Customer Reviews

With Teeth

5 star:		(329)
4 star:		(170)
3 star:		(90)
2 star:		(71)
1 star:		(54)

 

 

Since this review is attached to the DualDisc edition, I'll begin there. The 5.1 surround mix is worth the additional price for the DD; it brings the sound alive just as the 5.1 reworking of "The Downward Spiral" anniversary edition did. However, the additional content is pretty lackluster. The video for "The Hand That Feeds" is the one being played on MTV, not the fabled alternate clip. The discography contains short audio/video samples of NIN's entire career, but they're nothing new to any fan. It's also important to note that the DualDisc format isn't as universally compatible as the standard CD and can even get stuck and/or scratched in certain laptop and car CD drives. So, unless you plan on listening regularly to the 5.1 mix, I'd save the couple of dollars and stick with the regular CD edition. Now on to the album itself. . .

It's been over six years since the last full-length studio release from Trent Reznor, and a difficult six years at that. Reznor has since come clean about his battles with substance addiction and crises in confidence about his musical abilities. After hearing the pre-release single "The Hand That Feeds", the Internet buzzed with hot-and-cold reactions to its more accessible sound. Had Reznor actually lost the edge that had produced so much crucial music over the last decade and a half?

A single listen to "With Teeth" is enough put such concerns to rest. It's a return to the "Pretty Hate Machine" idea of creating an album of songs, not a synth symphony with returning motifs such as "The Fragile" or an industrial-rock opera like "The Downward Spiral". Each song displays a lot of maturity in the writing and recording - plenty of raw emotion gets across with less aggro-angst overkill (let's face it - too much more of that and Reznor would have been on the way toward becoming a real self-parody). Some songs are upbeat, some are heavier than anything that he's done before, some are delicate ballads that will have crowds waving lighters in the air. But the tracks still maintain enough continuity that no tracks are stranded - although diverse from song to song, the album is without a doubt a comprehensive work.

As for the performance, each song on the record is geared toward being played as-is by the current tour lineup - not that it's stripped-down, but you should be able to count on live performances sounding like the album without overreliance on pre-recorded tracks. Dave Grohl, this millennium's hardest working man in show biz, laid down a lot of the drum tracks on the studio recording and the entire album has a very man-made, organic rock sound. The result is a very satisfying record, not just compared to other acts' current releases, but also to NIN's earlier works.

Here are some notes on the tracks and how the compare to other NIN tracks:

1. "All The Love in the World": Begins with a complex almost drum-and-bass rhythm over quiet vocals and ends with a major-key piano chord progression over a multi-layered chorus of Reznor vocals. Progressive in the Radiohead vein but unmistakably NIN.

2. "You Know What You Are?": When nin.com promised that the upcoming tour would "destroy" audiences, this was the track that Reznor had in mind. A thrashy, incredibly fast beat immediately kicks off the track's verse, sounding a lot like Ministry; this is broken up by a slower but incredibly heavy chorus.

3. "Collector": This is the first of several tracks that express the defining sound of this album: live, organic drums and heavy bass guitar building a rhythm that's a mile-high and two tons of heavy. It's reminiscent of "The Big Come Down" without so much electronic production. Keeping with the in-person feel, it also features a surprising but well-placed piano solo with discordant jazzy chords and scales - think Bowie's "Heart's Filthy Lesson" or "Just Like You Imagined" from "The Fragile".

4. "The Hand That Feeds": You've likely heard it either like it or hate it. Get over the keyboard solo and get on board.

5. "Love Is Not Enough": A quick rock number that features another huge rhythm foundation and a complex beat that is reminiscent of "I Do Not Want This".

6. "Every Day Is Exactly the Same": A mid-tempo electronic number that features many familiar NIN sounds. It includes a very memorable chorus that is anthemic without compromising its tone. It will get stuck in your head with no warning.

7. "With Teeth": Far and away the oddest track on the album. First off, it has a shuffling beat that will throw listeners off-kilter for the first several bars. Imagine an uber-muscular version of Siouxsie's "Peek-a-Boo". But the real kick is the incredibly quiet piano interlude in the middle of the song. This track manages to be possibly the noisiest on the album without resorting to the typical aggro conventions.

