Amazon.com

Trent Reznor has always been a one-trick-pony, but it's a damn good trick: sunny melodies filtered through ferocious electronics. Unfortunately, the trick's impact was often watered down by a tendency toward petulance and self-absorption. Still, almost six years after NIN's last release, The Fragile, the trick itself has lost none of its Teen-Beat-from-hell appeal. With Teeth blisters from the start with "All the Love in the World," and tracks like "The Collector" take full advantage of Dave Grohl's sledgehammer drumming. Reznor stretches occasionally, trying out different tactics, from crunchy, overtly commercial rave-ups ("The Hand That Feeds") to borderline New Wave ("Only"). But Teeth isn't about stretching. It's about doing the same trick, only better, with less clutter and more bite. By neatly distilling the sparseness of Pretty Hate Machine with Downward Sprial-style density, it ends up being the most focused record in the NIN catalog. –Matthew Cooke ... Read more

Reviews (312)

Best Nine Inch Nails album since "Pretty Hate Machine"
First, I have been a fan of NIN since its debut album back in 1991 when I was in high school. And I have followed this band all through college and grad school and I have to say that this is by and large their best effort since "Pretty Hate Machine"

I listened to entire album twice before writing this review and I have to say, I LOVE IT!

This is the album that should have followed "Pretty Hate Machine". PHM is by far NIN's best, but this comes a second close. Whereas "The Fragile" and the "Downward Spiral" and even the EP "Broken" were an exhausting orgy of noise and aural chaos, this album is well crafted and tight; it's hardcore yet melodic.

All the tracks are good, but the best are (in my opinion):

1) All the world in the world
3) The collector
4) The hand that feeds
5) Love is not enough
6) Every day is exactly the same
9) Getting smaller
13) Right where it belongs

Enjoy!

This guy is 40 and he has a number one album
When you mention NIN to anyone, the past music could be summed up with one word: angst. Even though much of Trent Reznor's last album was unfocused and weird, besides being very non-commercial, you can only be angry and full of angst for so long, to a point where that becomes clichÎ. Reznor wisely took a long break. He reformed the band, which includes Jeordie White. This album is also 13 tracks just over fifty minutes. Reznor has learned that less is more. The songs are brilliant. "All The Love In The World" and "You Know What You Are?" show immediately the soft and the hard side of the same coin. Then we get to the weird world of "The Collector" where all music collides. Three tracks in you realize that Reznor has decided to get more interesting on the percussion. The drum sounds are almost a fusion of drum and bass and rock drumming. "The Hand That Feeds" is a political song that recalls early NIN. Reznor proves that he hasn't lost his edge. Most of his current emotions are dealt with on "Love Is Not Enough." He makes a lot of noise and takes us to new NIN vistas. He even plays around with retro 1980s synth sounds on "Only." Punk rock and metal pop are words to describe "Getting Smaller." Reznor has made an interesting album that looks to the past and looks to the future. Not many records sound like this right now, so good for him.

Bad Pop, Even Worse Rock, and Terrible Industrial
I thought Trent was better than this. Almost every track is boring emo garbage with little to no electronic work. I've never really liked his vocal work, but here it just deflates because he has few to no catchy melodies. The good tracks are "The Hand That Feeds," "Only," "Beside You In Time" (which is nice and experimental) and "Right Where It Belongs."

The Fragile was good for its length and fairly catchy melodies. The Downward Spiral was good for its lyrics, repeating melody, and storyline. Pretty Hate Machine was good for its vast sparseness and minimalism. Get those if you haven't.

Don't be fooled; With Teeth has none of NIN's redeeming qualities or songs which will stick. Trent seems to have sold out just about completely now.

With Teeth is good!
I enjoyed With Teeth very much. I have been a fan for many years. And I think this CD is just as good as all the other Nine Inch Nails records.All of the 13 songs are different in a way.All of the NIN music has changed over the years and that is a reason that I like their work.
Trent is still a bright Artist. Some of the amazing songs in this album are All The Love In The World, Only, Sunspots, The Line Begins To Blur, Beside You In Time, and Right Where It Belongs.

If you buy this album you should try and get the 5.1 DUALDISC, it sound really amazing!
I think this album is a step forward in Nine Inch Nails music making.
The drumming is really well done for the records as well.
This new NIN won't disappoint at all.

Hate Pretty Machines
Trent's thunderously technological turbulence reaches a new zenith with the new album.I was a skeptic; initially, I thought Reznor wouldn't be able to outdo the Downward Spiral.In the end, I was right . . . because Reznor smartly doesn't try to.

Instead, the new album feels more organic.Reznor has hired out more guns to play (instead of playing an insane Beethoven and recording all his own tracks) and that has seemed to help.The first single, "The Hand That Feeds", has true punch but lacks the resonance of, say, the Greatful Dead releasing "Casey Jones."Further, Trent is good but Jerr Bear is better.Set the new NIN release aside and don't worry - your local alt station will play it over and over to drill it all into your cranium anyhow.

I do appreciate Trent offering up tracks to Apple users to remix and bushwhack at will.That struck me as open and cool; in fact, reverse my previous non-recommendation.Run out and by two copies of the new album for you and your mother,Check Amazon now; my used one is for sale right now.

And Trent just wants to play on em-tee-vee in front of a simplistic Bush backdrop and they won't let him?What's a rage-ridden rocker to do?Can rock and roll ban even the hint of rebellion?Yes, Trent has aged, and, yes, many of the beats feel (or are overtly) retro, but isn't everything? Everything is built on what came before it.Deal with it, buy the album, and enjoy it.Then, as the lights draw low, go groove to the Dead.

Trent makes forty seem fabulous !! ... Read more

Amazon.com

Trent Reznor has always been a one-trick-pony, but it's a damn good trick: sunny melodies filtered through ferocious electronics. Unfortunately, the trick's impact was often watered down by a tendency toward petulance and self-absorption. Still, almost six years after NIN's last release, The Fragile, the trick itself has lost none of its Teen-Beat-from-hell appeal. With Teeth blisters from the start with "All the Love in the World," and tracks like "The Collector" take full advantage of Dave Grohl's sledgehammer drumming. Reznor stretches occasionally, trying out different tactics, from crunchy, overtly commercial rave-ups ("The Hand That Feeds") to borderline New Wave ("Only"). But Teeth isn't about stretching. It's about doing the same trick, only better, with less clutter and more bite. By neatly distilling the sparseness of Pretty Hate Machine with Downward Sprial-style density, it ends up being the most focused record in the NIN catalog. –Matthew Cooke ... Read more

Reviews (112)

With Teeth is good!
I enjoyed With Teeth very much. I have been a fan for many years. And I think this CD is just as good as all the other Nine Inch Nails records.All of the 13 songs are different in a way.All of the NIN music has changed over the years and that is a reason that I like their work.
Trent is still a bright Artist. Some of the amazing songs in this album are All The Love In The World, Only, Sunspots, The Line Begins To Blur, Beside You In Time, and Right Where It Belongs.

If you buy this album you should try and get the 5.1 DUALDISC, it sound really amazing!
I think this album is a step forward in Nine Inch Nails music making.
The drumming is really well done for the records as well.
This new NIN won't disappoint at all.

Good, very solid, but not Great.
This album is perfectly produced, every note is hit right, every thing is in its place.It's superbly done and well crafted, both musically and in the recording.However, there is nothing new here.It seems bland and too thought out.Nothing grabs you.There is no "Terrible Lie" or "Closer" here.All the songs are good and because of that all of them get lost.There are some jazz-esque type moments on the first track and repeated in another song or two but it does not make them stand out.This album is boring in every way.

