Nine Inch Nails / The Downward Spiral
Artist Nine Inch Nails
Album Title: The Downward Spiral
Album Cover:
Primary Genre Alternative
Format CD
Released 12/16/1994
Label TVT Records/Interscope Records
Catalog No 7 92346-2/HALO EIGHT
Bar Code No 7 6544-92346-2 0
Packaging Jewelcase with Sleeve
Tracks
1. Mr. Self Destruct (4:30)
2. Piggy (4:24)
3. Heresy (3:54)
4. March Of The Pigs (2:58)
5. Closer (6:13)
6. Ruiner (4:58)
7. The Becoming (5:31)
8. I Do Not Want This (5:41)
9. Big Man With A Gun (1:36)
10. A Warm Place (3:22)
11. Eraser (4:53)
12. Reptile (6:52)
13. The Downward Spiral (3:56)
14. Hurt (6:13)
Date Acquired 04/01/1994
Personal Rating
Acquired from Let It Be
Purchase Price 15.00

Web Links

All Music Guide Entry:
Discogs Entry:
MusicBrainz Entry:
Wikipedia Entry:

Notes

Notes:
Slipcase with a 28-page booklet and a slimline jewel case with a j-card. No sticker.

Booklet: © 1994 Leaving Hope/TVT Music, Inc., ASCAP
J-card: ℗&© 1994 TVT/Interscope Records
Slipcase: ℗&© 1994 Nothing/TVT/Interscope Records
CD: ℗&© 1994 Nothing/TVT/Interscope Records

Spine of slipcase: 7 92346-2 / halo eight
Back of slipcase: 92346-2
Back of slipcase: halo eight
Spine of j-card: CID 8012/522 126-2
Label of disc: 92346-2
Label of disc: halo eight

Back of slipcase: Printed in USA
Back of j-card: exclusively licensed to Island Records Ltd. in the UK

Credits:
Artwork [Package] – Gary Talpas
Booking – Artists & Audience, Gerry Gerrard
Design [Package] – Gary Talpas
Edited By [Continuity] – Charlie Clouser, Chris Vrenna, Trent Reznor
Engineer [Additional] – Alan Moulder, Bill Kennedy, Brian Pollack, Chris Vrenna, John Aguto, Sean Beavan
Engineer [Live Audio], Coordinator [Live Audio] – Sean Beavan
Engineer [Mixing Engineer] – Alan Moulder (tracks: 1 to 8, 10 to 13)
Legal – Michael S. Toorock
Lighting, Set Designer – Jan Pieter Nipius, Roy Bennett
Management [For Conservative] – John A. Malm Jr.
Management [Merchandise] – Jerry Long
Management [Nothing Records] – Tony Ciulla
Management [Publicity] – Formula, Sioux Zimmerman
Management [Road] – Mark O'Shea
Mastered By [Mastering] – Tom Baker
Other [Assistance] – Chris Vrenna, Maise
Painting [All Paintings] – Russell Mills
Photography – David Buckland
Producer [Produced By] – Flood (tracks: 1, 2, 5 to 7, 10 to 12)
Production Manager [Live] – Kevin Lyman, Ray Woodbury
Sampler [Additional], Electronics [Sound Design] – Chris Vrenna
Written-By [Writing], Arranged By [Arrangement], Performer [Performance], Producer [Produced By] – Trent Reznor

Companies, Etc,:
Phonographic Copyright ℗ – TVT Records
Phonographic Copyright ℗ – Interscope Records
Phonographic Copyright ℗ – Nothing Records
Copyright © – TVT Records
Copyright © – Interscope Records
Copyright © – Nothing Records
Copyright © – Leaving Hope
Glass Mastered At – Specialty Records Corporation
Pressed By – Specialty Records Corporation
Manufactured By – Atlantic Recording Corporation
Distributed By – Atlantic Recording Corporation
Recorded At – Pig (3)
Recorded At – Record Plant, Los Angeles
Recorded At – A&M Studios
Mastered At – Future Disc

Barcode and other identifiers:
Barcode (Text): 7 6544-92346-2 0
Matrix / Runout (Variant 1): [Specialty Records Corporation Logo] 3 92346-2 SRC**01 M2S3
Matrix / Runout (Variant 2): [Specialty Records Corporation Logo] 3 92346-2 SRC**01 M2S1

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Analyzed Folder: Nine Inch Nails - The Downward Spiral_dr.txt
----------------------------------------------------------------------------------------------
DR         Peak         RMS      Filename            
----------------------------------------------------------------------------------------------
DR07   -0.22 dB   -11.09 dB  01 - Mr Self Destruct.aif    
DR11   -0.22 dB   -15.16 dB  02 - Piggy.aif      
DR08   -0.22 dB   -09.68 dB  03 - Heresy.aif          
DR07   -0.22 dB   -09.85 dB  04 - March Of The Pigs.aif    
DR09   -0.22 dB   -10.91 dB  05 - Closer.aif          
DR08   -0.22 dB   -10.65 dB  06 - Ruiner.aif          
DR10   -0.22 dB   -13.25 dB  07 - The Becoming.aif    
DR08   -0.22 dB   -10.49 dB  08 - I Do Not Want This.aif  
DR05   -0.22 dB   -07.64 dB  09 - Big Man With A Gun.aif  
DR09   -7.19 dB   -19.84 dB  10 - A Warm Place.aif    
DR06   -0.22 dB   -09.18 dB  11 - Eraser.aif          
DR08   -0.22 dB   -10.83 dB  12 - Reptile.aif        
DR09   -0.22 dB   -13.13 dB  13 - The Downward Spiral.aif  
DR10   -0.22 dB   -15.80 dB  14 - Hurt.aif      
----------------------------------------------------------------------------------------------
Number of Files: 14
Official DR Value: DR8
----------------------------------------------------------------------------------------------

Reviews
All Music Guide Review by Steve Huey:

The Downward Spiral positioned Trent Reznor as industrial's own Phil Spector, painting detailed, layered soundscapes from a wide tonal palette. Not only did he fully integrated the crashing metal guitars of Broken, but several newfound elements -- expanded song structures, odd time signatures, shifting arrangements filled with novel sounds, tremendous textural variety -- can be traced to the influence of progressive rock. So can the painstaking attention devoted to pacing and contrast -- The Downward Spiral is full of striking sonic juxtapositions and sudden about-faces in tone, which make for a fascinating listen. More important than craft in turning Reznor into a full-fledged rock star, however, was his brooding persona. Grunge had the mainstream salivating over melodramatic angst, which had always been Reznor's stock in trade. The left-field hit "Closer" made him a postmodern shaman for the '90s, obsessed with exposing the dark side he saw behind even the most innocuous façades. In fact, his theatrics on The Downward Spiral -- all the preening self-absorption and serpentine sexuality -- seemed directly descended from Jim Morrison. Yet Reznor's nihilism often seemed like a reaction against some repressively extreme standard of purity, so the depravity he wallowed in didn't necessarily seem that depraved. That's part of the reason why, in spite of its many virtues, The Downward Spiral falls just short of being the masterpiece it wants to be. For one thing, fascination with texture occasionally dissolves the hooky songwriting that fueled Pretty Hate Machine. But more than that, Reznor's unflinching bleakness was beginning to seem like a carefully calibrated posture; his increasing musical sophistication points up the lyrical holding pattern. Having said that, the album ends on an affecting emotional peak -- "Hurt" mingles drama and introspection in a way Reznor had never quite managed before. It's evidence of depth behind the charisma that deservedly made him a star.
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