Fairly Hate Machine is a bridge between two worlds — between the gothic post-punk discotheque of the Nineteen Eighties and the gritty, chaotic most pit of the Nineties. One aspect nonetheless has the danceable beats that may have been acquainted within the period of latest wave, liberty-spiked hair, and safety-pin nostril piercings. The opposite has the tough and morose character that may typify industrial and different steel within the post-Chilly Warfare period, lined with smoke machines and chain-link fences.
It is also a bridge between two stylistic worlds: digital and guitar-driven music. After all 9 Inch Nails wasn’t the one entity bringing these two darkish realms collectively. Amongst Trent Reznor‘s contemporaries, KMFDM had made forays into heavy guitars on UAIOE (particularly on “En Esch”) and Ministry had already breached the boundaries on 1988’s Land of Rape and Honey and continued to iterate on the type with The Thoughts Is a Horrible Factor to Style. However Fairly Hate Machine would set a course to interrupt the sound absolutely into the mainstream, in order that main music publications, rock radio, MTV, offended youngsters, and anxious dad and mom would all know the identify 9 Inch Nails.
On November 15, 1989, Reznor gave an interview by which he described the album’s title and driving inspirational drive:
“I had an enormous checklist of names for the album and I ended up trashing virtually all of them. Lastly, I got here up with Fairly Hate Machine. I believed it was a great way to explain the music as an entire, which means ‘Machine-generated music’. It’s digital, which is derived from keyboards, that are machines. There may be a whole lot of hate, anger and emotion in each the lyrics and music, the album is a ‘fairly hate machine.'”
Certainly, the album performs like a manifesto of grievances in opposition to authoritarianism (“Head Like A Gap”), former lovers (“Horrible Lie,” “That is What I Get,” “One thing I Can By no means Have”), and life itself (“Down In It”). Whereas a number of the album’s 10 tracks have a primordial character by way of the music and the phrases are noticeably stamped with Reznor‘s youthful perspective — the person solely being 24 when the album was launched — just a few stand out for each sonic and lyrical excellence.
“Head Like A Gap” is certainly the album’s most well-known tune. A staple of the band’s reside exhibits (NIN changing into a “band” out of necessity after the album’s launch in order that Reznor might mount a tour in assist), the observe boasts infectious synths, heavier guitars, and anthemic lyrics that may mix effectively with the placing music video. The video presents the viewer with a mixture of the band and montages of various footage in each black-and-white and colour as effectively results that give the video an unsettling and hypnotic impact. The video, very similar to the album, straddles the aesthetics of the 80s underground and the approaching cultural shifts of the 90s. On this means, it is each a illustration of the assorted scenes Reznor resided in whereas additionally being a fruits of what got here earlier than it.
The tune additionally holds up extraordinarily effectively reside, as I discovered once I noticed NIN in Newark, NJ in 2013 with Metallic Injection‘s fearless leaders Frank, Rob, and Greg. Humorous, that was virtually precisely 11 years in the past immediately!
Two of the album’s heartbreak-oriented songs maintain up particularly effectively for displaying catchy digital work and significant lyrics. “Horrible Lie” has an ominous character, evoking the sensation of childlike terror that usually comes within the aftermath of extreme heartbreak. That is very true of the part the place Reznor repeats “Do not tear it away from me / I want somebody to carry on to.” Likewise, “That is What I Get” explores all method of betrayal, backed up by irresistible synth work. The lyrics on this case in all probability learn as a little bit adolescent, however bear in mind, pricey reader, that you simply had been 17 as soon as too. And nobody can deny being transported again to their first earth-shattering romantic loss on the 2:21 mark.
However the heaviest blow is reserved for observe 5, “One thing I Can By no means Have.” The tune is a sluggish, plodding, atmospheric monument to grief and mourning that transcends its authentic creation. To today, the tune is a troublesome hear for me, because it brings me again to a few very distinct occasions in my life, coincidentally from my early 20s. The unhappy, somber traces match Reznor‘s lyrics: “Gray could be the colour / If I had a coronary heart.” For anybody who’s ever misplaced somebody near them or had one thing very particular crumble, I haven’t got to elucidate these phrases to you:
“On this place it looks like such a disgrace / Although all of it seems totally different now, I do know it is nonetheless the identical / In all places I look you are all I see / Only a fading fucking reminder of who I was”
Nevertheless, listeners should not sleep on the remainder of the album, particularly in the event that they’re trying to get down! “Down In It,” “Kinda I Need To,” “Sin” and “Ringfinger” would slot in properly at a contemporary membership’s “Goth Evening” celebrations alongside Depeche Mode and New Order. Songs like these sit neatly within the vibe of a world the place the Berlin Wall nonetheless stood and the web was largely the realm of tech-experts and early recreation builders. On the similar time, their darker moments presage the place Reznor would take listeners on The Downward Spiral years later — with “Head Like A Gap” being the signpost to 1992’s ultra-heavy Damaged EP.
There’s just a few songs that sound like prequels to ones that may come later in Reznor‘s profession. “Ringfinger” appears like a preview of “Heresy,” “Sanctified” for “Ruiner,” and “One thing I Can By no means Have” units the template for Reznor‘s sadder output like “Damage,” “Proper The place It Belongs,” and “Zero Sum.”
After all, the lyrics on “The Solely Time” and the semi-rapping on “Down In It” have some awkward and foolish moments, however Reznor was coming from a real artistic place. And that entails attempting issues and taking inventive dangers, relatively than a soulless train of “optimization” and market-tested perfection, buttressed by inhuman algorithms and superficial social media consensus.
Though Fairly Hate Machine bears some indicators of its artistic birthday, it has efficiently transcended the destiny of some contemporaries to change into often called a traditional of the style. Though it got here out in 1989, it was an enormous favourite of me and a few of my mates rising up within the early-2000s, and continues to be an influential report for newer industrial acts spawning to today.