With Teeth, angst all grown up... sort of.
Trent Reznor is back with another trip through his psyche in With Teeth, and this time, it's a rock and roll trip. Six years after the release of his last studio album, The Fragile Trent brings us an album that at face value has a alt-rock sound, yet has all the underpinnings of a true Nine Inch Nails release. The album is subtly complex full of the layering fans would expect from a follow up to Downward Spiral and The Fragile, but may not be immediately aware of them as they blend in so naturally with the composition. With Teeth separates itself from its predecessors with high energy tracks throughout the album, with a notable exception of the quiet Right Where It Belongs. Driving this energy is the rock record finish on this album of trashy guitars and driving percussion, a majority of the live percussion done by Dave Grohl of Foo Fighters. The emotion of the album shows in Trents signature vocals and a matured version of angst and anger in the lyrics and music. Longtime fans may miss the abundance of harsh synthesizers and wildly distorted guitar found in previous albums.

With Teeth is rife with the sound of rock clichés spun through the industrial machine that is Nine Inch Nails. The first single from the album "The Hand That Feeds" is commercial rock so riddled with clichéd questions and just as if not more compelling then Closer was when it was released. Edges of punk rock come out in Getting Smaller, and Only has a opening and a synth line that could have come straight out of an 80's new wave hit. Sunspots stands out sounding like something that R.E.M. might have done coming out of a week-long drug bender. Something that surprised me so much to find on a Nine Inch Nails album that I had to replay the track several times, Right Where It Belongs has a definite country western bend to it and could have been this albums Hurt given a different treatment. With multiple plays I am positive any listener will be able to draw lines connecting the sounds of With Teeth to all corners of the rock genre.

I applaud Trent and the marketing at Nothing Records for providing everything this or any album needs for the art that is the entire package to survive in the digital age. Neither physical format of the album comes with much more liner notes than a track listing and a web link to find all the information at a page for the album on nin.com including downloadable PDF versions to print and save.

NIN FUTURE
It's so good to have NIN back.
I;ve listened the entire album for 3 times and it's still amazing me.
There are so many bands that have been influenced by NIN like TOOL,Linkin Park, etc... that we allways expect something new and different from Trent Reznor.
With TEETH is a complete different album from the others NIN's works but it still have the NIN essence.
For me The best song in the album is "Beside you in time".
I'ts a masterpiece and i see the Future of NIN there.
NINE INCH NAILS NO TE ME MUERAS NUNCA

Open Letter to Mr. Trent Reznor
For the last 6 years, while you were busy doing heroin and whacking off to Shakira videos, you forced the rest of us to endure the likes of Nickelback and frickin' Rob Thomas.
But we forgive you.
It is so good to have you back.
... Read more

Album Description

The first single to be lifted from the 2005 album,'White Teeth'. This UK limited edition includes three versions of the title track,Album Version, Photek Straight Remix and Photek Dub. Interscope. ... Read more

Reviews (25)

the hand of the artist should have been in this
rockin' song with great energy dampered only by the limited number of versions. Why go to the trouble of cutting a disc like this without giving the consumer 5 or 6 versions of the song? Trent should know better, being the music fan that he is.

I think it's solid.
Remember all that garbage social music you've heard for years now?Please let it go.Don't call that music 'pop music', call it 'Disney Dollars'.

What do I mean?I might know...

I've been a NIN fan all the long.Trent's certain breed of music has always had a bitter aftertaste.I think there's a point there.

Let's talk about 'The Hand That Feeds'.Musicaly, any other time than now, this would be wrong.I thought a long time ago that once computer screen resolutions where so high that no normal person could see individual pixels... at that time, at this time...the mosiac effect is effective artisticaly.So, that in mind along with what everybody really has noticed these last 10 years... 'The Hand That Feeds' is the best song I've heard in a long time....and it's all done in that walking talk the talk in NIN style; acceptable now for a social setting.

The lyrics in 'The Hand That Feeds' has the most clever double meaning contained in there.I don't think anybody is catching it.

So, I'm a little disturbed that everybody misses the point.If this isn't an original song... what is?I wonder what the kids would say to answer that question?Maybe something about Incubus or... uh... Jay Z...

Lastly, if you don't know who Photek is... You probably won't get the remixes.You don't listen to something extendedly titled [Dub Mix] and be disgusted when it's the type of thing to play in club that's not too busy playing irresponsible dry-hump music that has spoken lyrics about killing gangstas.Yeeeaaah!

Nobody wants to change it.

There've Been Better, But There've Been Worse
ALBUM MIX: I'm not going to bother much with this; we've all heard it, it's a great song, let's hear it for Nine Inch Nails, yay.

STRAIGHT MIX: Interesting extended take on the original, and well-done.There's not much actual remixing - other than the techno beat, the "whispering" and the "horror movie synths" near the bridge (which were great), it stays mostly true to the album version - but that doesn't stop it from being a good listen, and it's just as catchy as the album version.I especially liked when the music mostly drops out in favour of the vocals at 3:53; it was a nice touch, one that probably should've been part of the album cut.Either way, not bad.

DUB MIX: It's a house version.What can be said about that, really?Trent's occasional voice adds something, and the beat and guitar/synth loops are infectious enough with this mix that it doesn't fall COMPLETELY flat... but you're probably not going to want to listen to it too often.Decent.

OVERALL: I'd rather spend my money on Things Falling Apart or Further Down The Spiral, of course... but this was supposed to be a single, not a remix album, and as such, it's not bad.Worth a few quid, but don't bump it to the top of your list.

SIDE NOTE: Trent is SO not fat; my bandmate Aeon and I saw him a few days ago, and he's as ripped as he ever was.

For diehards only.
Let me start by putting out a couple of my biases before getting into this review-- first, I relaly don't care for remixes as a rule, unless they're dramatic and severely restructure a song, I generally find they add little.Second, I really don't care for "The Hand That Feeds".

Having said that, the piece is presented in three mixes, the album version, the Straight mix, and the Dub mix.The album version has a catchy, circular guitar line and a straightahead drum beat that's actually decent until the bridge with this bizarrely irritating spoken wordish section.Just doesn't work.

The remixes fare no better-- the Straight mix adds different rock beats and an extended introduction that eventually becomes tedious, the dub mix layers a grating sustained guitar note over a beat and a mumbled repeated take on the chorus.

If you're a fan, get it.If not, skip this one, there's good reasons it wasn't released in the U.S.

SAD.Pathetic.Lame.Desperate.
Trent, sweetie, we know you want another radio single and to sell a TON of merch on your new tour.

Good luck, baby cakes.

This song sounds like a fourth-rate Utah band with a CD rack full of Halos.

Really sad.Without a doubt, the lamest of all NIN singles.

Silly, sad, fat Trent doesn't understand that he owes his "fame" to Mark Romanek and the catchphrase "I want to BLEEP you like an animal."

NIN is dead.At least we still have The Downward Spiral and Broken.

This single is too stupid for a single star. ... Read more

Amazon.com essential recording

Considered the breakthrough album that delivered a more palatable version of industrial music to the commercial audience, Pretty Hate Machine left its dingy mark on pop culture. The abrasive "sonarchy" of the album was first churned by despondent club-goers who roiled with the rhythms and aligned with the angst-ridden convictions. Since its release, the album's tempered deviations came to signify an aesthetic reverie for machine-driven martyrdom. Permeated by hissing engines and dissonant strains, the tracks cascade outside channels of modern complacency. Hits like "Head Like a Hole" and "Down in It" are recognized by the acidic beats, piercing riffs, and lyrical hostilities which snare the listener with disparaging rhapsody. Not for the light-headed, Pretty Hate Machine afflicts the inner sanctum and strikes a nerve. --Lucas Hilbert ... Read more

Reviews (279)

Once upon a time, there was a man named Trent Reznor........
That's what I'll be saying to my grandkids in the future, when Nine Inch nails is firmly set as a music phenomenon and Trent Reznor is a legend everywhere you go. This album is the first of the group, and the album that really brought industrial music into the eyes of the world. It would definitely be safe to say that NIN is not only an industrial band, it is THE industrial band. Trent Reznor is a musical genius, and this album proves it. The songs are eerie and electronic, very powerful in a slow, forboding sort of way. The best song on this album is the first, Head Like a Hole. Terrible Lie follows, another masterpiece, and soon your mind is set that Nine Inch nails are no disposable trash. Alot of great, dark bands have come along recently. Marilyn Manson, KoRn, Cradle of Filth, but Trent Reznor will always hold a special place in my heart.

