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I like the idea of working in an album-sized chunk, you know, and I never looked at Nine Inch Nails as a project that would be a hit-driven, single-based kind of thing.
As long as it feels valid to me and feels sincere, I'll do what I do under the moniker of Nine Inch Nails if it's appropriate. I would hate to think I would ever be in a position where I'm faking it to get a paycheck.
In Nine Inch Nails, I've been the guy calling the shots since inception. I'd gotten used to that.
Self-examination with a close-up mirror in an antiseptic environment is what Nine Inch Nails is based on.
There's always been an element of 'right time, right place' to Nine Inch Nails. When we stepped onstage at Woodstock '94, I could sense it. I get goosebumps thinking about it now. Like, 'I don't know how we did this, but somehow we've touched a nerve.'
But the exposure we got by doing the stint with Nine Inch Nails brought us a lot of attention.
I've always liked the heavier stuff. I've always loved Tool and System of a Down, Korn and Nine Inch Nails.
Though I still have no semblance of a life outside of Nine Inch Nails at the moment, I realize my goals have gone from getting a record deal or selling another record to being a better person, more well-rounded, having friends, having a relationship with somebody.
With a Nine Inch Nails show, I'm building on a legacy that comes with a certain set of expectations. I have to push that forward, I have to reinvent myself, I have to feel current and valid.
I don't know, when I was a kid, when I would see shows that changed my life, I would go to see shows where there was my mother taking us to see classic rock concerts, like Zeppelin, or when I saw Pink Floyd or when I saw, you know, when I was a little older, and I saw Nine Inch Nails, and I saw The Cure.