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| With Teeth | 
 enlarge | Artist: Nine Inch Nails
Label: Interscope Records
Category: Music
List Price: $13.98
Buy Used: $4.53
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New (39) Used (44) from $4.53
Avg. Customer Rating:  714 reviews
Sales Rank: 6177
Format: Explicit Lyrics
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
MPN: 000455302
UPC: 602498813546
EAN: 0602498813546
ASIN: B000929AJQ
Release Date: May 3, 2005
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Nine Inch Nails -- With Teeth May 5, 2005
10 out of 11 found this review helpful
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.
 So mediocre as to barely warrant comment May 3, 2005
9 out of 17 found this review helpful
I remember how, in 9th grade, when Pretty Hate Machine had just come out, I played it on an almost nightly basis. It was definitely a breath of fresh air, and the fact that it sampled both Jane's Addiction and Prince gave me a warm fuzzy feeling.
The Downward Spiral came out my first year of college, and I enjoyed it quite a bit, though I was in the process of growing out of the "angst music" phase of my life, gravitating more towards bands like Pavement and My Bloody Valentine.
I didn't actually even listen to The Fragile until about six months ago, when a younger industrial DJ friend of mine played it for me. I was surprised at how good it was.
And now, we have With Teeth. First off: The first and last songs on the disc are actually quite good. Unfortunately, everything inbetween sort of flows seamlessly together as a montage of reasonably generic guitar-rock with precious few original hooks and barely a clever lyric to be found.
By the fact that it took him so long to make this album, one would expect something, if not good, at least RADICAL. Such is not the case. Again: this is basically just straight-ahead and uninspired guitar rock. I won't even speculate as to why Trent chose to go this route, but I can virtually guarantee this will be his worst selling album, and for very good reason. It's not bad, it's something worse: utterly mediocre. If this was what he was going to release, he should have been able to write it in six months.
 Another great album from Trent Reznor May 4, 2005
9 out of 10 found this review helpful
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."
Reznor's musical genius continues... May 5, 2005
9 out of 9 found this review helpful
After reading many of the reviews here (while waiting on my preordered copy to arrive) had me feeling somewhat skeptical as to the quality to expect in this new album. When my copy came in yesterday, and I finally had a chance to give With Teeth a whirl, I absolutely loved it. This album is definitely more accessible than The Fragile, and reminds me of Pretty Hate Machine mixed with a little of The Fragile. Trent continues his musical genius, and puts out another phenomenal album. Five years is a long wait, but Reznor always makes it worthwhile.
As a side note, unlike many of the reviews I have read here, I loved The Fragile. It seems to me that many of the negative reviews of The Fragile, as well as With Teeth are a result of unrealistic expectation that Trent should just keep putting out replicas of The Downward Spiral. While TDS was a great work (and one of the best albums of that decade), it is a bit redundant to expect every NIN cd to resemble it. I recommend anyone reading this to ignore all of the negative reviews, keep an open mind, and buy the cd.
A sad day for fans of the old NIN... September 9, 2005
9 out of 14 found this review helpful
I hate to say it but this cd is pretty bad. First off, I'm a major fan of Reznor's work. I have almost every Halo (and there's a lot) even though most of them were just for bragging rights since they were $15 for a few remixes of old songs. I thought that "The Fragile" was a slight step backwards. The cd was so much more radio ready than his earlier work. so I had white knuckles going in to buy this album... so many ways this could have gone... so many ways could have been better.
Here's the thing about music, the bands or groups that have been around for a while, 10 years or so, ultimately want to reinvent their wheel. They update their sound, maybe mix genres and hope they can grab some new fans while not losing too many old ones. The perfect example of this is Metallica... I mean, just look at what they've become! Yuck. Anyway, this is definately a new direction for Nine Ince Nails.
Here are my problems with this cd. Let's face it, Trent has always been kind of a whiner. He's always moaning and groaning about this and that. He doesn't even have a good singing voice, which isn't a bad thing because his music always picked up the slack. The mix of beautifully aggressive beats and a deeply depressed and wasted man trying to sing along seemed to work for whatever reason. On this album, there are no crushing beats, none. Sorry to burst eveyone's bubble. If you think there's a "hardcore" song on this album you are sadly mistaken. The only one that almost qualifies is "You Know What You Are" but it never comes to fruition. It's as if Trent is holding back for a big finish, but it never comes. What a waste. So now we're left with an album that has bad singing, mediocre beats, sprinkled with the occasional curse word so we know trent isn't a complete pansy. But in the bad singing we're able to now hear the crappy lyrics.
I find it interesting that musicians can change their musical syles with little or no regard to their loyal fans, but they almost never update their lyrics. NIN is no exception. If you've heard the lyrics to one song, you've hearn them all. Here, I'll break it down for you:
1. Everyone is fake.
2. I'm so lost and depressed.
3. God sucks and so does everyone who goes to church.
4. I got my heart broken almost 20 years ago and I'm still obsessed with it.
I mean really, what is "there is no you, there is only me" supposed to mean? Is that supposed to be artistic and deep? Nah, it's lame. And when you repeat it over 2 dozen times in one song... it becomes uber lame. At first I thought that this album was a touch better than The Fragile but after having a good number of weeks to come back to it a few times, it has become a beer coaster. Save you money folks. Buy "The Downward Spiral" and maybe "The Fragile," but I wouldn't waste your money on this one if I were you.
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