Black As Your Soul
Nine Inch Nails' incredible debut album Pretty Hate Machine is a personal favourite of mine and one of the most consistently good albums I have ever listened to. Each and every track is of a Grade-A standard and the album contains essential NIN tracks such as "Head Like A Hole", "Terrible Lie", "Down In It" and "Sin", but really, they're all essential. The opening track and alternative radio hit "Head Like A Hole" is a classic example of great industrial rock, with it's thrashy guitar and gloomy synthesizers, though it's not really indicative of the rest of the album. In fact, unlike subsequent releases, there is very little guitar at all on this album. Trent Reznor utilizes walls of synthesizers and electronic noise to generate a stark and bleak sound. Overall, the album is more accessable than other Nine Inch Nails albums but still dark and caustic, despite having catchy melodies. Lyrically Trent Reznor tackles such subject matter as betrayal, disillusionment and loss of identity. All the good stuff. Pretty Hate Machine is a marvel, and (dare I say it?) a work of genious. A true classic.

freekin excellent
by far the best nine inch nails album ever. I remember buying this from the local record store on vinyl back in 89. My mind spun watching the blue and pink decals twist on the turn table forming this wierd filament of psychodelic colors; WAY cool!. Despite this being an 80s album, this music would still be considered hot today. This record has so much variety in the techno/ industrial genres let alone Reznors other albums. This one is unique and a must have for all nine inch nail fans.

Yummy
Seems like I get to everything late in the game, but better late than never, eh? I thoroughly enjoyed the entire disc, finding nothing to skip over every time I listened. Favorite tracks were "Down in it" and "Kinda I want to." "Something I Can Never Have" struck a cord. PRETTY HATE MACHINE hit a good two weeks on my "sit-and-spin-in-my-player" ranking. Two weeks of good, solid listening. I found what little profanity there was appropriate and not enough to make me roll my eyes.

this cd never cools off!
Ok you know how when after you finish playing a CD, when you take it out, its warm? This CD has not cooled off since i got it 2 days ago. I probbally listend to it like 50 times in 2 days. I'm obsessed with it, as soon as it finishes playing, i hit play again. Most of the time, im not really listening to it, but it makes great back ground music. It's also awesome if your "actually paying attention" to the CD. I definatly recomend this CD. If you wana get to know nine inch nails, get this. ... Read more

Album Description

Originally a Goth-flavored post-punk outfit, the Cure evolved into one of the truly seminal bands of the '80s, and ultimately one of modern rock's most celebrated and influential acts. Guided by creative visionary Robert Smith, the Cure's signature sound balances a dreamy pop savvy with a dark, brooding majesty and fuses superbly crafted, literate songs with a feverish emotional intensity. The band's early catalog-newly remastered and expanded wtih a wealth of rarities-is a series of masterpieces that laid the groundwork for their phenomenal and enduring popularity. ... Read more

Reviews (14)

Good drug music?
This record came out in the summer 1982 after I graduate high school. I was loaded on a lot of substances when I first heard it. The Cure's Pornography was the band's darkest work and most negative to date. It became a Top 10 hit in the U.K. and went on to become an essential album in the Goth rock canon. The 14-song bonus disc features music that is available on CD for the first time including five previously unreleased songs, previously unreleased studio and home demo versions as well as live performances from 1981-1982. This is one of the albums that didn't age well. Besides a few songs here and there, it is really the last album of the early version of the Cure. There was a lot of drug use in the band and they soon broke up. They reformed temporarily to do the "Let's Go To Bed" and "Love Cats" singles, and develop into the more internationally known pop group. After Robert Smith had dealt with alienation with religion on Faith, this album had a bunch of vague lyrics about relationships, alienation, the media, and general disgust with everything. It was a spooky record to hear when you were hopped up on LSD. The bonus CD has some live tracks that sound pretty muddy. There are some interesting bits here and there. I remember when I read Spin Magazine gave this album a low rating. My memory of this time was that Pornography was a great album. Revisiting this great early trilogy, it is obvious that Seventeen Seconds was their great early album, while Pornography is a distant second.

I am very happy and excited!
So I went to my local independent record store yesterday, looking for something worthwhile. They didn't have the Siouxsie album I was looking for...bummer. As I was about to leave, I remembered hearing about the re-released Cure albums, so I checked and they had all the ones released thus far. Not having enough cash to purchase them all, Pornography in particular seemed to glow magnetically before my lusting eyes. The mastering on the old version sounded pretty flatland, but I usually remedied that by cranking it up so loud it wasn't as noticeable. Well, now I don't have to do that, because the re-mastering is crisp, and beautiful at any volume. I'm listening to it very loud right now, and it's taking me a long time to write this, because the music keeps taking me away to a new strange and exciting world. The musical brilliance of this album is now further complimented, with updated sound quality that offers tons more depth, texture and beauty. First time I listened to this version all the way through, my jaw dropped almost to the floor as I listened. Then I got my old version out and listened to it...and you know what? I was so blown away by the difference in sound quality, I think the old version should re-titled "Pornography, the Un-Mastered version". Old-school Cure fans who are scanning reviews to see if it's worth spending their money on this verson of Pornography, do it soon! Do it now, if you have the time. On this one, it's much easier to hear the changing textures wrap around you like a burning blanket from hell. Hmm, maybe my metaphysical imagery is irrelevant, BUT getting to the point...remember when you first heard Pornography? And you were blown away by it's brilliant intensity, yes? Of course you were! So was I, and now I feel as if I'm hearing the album as it was meant to be heard for the first time. I've only listened to it twice through (third time right now) and trust me, there's a LOT more detail on this album that can be heard on the original. This is what struck me the most. As you might guess, like most Cure fans, I've heard the original Pornography thousands of times, and STILL if I listen closely, I keep noticing sounds that pop up on this re-mastered version that are new to me. On the old version, I noticed that those same parts were either muffled, or buried by the frequencies of other instruments. There's SO much more space and texture here. And the bonus disc? INCREDIBLE! I don't understand why some people have been complaining about it...boo-hoo the audience-recorded live performances don't sound professional enough, blah blah blah. I think they sound bleak and really pretty. I like the stark sound-quality, and really, who cares if it's not perfectly-bootlegged (few, if any, bootlegs are)...we're talking about the masters of mood here! We, fans, got the amazing Join the Dots box set, and now re-mastered versions of early Cure albums with an extra bonus disc? Shame on ye who dares to complain! Well, I am VERY happy with my purchase, and I am very excited about listening to this MANY, MANY more times! Thank you, thank you, thank you.

When Rhino puts out a deluxe edition, they always deliver
What's the 4-1-1?
Rhino Records have gone into The Cure vaults along with Robert Smith to bring you Deluxe Editions of two of their most memorable releases. Both are remastered and appear on CD for the first time. In addition to the complete albums, each disc comes with a bonus disc of rarities and unreleased material. Seventeen Seconds contains rarities from 1979-1980 and Faith contains rarities from 1980-1981.

Genre
Post-punk / alternative / gothic / rock

The Good
Highlights from Seventeen Seconds
Drab and dreary piano set the tone of the album on the opening instrumental cut "A Reflection". Eerie background tones help underscore the track. "Play for Today is made up of an up-tempo drum beat, glassine-like keyboards, and watery guitar tones. An infectious little guitar hook goes a long way on "In Your House". I would liken the tone of the song to a hazy dream. "A Forest" employs haunting tones and melodies, backed by thought-provoking lyrics. Fuzzy guitar tones and creepy synths dominate "At Night". Seventeen Seconds" sums up the last moments of your life after committing suicide.

