creator, that I hope, they will one day show us. NIN has always been a visual experience (unreleased Broken movie, TDS and The Fragile packaging, Mark Romanek videos) where Rob Sheridan continues making -- and improving, NIN's image. All photography that accompany the album is better than well suited: lonely swamps, aqueous gels, and many hands fiddling with distortions.
I don't think fans of any band have ever been treated to something like this, at this price and of this quality. Experimental at it's core, progressive in it's execution, lush and insightful, Trent and Co. have given us fans a late Valentine's present that, although unexpected, is more than welcome.

A must for any NIN fan and $5 is a small price to pay to help shape the future of the music industry. PAY FOR IT and send a message loud and clear to the industry!