Oh, 191st most acclaimed album of all time, you let me violate you, you let me desecrate you, you let me penetrate you, you let me complicate you. A 1994 industrial bellwether is this week's Counterbalance.
Mendelsohn: If there was one album that could concisely sum up my musical taste as a teenager, it would be Nine Inch Nail’s The Downward Spiral. In 1994, I was wandering around the rock and roll wilderness, trying to find my way with nothing more than a couple of Rush records and a mixtape of Pink Floyd’s greatest hits. Then the video for “Closer” hit MTV and my world changed. A path opened up in the woods and I was shown the way into my rock and roll. I spent the next couple of years listening to The Downward Spiral record, along with the rest of the NIN archive, plus a myriad of less talented bands who were proffering the industrial rock that was fighting for ears in the mid ‘90s. None of it was as well thought out as Trent Reznor’s vision. Some of it was downright terrible (obligatory finger pointing at Marilyn Manson—not the worst, but a frequent and repeat offender). By the end of high school I had cut my long hair, boxed up the black t-shirts and acquired a marginally better taste in music. I would check in with Nine Inch Nails from time to time over the last decade but it seemed that aside from the ardent following Reznor had built for himself, there was little cultural currency left in the newer albums, as he drifted into an atmospheric approach that lent itself better to movie scores than rock albums.