The rarities disc contains "I'm a Cult Hero" and "I Dig You" from Robert Smith's side project Cult Hero. It's more hopeful than any of the tracks Smith penned for The Cure. There are two rough home demos, an alternate mix for Three, and live tracks for every song that appears on the album; even a live version of "I'm a Cult Hero".

Highlights from Faith
" The Holy Hour" begins with a rather indulgent bass line. Robert Smith blends in nicely with his clean guitar tones and his trademark tortured vocals. Driving rhythms run rampant on "Primary". The track is more up-tempo than the usual Cure track, but the story being told is no much on the up-side. Percussion accented by warm keyboard tones prevail on "All Cats are Grey". Smith seems off in the distance as he inflicts his eerie vocals. I wasn't really surprised that church organ tones could be heard throughout "Funeral Party". To keep the mood going, Robert sings like his delivering a eulogy.

The rarities disc contains the unreleased tracks "Drowning", "Going Home Time", "The Violin Song", and "A Normal Story", two raw instrumental demos of "Faith", "The Holy Hour" and "Doubt", live tracks of songs from the Faith album to include a ten minute version of "Faith" and a nine minute version of "Forever", the rare single "Charlotte Sometimes, and an alternate version of "Primary" among it's fifteen tracks.

The Bad
Nothing

The Verdict
When Rhino Records puts together a Deluxe Edition, they always deliver the goods. Not only are you getting rare and unreleased material, which is always a plus, but you're also getting to hear the songs at their best possible quality. It's fun to hear how they went to rough demo to final composition. All of the depressing, sad, and heart-broken moments of your youth can be summed up by the latest remasters by The Cure.

Did You Know?
Rhino has also released The Cure's Pornography as a two CD deluxe addition. I would have reviewed it but after listening to these two, I was ready to slit my wrists.

Go over the edge in better sound
Another excellent and much-needed remastered Cure album appearing this year, Pornography is the last in a tremendous trilogy that includes Seventeen Seconds and Faith.

Like those rereleases, this is definitely worth it and a bonus for fans of the classic sink-into-despair album.The sound has the punch and new warmth of good remastereds, as opposed to the original AAD disc which was flatter and muddier.More liner notes, plenty of pictures, lyrics, and some brief history of the album and the period when the band was (obviously) miserable, doing the drugs, doing the booze, fighting, etc, etc.And once again in rock history, another band made a classic album while wanting to kill each other and possibly themselves.

While these sets are a little pricey, it's still a treat for the fan.The extras are nice as well.The live tracks are decent quality, audience, while the old demos and rough takes are interesting, too, they're totally different.

Certainly the darkest of that early trilogy, it's not to everyone's liking as the mopiness may wear on some, but it's an excellent, complete album from Smith and Co.

Pornographic Material.
1982's "Ponography" is so distinct an album, that's it's hard to imagine how the Cure would sound in 2005 without it.Most likely, the band would have never reached the artistic heights of 1989's "Distintegration," which introduced the band to a whole legion of wannabe suburban goth teens.After three albums under their belt, Robert Smith was able to articulate despair in a manner that raises goose pimples on even the toughest skin.Wailing guitars, distorted synths, and rubbery bass created a musical landscape of dread on tracks like "A Hundred Years," the single "The Hanging Garden," and the chilling title track.Many albums recorded in 1982 sound like it, but "Pornography" sounds timeless and never dated.It's been wonderfully remastered with an extra disc carrying a bevy of demos and live tracks, and sound purists will approve of the sonic upgrade this CD richly deserves."Pornography" is that rare disc that elevates mope to the level of art. ... Read more

Album Description

Originally released in 1994, Trent Reznor created THE DOWNWARD SPIRAL as both a concept album and modern day classic. This influential 90’s classic is Trent Reznor’s industrial cum-tragic opera view of the world and the soul’s sonically detailed fall from grace. The Downward Spiral delves into despair and anger with hard guitars and brutal beats.

DUAL DISC VERSION (CD & DVD on one disc)

CD SIDE: Includes entire album in Re-Mastered CD Stereo

DVD SIDE: * Video in surround sound and Stereo of "Closer" * Videos of "March of the Pigs" and "Hurt" * Entire album in Stereo and Advanced Resolution Surround Sound * Entire album in Dolby Digital Surround Sound and Stereo * Image Gallery * Complete Discography * Random DVD menus * Surround Sound mixes by Trent Reznor ... Read more

Album Description

Originally released in 1994, Trent Reznor created THE DOWNWARD SPIRAL as both a concept album and modern day classic. This influential 90’s classic is Trent Reznor’s industrial cum-tragic opera view of the world and the soul’s sonically detailed fall from grace. The Downward Spiral delves into despair and anger with hard guitars and brutal beats.

This SACD/Hybrid DELUXE EDITION of THE DOWNWARD SPIRAL celebrates the 10 Anniversary of the modern masterpiece.

DELUXE EDITION includeds 2 hybrid SACD/CDs:Disc One - The original album in SACD Surround Sound (remixed by Trent Reznor), and newly remastered SACD Stereo and CD Stereo program.Disc Two - Bonus material (13 B-Sides, Remixes, and Rarities) in SACD Stereo and CD Stereo. ... Read more

Amazon.com's Best of 1999

Trent Reznor took five years to record this monstrous double-CD set, wielding a perfectionist's touch in the production and the subtlety of a chainsaw in the musicianship. The result is uncompromising, full of hysterical noise and yet utterly accessible. Somehow, someway, this is one of the best pop records of the year. --Matthew Cooke ... Read more

Reviews (963)

Did the music grow up with the fans?
I was 15 when The Downward Spiral was released, now I'm 21. When I first heard about the new album I wondered if Trent's rage would still be applicable to me six years later. Well, it isn't really - but Reznor's musical ability can make almost any statement applicable to me.

The first song on this CD absolutely blew my socks off. It sounded like a mixture of Korn and an angry Tom Waits. As I continued through the CD I noticed the mass amount of time and effort put in to each track. Some almost sounded influenced by PJ Harvey, while other tracks were straight up rock and roll out of NIN's history. Now I see why this is an album that took a long time to assemble. As much as I love this CD - already - it has its downfalls just like any other. The biggest being its overwhelming size. 1 CD of Trent can be a lot to take, 2 can just be mind boggling. Also, much like in the past, sometimes Trent can leave the impression of being overly whiney when most of the material deals with how other people constantly dissatisfy him. But, over all I think this is going to be one of the last "most important records of the 90's."

I just hope future installments are a little more timely.

Beautifully Crafted Soundscapes From Mastermind Reznor
It took Trent Reznor five years to craft and touch up the double disc THE FRAGILE. When you play the whole 2-CD set from start to finish, you can't help but appreciate the results with uncompromising validity.

There are angry rockers on here like the in-your-face scathing of "No, You Don't", the subdued tempest of "Into The Void" with it's hopeless theme, and the ferocious snap at NIN imitators that is "Starfucker's Inc.", with its easy-to-remember chorus. Contrasting these moments are pleasant interludes like the gorgeous piano instrumental "The Frail", the haunting but slow-charging title track, the love song thrash of first single "We're In This Together", and the atmospheric and hauntingly melodic and memorable rocker "The Day The World Went Away".

The instrumentals on this double disc treat range from the sinister apocalyptic "Pilgrimage", to the haunting and deadly "Ripe With Decay", the aforementioned beauty "The Frail", and the haunting "La Mer" with it's absolutely catchy beat.

There are also tracks reminiscent of earlier Reznor works, like the opening caustic "Somewhat Damaged" and the fragile anger of "The Wretched", which reminds me of the seething "Reptile".