8. "Only": This, the second single from "With Teeth", begins with a very unorganic eighties-throwback drumloop backing Reznor freestyling spoken vocals - not a rap, but almost a beat poetry reading. The mood and instrumentation are vintage NIN like "Ringfinger" while the very danceable beat is reminiscent of "Into the Void".

9: "Getting Smaller": Another mosh-ready rock number similar to "You Know What You Are?". Probably the most disposable track on the album.

10: "Sunspots": A slinky, seductive number that builds to a catchy rock stomp during the chorus. Think "The Only Time" from "Pretty Hate Machine".

11. "The Line Begins to Blur": Trent's vocals are at their emotional peak on this one. Virtually atonal during the verses, with live drums that are distorted and electronically chopped up to great effect. The chorus is almost dreamy in comparison but anchored by a 4/4 war-drum tempo. By the time it hits the chorus, this track sounds very much like "The Day The Whole World Went Away" except fully realized this time around.

12. "Beside You In Time": This is the track that is played under the recent web ad on nin.com. It's not all instrumental, but it maintains it's 2/4 electronica feel throughout. It's a throwback to the Coil remixes on "Fixed".

13. "Right Where It Belongs": The album ends with its sole quiet track. A plainly pretty melody (reminded me of the verses on "Even Deeper") sung over top of keys and a detuned piano. Not quite "Hurt", but not bad, either.

"With Teeth" solidifies Reznor's place in musical history by displaying his capacity for growth within the sub-genre that he created for himself. It's undeniably Nine Inch Nails without being tired, repetitive or derivative of earlier works.

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."

Sadly, its not. The new Nine Inch Nails is definitley more organic, which is what Reznor promised. The drums, the keys, vocals, everything sounds more live. NIN in 2005 is actually more of a "Band" than an expanded one-man project that it used to be. Dave Grohl's drumming is pretty good I guess, it's solid anyway. I'll tell you right off the bat, if you loved Nine Inch Nails mostly for the heavy, loud, grating aspect they once had, then you will be disappointed with this release a little...you just will. If you, like me, like NIN for the lush melodies, cool drums patterns and an overall dark ambient/heavy feel then you will probably like this album. I will admit it is most definitley not Trent's best offering...fans will attest. There is a prominent 80's funky feel throughout the album. However, this is NOT in anyway the same style as Pretty Hate Machine, With Teeth actually expands on that style. I'm not doing a stupid track by track review b/c everyone's opinions are different anyway, but the best songs that exemplify the new Nine Inch Nails sound is Only, Every Day Is Exactly The Same, and Getting Smaller. Definitley a retro feel going on here. The whole album is mostly bass-driven which is totally new for NIN. The guitar is there but its not as prominent as the bass. This combined with some warm, mellow keys thoughout makes this album very low and thunderous, while still being very melodic. Even though its not as dark as all the other albums, it sure as hell isnt all kisses in the sunset. This is just me, but I did notice some songs just seemed to meld together towards the end of the album...I couldnt tell where one song ended and another began unless I was looking at the track number on the cd player. The album is less-varied towards the end but still an entertaining listen, especially for Sunspots. That song is awesome. Sunspots sounds like old school NIN, with the throbbing low bass and the anthem-like guitar chord changes. Think Reptile, but updated. Take note when you listen to With Teeth that even the heaviest tracks on the album(You Know What You Are & Getting Smaller) arent even that heavy! There is little to no screaming on this release. But it's still good. The only thing this album lacks compared to past releases is the anger. The dark, anger-induced lyrics that made past songs like Big Man With A Gun and Wish so heavy and gritty are not on this album. Nine Inch Nails intensity hasn't backed down, but Trent isn't angry anymore. I would most definitley recommend With Teeth to any Nine Inch Nails fans b/c without it, your collection is incomplete. I do recommend it to fans of rock music and industrial heads as well. It is definitley worth listening to repeatedly just like the other records. Just remember: This is far from a "masterpiece". Trent has had several of those already and has chose to release a more straight-forward album. Why not? This is the best way I can sum up the new NIN album. You decide. Nuff said.

