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Trent Reznor and Atticus Ross at the GQ Global Creativity Awards (2024)
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Nine Inch Nails (2007)
Pretty sure it’s just Trent
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Billboard magazine July 22, 1989.
I’ll have to research if the promotional 12” was available in August.
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Nine Inch Nails' And All That Could Have Been DVD, released on this day in 2002. I found a folder of raw screengrabs from 2001, during the editing process, where some of the footage was still interlaced from the consumer DV cameras I filmed on in 2000. Here are some enlarged details, which have a phenomenal early-digital texture to them now, and it’s remarkable to see the resolution we were working with to put that film together (these were direct TIFF frame outputs from FCP - all the compression you see in here is from the camera!)
I always loved the way interlaced frames digitally ripped an image apart, and it inspired me in the creation of the “With Teeth” visual aesthetic a couple years later. In 2004, as the prosumer digital video world was continuing the clunky transition away from interlacing, I discovered the first version of Apple’s Motion software did not know what to do with interlaced footage, and would in fact render the interlacing as part of the video when you zoomed into it. That happy glitch accident formed the aesthetic foundation of the video for “The Hand That Feeds.”
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trent reznor photographed by joseph cultice.
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Trent Reznor – Nine Inch Nails
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Hard to believe Nine Inch Nails' classic The Downward Spiral is 30 years old today! Here is some detail photography I took of the original album cover painting by Russell Mills for the 10th anniversary deluxe edition release, which I had the unique honor of designing, and somehow that is now 20 year old.
Everyone has that one album that hit at just the right moment of adolescence to change their perspective on music and get them through their teenage angst. The Downward Spiral was that album for me, released as it was in 1994, when I was a freshman in high school (and an absolute banner year for music/films/games all around). I must have stared at the artwork for hours over those years, without even much detail to draw from on its tiny 5” CD slip case. So five years later, when I found myself inexplicably working for Nine Inch Nails, it was surreal to see the actual original painting in the flesh, hanging as it was at the time in Trent Reznor’s office at Nothing Studios, New Orleans.
I was struck by how much dimension and texture there was in the artwork that never translated on that tiny slipcase printing, how much detail was happening in the physical materials of the art: Flies, moths, wires, blood… I had been staring at this “painting” for so long, yet suddenly it was like I had never seen it before. I also noticed that it had aged - the wires had wilted over the years, drooping down from their original position as captured in the original album cover (interestingly, judging by the photo posted today by NIN, the piece has since been restored); a tooth was missing from the other main piece.
That experience stuck with me and it was the first thing I thought about when the task of re-imagining the album package fell upon me in 2004. I wanted to re-photograph the artwork, subtly updating the cover to show that ten years had changed it physically, much like our perceptions of art and music and memories change over time with perspective. I also wanted to dig into the previously unseen details of the work and explore it with my macro lens, so that fans like me, old and new, could have new layers of texture to pore over for hours while listening to a legendary album.
Happy birthday, old friend.
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NINE INCH NAILS
THE COLLECTOR
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Nine Inch Nails - 1995 Footage by Simon Maxwell
Thanks to @cold-black-and-infinite for sending me this live show!!!
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Trent Reznor and Atticus Ross on "Bones and All" (2022)
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Here are some close-up looks at the new edition of analog(oblivion) 000 as I get these ready to start shipping this week from my home print shop! Despite how it sometimes appears, these are all photos of the actual paper; every pixel of the CRT from the original captures is preserved in crisp detail:
This second edition print is actually an entirely different piece from the sold-out first edition: Whereas the first one was the art used on How to Destroy Angels' Welcome Oblivion CD cover, this is the variant seen on the vinyl cover. Variations were important to the overall presentation of this art: The figure shifting in and out of phase, altering your perception of its presence depending on where you saw it, gave an unsettling feeling that its presence was liminal, bringing to printed stills the constant turbulent motion of its analog VHS/CRT glitch origins.
If you had the original download version of the album, you’ll remember how the embedded artwork changed from track to track until the figure eventually dissolved into, well, oblivion. So I wanted to take a unique approach to these prints that reflected the intention of all these variations.
If you’re wanting prints or video prints or holiday cards from me before Christmas, please get those in TODAY! Attach a note to your order if you want a custom holiday greeting on the included sticker.
All of my limited edition prints are personally signed/numbered fine art giclée prints on archival matte paper, printed by me to personally ensure the finest museum quality on 308gsm German fine art paper at ultra high 1440dpi print resolution, and packed/shipped worldwide with care by my wife Steph from our home studio in Tacoma, WA. Every print comes with a signed certificate of authenticity and an exclusive sticker.
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