All in all, THE FRAGILE only continues what THE DOWNWARD SPIRAL began, and Trent Reznor shows us over the course of 100 minutes and 23 songs why he remains an important figure in the realm of industrial rock music. He's a genius, and THE FRAGILE proves that even at wit's end, Reznor is here to stay.

a musical masterpeice
Trent Reznor is an extremely talented singer and song writer. His writing is perfect, music is mezmerizing and wonderfully crafted. He has a message that should be heard: the world is not all daisys and fairytales. In my opinion, his music is not intended for the mainstream pop culture. It is simply intended to tell a story that in in is mind. The music has an appeal to the deepest parts of the soul. In my opinion, this is the perfect album to sit back and reassess the thoughts and views of such a horrible time we live in.

The end of the nineties dream...
I was amazed at how many people didn't buy this album because they said it wasn't nine inch nails... This album was Trent showing how human he really was, as with evidence in the lyrics and song titles referring to a piece of fruit (ie opening with Somewhat Damaged and ending with Ripe (with Decay)). Experimental, heartfelt, and totally dreamy. Despite all the hype that predated this album, i think it stood up to it. In a musical world of mediocrity this album stands the test of time. Especially now in 2004 where everyone whines exactly the same about how great high school was and other emotional barren themes, people need to discover the truth and vitology that thrives within this album. Listen to it from beginning to end... It may speak to your heart as it did to mine.

A gem.
There is nothing wrong with The Fragile. The problem with the critics and fans is that they were expecting another, The Downward Spiral from Reznor. Every artist, upon each new release, no matter how great they are, mature a little more. Reznor is no exception. His music is more melodic rather than a bunch of noise clashed together, which is what they call industrial. I loved The Downward Spiral, but there's something about The Fragile that's just so great. It took Reznor five years to write, record, and produce this monsterous LP. Reznor is releasing another album in 2004, title pending as "Bleedthrough". I am anticipating this release because I know that it'll be yet another masterpiece from Reznor. ... Read more

Album Description

Shaking off the conventions and cliches of the EBM and futurepop genres, VNV Nation have crafted a work of art. From haunting, quiet beauty to introspective depths, to dance floor anthems, "Matter + Form" is an album crafted to move not only bodies on the dance floor, but hearts as well. VNV Nation is the new face of electronic music. ... Read more

Reviews (29)

What is truth
VNV Nation is one easily one of best bands in the EBM/futurepop genre as well as in general. I first discovered thema couple of years ago with their last studio album "Futureperfect". I was completely awestruck by their abilities to fuse haunting lyrics and melodies with a blend of industrial and synthpop beats. Ronan Harris writes some of the most beautiful lyrics I have ever heard (i.e "Beloved").

I finally obtained a copy of "Matter + Form". I personally love this album. I think it is great that the band continues to evolve with their sound. I think it would be dull for a band like VNV Nation to stick with one particular sound. It may work for bands like AC/DC but I think in VNV's case, they should be allowed to grow as a band. While there is no "Beloved" to be found on this album per say, the songs are far from lacking a good hook. I dug the industrial-influenced tracks "Chrome" and "Arena". They really set the tone of the album and I hope the band plays one or both of those songs live next month in concert. "Colours of Rain" is a beautiful haunting instrumental. "Homeward" is another personal favorite track of mine that I find myself hitting the replay button on.

I thought "Matter + Form" is a solid follow-up to "Futureperfect". I thought the general overall sound of "Matter + Form" was more aggressive than the band's previous two albums because of songs like "Arena" and "Perpetual" (another personal favorite track of mine). It is definitely one of the best albums of the year so far. I can't wait to see the band live in conert next month.

Uninspired
Whenever I've listened to a VNV Nation album, I've always been struck by how interesting and innovative the group is, even if I don't particularly enjoy every song on the album.There's still a sort of appreciation for trying to create something truly unique, something only VNV Nation could do.

Most of the tracks on Matter and Form are sub-par for what I expect from VNV Nation, and come nowhere near matching the quality of their earlier works.

There's an intro track on M+F, however it does nothing to set the mood for the rest of the album; it's essentially a minute and a half of sci-fi sounds that make you anticipate something dark and unknown, which really doesn't fit how the rest of the album feels.

Chrome is the only song on this album I have any sympathy for, as you can tell that a lot of time was put into the song to make it so great.It almost sticks out like a sore thumb on the album since the majority of the lyrical pieces on M+F are slow and ballad like (think Airships from Futureperfect, which I wasn't particularly a fan of).

The instrumental pieces are great tracks to fall asleep to, most of which are boring techno pieces that sound like the same 10 second sound clip looped over and over for a few minutes.

I'd recommend purchasing Praise The Fallen, Empires, Futureperfect, or if you can find it, Advance and Follow instead of this album if you do not have them.Or, check out something by Assemblage 23.

actually 2 1/2 stars to be exact
only has a couple good songs.about 5 or 6 of the songs are just instrumental, which i hate for this type of music.they are usually boring and stupid.It feels like i paid 15 bucks for only 5 or 6 songs.
I like VNV nation and love their last 2 albums, past perfect and empires but this one did not impress me.
save your money and download the only 2 decent songs that are on there.

Fantastic
"Chrome" and "Perpetual" are among the best of VNV and EBM. Great, great CD.

Not Quite the New Face of FuturePop
Like most fans of VNV, I too could sense that something in the way of a major shift had to occur. I mean Ronan might as well have said it directly on the "Futureperfect" DVD. He noted that the electro industrial scene undergoes a major shift about every 5 years or so. All of us then did the quick mental math to realize that VNV had taken over the scene about 5 years prior. Therefore he was saying that the scene, and his band too, needed to shake things up. In listening to this it almost seems as though VNV felt that everyone was looking to them to take that bold step and become the new face of whatever the new sound would be. Given that mindset I find "M&F" to be a major disappoint and, for the most part, a failure.

I think the only fully realized song is the single "Chrome"; it manages to be a clubsmasher while changing things enough to really break out of the confines of their earlier work. The synth sounds utilized recall nothing of prior songs, while the vocals are spun in a way that is fresh for Ronan. Outside of this I find some glaring flaws. The intro is a useless throwaway piece and I'm really tired of industrial bands thinking that they can get away with this. I don't mind simple mood setters but this has no value (if you have 17 tracks then a few fillers might be alright, but not on a 10-track album). Far too many tracks do not have vocals and they are not strong enough instrumentals to really stand on their own merit. Several are formulaic trance numbers that would work as decent dancefloor sets for lesser artists but fall flat here. One of the better tracks is nothing more than a rewrite of "Airships" from the previous album. If it's a bold new direction you are looking for, then please do not write a song built out of the exact same presets as a previous hit. "Homeward" is a very nice track but it's one that Covenant has written about 30 times already, no? I love the sound but it really isn't much to brag about creatively.