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.

First off, as far as where this album is musically, forget the comparisons to previous albums, they won't tell you anything. To all those who say this album sounds the same as his others, you obviously haven't listened closely enough (and of course they're gonna sound somewhat similar - after all, it is the SAME person putting out these albums). To all of those who think this isn't a masterpiece like TDS or The Fragile, you're right, it isn't. To be honest, I didn't really want a "masterpiece". Sometimes I just feel like listening to a good rock record that doesn't demand deep concentration and focus to enjoy and to fully "get it". Here, Trent has chilled out a little and given us a record that rocks, grooves, plods, and moves without any pretense.

With Teeth is exactly the kind of album Trent needed to put out. The Fragile (and even TDS before it) were extremely involved, layered, and methodically planned (although it worked very well for those albums). With this album, you get a straightforward rock album recorded with actual acoustic drums (by the way, is Dave Grohl the only rock drummer around anymore??? it's not like the parts he put down are complicated...), all the while still keeping Trent's trademark production, piano lines, hushed to intense vocals, and varied song style/structure. Nothing Trent is doing here is extremely new, but he has placed variations on themes he's explored before while adding an extra sense of musicianship - namely, more beat/drum n bass/groove centered songs, particularly on "Only", "Sunspots", "The Collector", and the lead single "The Hand That Feeds". He also expands on his layered, piano guided themes on "All the Love in the World" and "Right Where it Belongs".

Bottom line, don't get overemotional about this release. No need to expect this album to change your life. This is Trent just jamming out and enjoying his craft.

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.

There will be a small but vocal group of NIN fans who will remain unhappy with this album, perhaps because Trent refuses to be as repetitively self-indulgent, wallowing in his near-suicidal darkness, as they are accustomed to.

To them, I offer my condolences since they will be unable to hear a great new album. Let them stick with the old stuff and complain about their man `selling out', or encourage him to get back on addictive substances. Trent Reznor has moved on.

He has taken all of the audio experimentation, the textures, and the varied tools of his craft that he developed in the 1990s back to the strong, efficient songwriter who broke on the musical world with 1989's "Pretty Hate Machine."

So this listener (for one) could not be more pleased. Because no matter how extreme or abrasive Reznor makes himself sound, his real strength is in good songcraft--and "With Teeth" is comprised of 13 high-energy tracks, with no fat, and the kind of range in material that makes a great album experience. From the danceability and self-deprecation of "Only" to the brutality of "Don't You Know What You Are?" he is firing on all cylinders.

Reznor is enough of an artist to have both an original voice and be accessible at the same time. And when I say accessible, I >don't< mean there are not parts on "With Teeth" that won't get a listener's blood pumping or put their nerves on high. I mean accessible in the best sense--strong melodies and lyrics, and yet with enough depth to reward repeat listens.

It is no mistake that the last track here is "Right Where It Belongs"--while hardly a happy song, it is a definite sign that Trent Reznor has new horizons to explore, that Nine Inch Nails is evolving, and that a major talent is still major in 2005.

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 isn't an opinion based review. I do like this album, but that's not what this review is about. The point of this review is to say to everyone who is wondering why lots of people are giving this album bad reviews that the only reason people are giving bad reviews is because they forgot how long it took them to love the old NIN albums. Most NIN fans will agree that they did not LOVE the downward spiral, further down the spiral, broken, fixed or phm, even the fragile on the very first listen. No one can eat six weeks of food in one sitting, and it is hard to fall in love with complex music upon first listen.

The truth about this album, [with teeth] is that it is Trent Reznor doing what he's always done, make music for the sake of making music, not for money. If you liked his old stuff, give this stuff a chance.

...and just to help everyone else out, if you do get this album and don't love it after the VERY FIRST LISTEN, please don't get on the internet and review it immediately with your rose-coloured reviews referencing his older material.

There should be a rule stating that albums should have been listened to at least 10 times before reviewing, because most negative reviews of this album are knee-jerk reactions from people with no memory.

SWEIGHT!!!

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