All in all, it's a pretty good album but it does nothing to resolve the "where is this freakin' scene heading?" question. While offering glimpses of brilliance it falls back too often on its predecessors and fails frequently when new ground is covered. It pains me to say that as an old fan with great respect for the artist, but I simply have to disagree with many others who I believe are overlooking flaws out of love for the artist rather than being honest with themselves. I've tried to give this album more than a fair chance, but after 20+ listens I just can't kid myself any longer. Generally I applaud it when bands try to do something new, but in this case they didn't have the guts to go nearly far enough. They got caught in between taking an artistic stand and giving us what they thought we wanted... an unpleasant compromise. ... Read more

Album Description

Originally a Goth-flavored post-punk outfit, the Cure evolved into one of the truly seminal bands of the '80s, and ultimately one of modern rock's most celebrated and influential acts. Guided by creative visionary Robert Smith, the Cure's signature sound balances a dreamy pop savvy with a dark, brooding majesty and fuses superbly crafted, literate songs with a feverish emotional intensity. The band's early catalog-newly remastered and expanded wtih a wealth of rarities-is a series of masterpieces that laid the groundwork for their phenomenal and enduring popularity. ... Read more

Reviews (7)

Not a good follow up
The perfect minimalism of Seventeen Seconds was a hard act to follow. Robert Smith's answer to that was to write a pretentious about religion. I guess back then one had to deal with the demons of Catholicism. Now England is very secular and this theistic world seems very remote. When I first heard this album I probably only liked the U.K. hit "Primary" which they used to play a lot on KROQ too. I liked the emotion of the songs "The Holy Hour" and "All Cats Are Grey." But now listening to them this stuff seems childish and them just trying to hard. I remember at the time Crass and Public Image Limited tried to make statements about religion, and although they seemed powerful at the time, they are laughable now. While this album is a whole just as all their albums are, it yielded another standout track "Other Voices." The Cure also started wearing more makeup and hairspray at this time. Their new discovery of the funereal had an outward manifestation. Albums used to be short back in those days, so this CD offers the original, eight-song album on the first disc, along with "Carnage Visors," originally the B-side for the cassette version of Faith, on CD for the first time. The 15-song bonus disc includes four previously unreleased songs, and live performances from 1980-1981. Most of this stuff is rough. The live tracks from Faith are worthwhile. One of their best early songs "Charlotte Sometimes" was left off the album. That was a mistake.

Utter Perfection
Sleek. Streamlined. Minimalist. Incredibly beautiful and surprisingly varied. Faith manages to capture the Cure at their creative peak. From start to finish, this album is nothing short of perfection. The words and vocals, the music, the production and engineering - they all fall right into place. Nearly all these songs can be considered Cure classics ( for the fans of the band who prefer the darker, more serious Cure to the upbeat, more pop oriented side). Primary. Other Voices. The Funeral Party. And my personal favourite The Drowning Man. All incredible.This remastered and expanded edition sounds terrific as well, which is icing on the cake. The original cd issue on the Elektra label just didn't sound quite right. There was distortion in many of the basslines, and the keyboards sounded hollow and tinny. This version corrects those mastering mistakes. The synths are warm and rich in tone, and the highs and lows in the mix are much easier on the ear. Granted, the subject matter isn't exactly "upbeat" but the messages areimportant, and certainly open to interpretation. Listen to the final, title track. The last words - "there's nothing left but faith" - can be seen as a sign of defeat or of hope, depending on how it is taken. The extras on the bonus disc are a revelation, tracking the evolution of the songs on Faith, from listening to the demos, the songs in their rawest form,to hearing the live versions, where they are performed with complete conviction, if not total technical proficiency. My favourite here has to be the often bootlegged, 10 minute version of the title cut "Faith" performed in Australia and originally featured on the b-side to the Charlotte Sometimes 12" single. "This is the last song it's called Faith" Robert says. Turn the volume up very loud and you can here one lone female scream, then the count-off "one, two, three, four" and the familiar beat kicks in, the mourful bassline, and Robert's signature guitar playing. This IS the Cure.

VERY GOOD
Excellent Re-master. The first 5 tracks on CD 2 are really for those fans that are the most-obsessed. They give a very raw look at what these songs were to become. Boring for those who just want the ironed-out or live versions. I loved them as you can trace the raw elements to the finished works.

Early Masterpiece
No doubt the Cure is an essantial British band, which was responsible for at least a handful of chart hits everyone remembers like

Headlong dive into grey.
Often considered the middle of a trilogy of albums progressively darker in mood, "Faith" is an album about just that, about faith, or lack thereof.It is a stark, almost minimalist album, with Robert Smith handling keyboard as well as well as guitar duties and joined by bassist Simon Gallup and drummer Lol Tolhurst, the album is hushed, almost minimalist-- stretches where notes ring out over the light percussion background, there's little in the way of the ringing guitars that dominated the previous record, and the album is largely unaggressive in its presentation.This actually works quite to the strengths of Gallup and Tolhurst-- with the guitars and keyboards assuming a passive role, the bass is as aggressively voiced and Tolhurst's somewhat limited and minimalist technique match the music beautifully.

In fact, its a dark, funereal tone that drives the majority of this material, songs like "Holy Hour", "All Cats are Grey" and the bizarrely uplifting "The Funeral Party" don't rise in aggression above a sort of dark hazy swell, and even somewhat more aggressive pieces like the fantastic "Primary" and the title track maintain a despondent tone and a sort of hushed feel.The result is largely an album of delicate, fragile beauty, where the rare extroverted moments (the positively jangly "Doubt" and the much more aggressive "The Drowning Man") are somewhat shocking and almost out of place.

For this reissue, the remastering has, if anything added to the album a great deal-- while the record deals in hushed tones and quiet synths, there's no sense of fuzziness throughout the album courtesy of the crisp remastered sound.Again, the liner notes detail the creation of the album (in rather candid tone at that), and the reissue is filled with extra material-- the dark and bubbling (and seemingly endless at 27+ minutes) "Carnage Visors" and the great single "Charlotte Sometimes" are the gems this time around,with again a number of great live takes on material from the album and a series of demos that are interesting but ultimately unfulfilling on their own.

"Faith" is in many ways the musical equivalent of its cover-- a sort of grey album.It has a number of powerful moments, and while it can be a bit overwhelming due to its endlessly dark quality, it is a fine album.Recommended. ... Read more

Album Description

Originally a Goth-flavored post-punk outfit, the Cure evolved into one of the truly seminal bands of the '80s, and ultimately one of modern rock's most celebrated and influential acts. Guided by creative visionary Robert Smith, the Cure's signature sound balances a dreamy pop savvy with a dark, brooding majesty and fuses superbly crafted, literate songs with a feverish emotional intensity. The band's early catalog-newly remastered and expanded wtih a wealth of rarities-is a series of masterpieces that laid the groundwork for their phenomenal and enduring popularity. ... Read more

Reviews (8)

This is really the best of their early stuff
IN the early 1980s The Cure released three albums that would define their musical career. Most of the ideas of all their records are contained on SEVENTEEN SECONDS (1980), FAITH (1981) and PORNOGRAPHY (1982). Every though they created a conventional album, Three Imaginary Boys (1979), Robert Smith changed the course of the band's career with the stark minimal sound of Seventeen Seconds. On bass-driven songs like "Play For Today" and "Secrets" there are barely any guitar sounds. The Cure has created a lot of space and avoided any pop clichÎs. The guitar arpeggios on "In Your House" influenced many Goth bands to follow. There are plenty of instrumentals and ghastly sounds on this record. At the time it was odd to hear and like nothing out there. This record is mostly known for the radio hit "A Forest" which sounds as fresh as ever. This music has aged well. "M" is almost like folk music in a Dylanesque way. It would almost probably be better with vocals and acoustic guitar. A sign of a great album is that there is a great song on it that wasn't a single. For this album it's "At Night." Distorted guitar was never so evocative of a mood. This re-release also includes some live performances from 1979-1980 as well as "I'm a Cult Hero" and "I Dig You," originally released under the pseudonym Cult Hero. This stuff is okay but not necessary. This might be the Cure most successful album. There is a lot of mystery and personal emotion on this record, but it's not really that Goth.

When Rhino puts out a deluxe edition, they always deliver
What's the 4-1-1?
Rhino Records have gone into The Cure vaults along with Robert Smith to bring you Deluxe Editions of two of their most memorable releases. Both are remastered and appear on CD for the first time. In addition to the complete albums, each disc comes with a bonus disc of rarities and unreleased material. Seventeen Seconds contains rarities from 1979-1980 and Faith contains rarities from 1980-1981.

Genre
Post-punk / alternative / gothic / rock

The Good
Highlights from Seventeen Seconds
Drab and dreary piano set the tone of the album on the opening instrumental cut "A Reflection". Eerie background tones help underscore the track. "Play for Today is made up of an up-tempo drum beat, glassine-like keyboards, and watery guitar tones. An infectious little guitar hook goes a long way on "In Your House". I would liken the tone of the song to a hazy dream. "A Forest" employs haunting tones and melodies, backed by thought-provoking lyrics. Fuzzy guitar tones and creepy synths dominate "At Night". Seventeen Seconds" sums up the last moments of your life after committing suicide.

The rarities disc contains "I'm a Cult Hero" and "I Dig You" from Robert Smith's side project Cult Hero. It's more hopeful than any of the tracks Smith penned for The Cure. There are two rough home demos, an alternate mix for Three, and live tracks for every song that appears on the album; even a live version of "I'm a Cult Hero".

Highlights from Faith
" The Holy Hour" begins with a rather indulgent bass line. Robert Smith blends in nicely with his clean guitar tones and his trademark tortured vocals. Driving rhythms run rampant on "Primary". The track is more up-tempo than the usual Cure track, but the story being told is no much on the up-side. Percussion accented by warm keyboard tones prevail on "All Cats are Grey". Smith seems off in the distance as he inflicts his eerie vocals. I wasn't really surprised that church organ tones could be heard throughout "Funeral Party". To keep the mood going, Robert sings like his delivering a eulogy.

The rarities disc contains the unreleased tracks "Drowning", "Going Home Time", "The Violin Song", and "A Normal Story", two raw instrumental demos of "Faith", "The Holy Hour" and "Doubt", live tracks of songs from the Faith album to include a ten minute version of "Faith" and a nine minute version of "Forever", the rare single "Charlotte Sometimes, and an alternate version of "Primary" among it's fifteen tracks.

The Bad
Nothing

The Verdict
When Rhino Records puts together a Deluxe Edition, they always deliver the goods. Not only are you getting rare and unreleased material, which is always a plus, but you're also getting to hear the songs at their best possible quality. It's fun to hear how they went to rough demo to final composition. All of the depressing, sad, and heart-broken moments of your youth can be summed up by the latest remasters by The Cure.

Did You Know?
Rhino has also released The Cure's Pornography as a two CD deluxe addition. I would have reviewed it but after listening to these two, I was ready to slit my wrists.

Rapid evolution, emotional minimalism
The difference between their first album and their second is amazing, and the band's decision to ignore "marketing" concepts in favor of the art itself really paid off. Don't believe the reviews out there that say "A Forest" is the only memorable track; this album has a lot of other strong tracks that I've come to know through their live versions, recorded years later on Show and Paris.

This album makes excellent use of emotional minimalism, similar perhaps to groups like old-school Goth groups like Bauhaus and Joy Division, though aiming more for a subdued and introspective result. Again I think of the music put out by The Police around the same time, particularly Regatta de Blanc. Both albums were significant leaps out of punk rock origins, moving towards more esoteric, psychological, and metaphysical pieces to come.

I just got the album today, so I'm still making my way through the bonus tracks. They are interesting as development pieces; some of them are fairly bootleg-like in sound quality, but they are worth having, as they show the evolution of the songs and give you an appreciation of the band's creative process.

Wrapped up in perfect cover art
This is an awesome, moody little album that fits right in today with the slew of bands going after the early-80s 'post-punk' sound.This disc marks the first of a masterful trilogy that continues with Faith and Pornography.

The Cure are famous for being gloomy, and this album backs it up, but it's not heavy or depressing and it never gets to be too much.Quite the opposite.Some songs are slower, like In Your House, while other like Play For Today (the first track after the instrumental opening) open up with an electronic calling in the back and a punchy little rhythm, immediately catchy, and the perfect length.Three, meanwhile, has the feeling of a dark jingle.At Night has a slow, fuzzy opening and a steady beat, sounding a little like a dark Police.The classic track A Forest sounds even richer in the remastered format.There's the classic Cure guitar, the bobbing basslines, some swishy help from the keyboards in the background to lend that gray atmosphere...it sounds like 1980, it's spot-on.This and Faith and complimented by absolutey appropriate cover art--they just sound like the covers, frankly, a wash of muted colors here, followed by the mysterious gray and faint scribbling of Faith.

Just an addictive album of good songs, with Smith's voice never overbearing, never too much whining, and some very fine singing.Pornography would bring the band to a darker place, with its far more depressed quality.Seventeen Seconds is getting there, but it's minor-key poppy with some very good production.Cure addicts may break it down more in terms of band lineups, but I find the whole release an excellent effort.

Quite frankly, better than most of the bands out there who were in diapers when this was released, you may as well check out the original thing.And at 30-odd minutes, it's the old style of complete, quality beginning-to-end albums perfect for a slow day at home, preferably in the middle of the week when it's raining.

The new Cure remastereds are excellent, a real value for fans.For one, the sound is vastly improved--just compare any track on here, but especially 'A Forest', with your old AAD disc--big difference.The bass is bigger, punchier, the sounds are all clearer and brought up front.The older, unremastered rock albums really do suffer with the original CD format--everything is flattened right out to the middle, while the new discs bring much-needed oomph to everything.The second disc is full of goodies, from demos to live versions of nearly the entire album in great sound quality.And of course, nice liner notes with actual notes, old pictures, the whole job.Quality re-release in this era of downloading, however, it must be said that these sets are BIT on the pricey side, but will likely be a must for fans of this album (and the following two).

A beginning.
With the exit of bassist Michael Dempsey and his replacement by Simon Gallup and the addition of a keyboard player (Matthieu Hartley), Robert Smith finally had the pieces he needed to begin developing his sound.While since hampered by the technically limited Lol Tolhurst (drums), "Seventeen Seconds" surrenders the jaunty off kilter punk-pop of the band's debut for a more melancholy sound, easily evidenced by the guitar and piano duet instrumental that opens the album ("A Reflection").While the album is probably not as strong as either the debut or the material that would come after, it stands well enough on its own.

The impact of Simon Gallup on the Cure cannot be expressed clearly enough, his presence is easily noted throughout the record, and the best material on the album (the haunting "Play For Today", the unnervingly brilliant "A Forest") all is pushed from behind by Gallup's assertive and confident basslines.

One of the problems with the album though is that it tends to fall into a sort of mid-tempo malaise (the superb "M" being the most notable exception), with mechanical drumming ("In Your House", "Three"), often inaudible vocals ("Secrets"), and abrupt and unnerving cut offs ("The Final Sound", "Seventeen Seconds").Still, even with its flaws, the record is really a dramatic shift and a great signpost for the future.

As with the rest of this series of reissues, the sound is fantastic-- "Seventeen Seconds" really benefits from the cleaned up sound.The bonus disc is full of interesting material, I could take or leave the Cult Hero stuff, I'm happy to have it, but quite honestly, it sounds like its sung by a postman (which it is), the demos again are very intriguing (much more guitar driven) and interesting from a historical perspective, but not really the kind of thing you'd sit and listen to.The live material fares better, with many pieces getting readings far superior to the album versions ("Seventeen Seconds" stands out in particular).

Like "Three Imaginary Boys", this is a beginning for the band-- they'd do better things in the future, but this is a good album and well worth investigating. ... Read more

Amazon.com

As Greatest Hits--and particularly the busking pavement jazz of"Lovecats"--reminds us, the best Cure singles were very often tangentialexercises; they offered a goth-free playtime divergence from some of theweightier studiousness of those early albums. Or, as smudged frontman RobertSmith says of this 18-track collection, "Songs that are sung with a smile." Thiswasn't always true--witness the refrigerated fogginess of the classic "AForest," the Blair Witch Project of its day. What this compilation doesis focus attention on the Cure's perennial unpredictability--the breathlessclaustrophobia of "Close to Me," the New Order-lite of "The Walk," the brass- section embellished thrust of "Why Can't I Be You." Oddly, chart-wise, theCure's lost weekend began immediately after "Friday I'm in Love," their mostebullient melodic moment and the ultimate "clocking-off to kick those heels"anthem. But at least the inclusion of two new songs, "Cut Here" and "Just SayYes" (with Saffron from Republica), indicate that the Cure remain a healthy,ongoing concern.--Kevin Maidment ... Read more

Reviews (56)

What's the point???
The Cure have already put out one of the most celebrated best-of's of the rock era, "Staring At The Sea", covering all the singles from their 1979-1985 period (definitely the fans' favorite era). They followed it up a few years back with an admirable companion, "Galore", which picked up where the previous volume left off. Those two CD's give you every single the Cure released up through 1997. I would suggest picking those two up and leaving this one (which only scrapes together a few choice selections from those albums and throws in two new songs) in the dust. If "Greatest Hits" at least contained two of their biggest breakthrough hits from "Disintegration" ("Fascination Street" and "Pictures of You"), I could recommend it for an ultra-casual fan, but without those two songs it barely merits mention. It doesn't even contain anything from "Bloodflowers", their last stuido album, the only one not covered on "Staring At The Sea" or "Galore". The completist will want it for the two new songs (what a [bad move] move by the band and the record company), but for the casual fan, get the previous two compilations and enjoy!

THE POINT TO THIS GREATEST HITS ALBUM BEING RELEASED....
In August, 2004 - the Cure will be coming out with remastered versions of 'Pornography', 'Faith', 'Seventeen Seconds', & then they will possibly move on to remastering their latter albums

This greatest hits album, is remastered - Robert Smith knew he wanted his Cure albums remastered, which is why he decided to come out with another greatest hits album to kick off the remastered versions of the Cure's albums, everything more clear now?

Now if you're actually looking for a review on the album - get it, pick it up , awesome music... of course, it's from one of the greatest bands ever

please!
The reason for my low grade is that they already released two greatest hits albums which are both better than this one. Besides, The Cure's appeal isn't just amazing melodies, it's that dreamy, beautiful layered sound they have, and creating a certain mood. Perhaps it's better for the casual listener to get a greatest hits thing just to get a feel for the styles and evolution of the band before they get something like, say Seventeen Seconds which requires some patience before that "cure understanding" sinks in...but there's not even anything from Pornography on here, so you might as well get Staring at the Sea first, like I did. When I got that one, my first taste of the Cure, I loved every song on it but I still found it kind of an awkward listen, because all the different styles sounded wierd together. Still love it though, because it depicted the Cure as they were and still are, a creative, versatile band who aren't afraid to experiment with a vast array of styles and moods. But anyway, Greatest hits albums aside (it really doesn't matter that much which one you get...it's just preference), to me The Cure has always been an album-band. Their individual albums are probably the reason they have such a huge following. Some of them, like Disintegration are like a spiritual experience of some kind, and I know I'm not alone in my feelings about this. The acoustic disc is pretty cool though.

Average
There are some songs that do deserve to make the cut of greatest hits on that cd but tell me here where is "The Kiss" and "The Hanging Garden" tow ultimate deserving songs. Dissppointing over all

"Fascination Street" should have been on here!
I was wondering why would they put a Greatest Hits album four years after they already did one in 1997. But this album goes back to 1979 and moves forward to 2001. Very dynamic album all the way through and I like "A Forest" from 1980 just as well as the songs I've heard from them since 1987. "Lullaby" has such a funky beat that I'm sure some hip-hop artist will sample it for a song. I still love "Love Song" to this day, even 311's recent remake is no contest to the original. It has that '60s feel to it, but keeps a modern 1989 feel all throughout. I wished that they'd put "Fascination Street" on here--that rumbling bass guitar just drives that song and it would have fit on the album. "Just Like Heaven" and "Friday I'm In Love" have nearly the same identical sound and pace. "Wrong Number" shows that they could ride on that electronica sound quite well. They can do dark-themed songs so well, yet make them seem upbeat without that depression feel that Depeche Mode does. They got experimental on the later releases, but their knack for catchy songs, strong guitar leads, and dramatic rhythm sections are what have made them a superb band. Robert Smith's singing had lots of range to it and he delivered on all of the band's songs. The Cure are going to be talked about for a very long time! ... Read more

Amazon.com essential recording

Nine Inch Nails are a pretty amazing phenomenon when one considers what they--um, he--have done with just a few studio recordings. The Downward Spiral, NIN's second full-length album, is just as packed with vitriol as Pretty Hate Machine and the EP Broken--and has just as solid a base of pop hooks that go a long way toward explaining NIN's popularity. Most recognizable is the down-tempo single "Closer," which remains a staple of dance clubs everywhere. But for the most part, the album is all heavy beats and aggressive guitars--industrial music with a pop angle. That winning combination is what makes Trent Reznor a law unto himself, becoming insanely popular while the main body of industrial music retains its subculture status. --Genevieve Williams ... Read more

Reviews (471)

One of essential 90s records
Trent Reznor's Nine Inch Nails is something of a cultural phenomenon. While being a fairly abrasive industrial act with a touch of underground flavor, it still had all the attention of the masses (that is, until Marylin Manson showed up on stage), and gained popularity that most other bands will never see even in their dreams. This album is NIN's best so far, it represents Reznor's creativity well and shows what this is all about.

Having both feet planted firmly in the legacy of industrial gods Ministry, Nine Inch Nails managed to add all the popular influences of the era to this timeless classic. One thing that's clearly audible is a bow towards grunge. I'll even go as far as calling this record "Nirvana plays in a steels factory".

Describing this album is pointless. It has to be heard. It combines angst, sadness, frustration, fun and violence, all in one. These feelings aren't in the lyrics alone, they also shine through every instrumental track and sample out there. Playing, programming and overall execution is superb, absolute perfection. This is a top-notch industrial metal album, one of the 4 CDs that define the genre (also included Ministry "Psalm 69", Fear Factory "Demanufacture" and White Zombie "Astro Creep 2000"). Unless you are allergic to hard-hitting music, or grunge-styled lyrics, you'll want to buy this record.

And in case you were wondering, yes, I think this Trent Reznor's record alone is by far superior to anything Marylin Manson (Reznor's creation, by the way) ever put out.

Not music, ART
This album is truly life-changing! One of the most uncompromising albums ever, it took me over a year of constant listening (i just didn't get it the first time i heard it) until i finally realized its genius. I hated it, i was truly offended by the lyrics and evil-sounding music, but in the end discovered that these are what makes the album great. i have yet to hear anything so angry and full of despair and pure pain (next in line would be BROKEN, also by nin). this leaves no doubt in my mind that trent is crazy or really (mad), not just faking it. it still disturbs and provokes me, and i hear some new sounds every time i listen to it. so deep and intricate. unlike a typical electronic album, nin doesn't abandon guitars (the amazing solo on "ruiner") or bass (good basslines throughout, including "piggy", "mr. self destruct", etc) OR even drums (half the songs have significant percussion intros or elsewhere, especially the fantastic work at the end of "piggy"). some of the most genuinely creepy and abrasive sounds you will ever hear. every song is different, every song is important, and as most know its a concept album which takes the listener on a sick twisted journey through the spiral of hell! every song is like its own demented world that creates unbearable tension and a variety of feelings. the ONLY time i ever listen to it is at night, all the lights off, laying in bed just really hearing it... it actually doesn't sound that good in the daytime as a "car album" or something... TRY IT, it actually left me scared at night when i first did it! anyways, THE FRAGILE is fantastic but trent will never outdo this. this album stands as a masterpiece that captured the purest of all the most loathable creepy-crawly feelings wrapped into genius songwriting talent and a sonic explosion that has yet to be paralleled! good listening!

hot topic ??? the nirvana of industrial music
you call this crap music, my grandma makes better... get into real music with real guitars not this satanic techno crap... try children of bodom, pink floyd, or the cars if you want nice keyboard