The Becoming: The Growth of Nine Inch Nails
                  By Allison Broesder

	The latest Nine Inch Nails release fell on almost silent 
ears as review after review dismissed it without giving it a 
fair chance. Although And All That Could Have Been is classified 
as a live album (on DVD and VHS) it is the companion disk Still that 
several critics have glossed over. The deconstructed tracks from 
previous works along with the newer pieces demonstrate the growth 
in Trent Reznor as a musician, from the days of Pretty Hate Machine 
to this latest release. It is this growth that makes the album Still 
worth owning. Its complexity and depth are not easily found with a 
first or second listen, but must be appreciated in several sessions 
that perhaps other albums would not require. It is the use of new 
themes and ideas that display a growth of the music in ways that were 
only hinted at on previous works, and possibly a preview of things 
to come in the future. Comparing the originals with the new versions 
on Still, as well as analyzing the new songs, can allow the growth 
of Nine Inch Nails to be examined in a clear way. 

	Still begins with a deconstructed version of Something I 
Can Never Have, originally found on 1989's Pretty Hate Machine. 
The original Something I Can Never Have was a dark song, full of 
bitterness surrounded by electronic noise with the piano hidden 
in the back. The voice on the Pretty Hate Machine version is 
younger, somber, yet bitter. This bitterness in the song sets 
the darker theme not found in the Still version. The Still version 
is mature and sorrowful instead of than being bitter or angered. 
Rather than using an electronic background, a piano dominates the 
song, causing it to become more humanized due to this imperfect 
sound. The slow entrance of quiet piano introducing the song is 
one of regret. The notes in the beginning set the entire mood, 
setting the listener almost into another mindset that will last 
the entire CD. In the new version, piano is the lone voice in 
the beginning, no background noise accompanying it, except for a 
lone stringed instrument. The darker electronic sounds from the 
original is are gone, replaced with a somber feel from the piano 
and guitar. Along with the change in instrumentation, the voice 
is different. Softer, older and more mature, the song's presentation 
is transformed because of how the song is sung. Growth has taken 
place since the debut of Nine Inch Nails; letting "Something I Can 
Never Have" open the disc connects the days gone by with the 
current, presenting itself in a neat package which carries through 
out the entire disc.

	"Adrift and At Peace" displays the softer, complex and 
sorrowful side without the anger. This song, which places the 
listener almost into a floating state by the use of the piano over 
the programming in the background, exhibits a human feel and emotion. 
The gentle grace of the flowing rhythm captures the mind of the 
listener. It is this gentle sound of a slow cascade of notes; 
similar to waves washing slowly over a floating object in the sea 
that sets a mood of peace. Instead of the machinery overbearing 
the humanity of the piece, it is the humanity that is more powerful 
in its slow graceful motion and sorrowful quality. The programming 
in the background is a mirroring of the piano piece, slow, gentle 
and serene. As the song flows along, the programming takes a more 
human side, intermixed with a foreboding dark theme as if someone 
is rising up from the murky waters to reach peaceful, calm shores. 
As the song closes off, the quiet notes end it peacefully, 
completing the rise through murky waters to arrive at peace. It is 
a song similar to the "Frail" or "La Mer", yet demonstrates a 
softer side without the elements of something being picked apart 
lying underneath. Instead, it is the humanity overcoming the 
machinery that underlies the song; a new theme not seen before. 
This theme displays a new maturity of Nine Inch Nails as 
multi-dimensional.

	"The Fragile" appears in a deconstructed fashion sounding 
somber and sorrowful. It is slower in tempo and quieter in sound. 
The lyrics are presented in a soft manner, almost as if it is a 
song being sung after a failure, where the original almost seems 
to be a prequel to a disaster. Acceptance of a tragedy is brought 
out in the music. Regret fills the song, building into a climax 
that is similar to the original version found on the Fragile. 
Again, the use of piano is crucial to the performance of the 
song, bringing out a side that is softer and more in depth than 
before. While the original relies heavily on percussion to drive 
the song, it is the piano that drives the deconstructed version 
so that it is appealing to the listener in a different way. While 
both exhibit a maturity and depth, it seems two different people 
composed the two versions; the differences between the two are so 
great. The original involves more evident programming and is 
paired with the percussion not found in the new deconstructed 
version appearing on Still. 

	Even more drastically changed in instrumentation and 
presentation is the "Becoming," originally found on the Downward 
Spiral. While the majority of the programming is still in place 
instrumental-wise, it is the voice that is left human through out 
the entire song. The version found on Still demonstrates the 
development of a mature change that isn't found in the Downward 
Spiral version. Anger is displayed less in the new version on 
Still, having been replaced with regret and sorrow. The piano 
is a stronger element to the song. The differences of the two 
songs truly do lie in how the singing has changed. Rather than 
being almost overwhelmed with programming, it is instead brought 
forward. With its complex musical presentation in both versions, 
it is the Still rendition that exhibits a change from a "wall of 
sound" into an accompaniment of sound with the human voice. While 
the Downward Spiral's "Becoming" was set for the concept of the 
album's tone, message, and story, the Still version is a separate 
piece, standing alone to make its own message on new merits. 
Though a lot of the original instrumentation is left intact, this 
change from machinery dominating human voice shows us how Reznor 
has grown throughout the years since the Downward Spiral's release. 
It is a change made, not for the better or worse, but a simple 
statement of growth and maturity not evident in the previous 
works. 

	"Gone, Still" is another complex piano song placed within 
the deconstructed pieces. More sorrowful than "Adrift and At Peace," 
it relies not only on the piano to convey its message, but on the 
guitar as well. Programming in the background adds to the regretful 
sound. It is a piece filled with softness and grace that adds a 
texture to Trent Reznor's clout as a musician not found in other 
musical pieces he's produced. While maintaining a use of electronics, 
he no longer makes them the focus of the song, but more of an 
accessory. Though there are no words in the song, the slow, 
deliberate strumming of the strings sounds as if the title is being 
repeated over and over, giving the music a new avenue to present 
itself. The programming in the background is a bit darker than 
"Adrift and At Peace," appearing to be more somber. It, coupled with 
the strings later on, gives the song a feeling of regret and sadness 
not presented in such a way before now. Much like "Adrift and At 
Peace," the programming sets a darker mood behind the piano and 
strings. The title suggests something has been taken, while the 
aftermath is still and quiet. Unlike previous works, acceptance 
has taken place, carrying the new theme found on The Fragile through 
out the rest of the album. 

	The final deconstructed song appears in "The Day The World 
Went Away," originally found on The Fragile. While the original 
relies on heavy guitar as a lead into the lyrics, as well as an 
accompaniment, it is in the Still version that growth of musicianship 
is evident. It is slower and more calculated than the original. The 
piano, as most of the songs found on Still, is used heavily. Slower 
lyric delivery and instrumentation places more regret into the song. 
This also follows the acceptance theme of the album, changing the 
entire tone. Strings are brought out more and the guitars are no 
longer harsh, but slowly strummed in low notes. While the original 
has a similar strumming sound, it is amplified in the Still version, 
to bring it out and change the mood of the piece, dropping harsher 
guitar sounds entirely. The piano accompanies the guitar, giving it 
a softer feeling, with regret gliding below its quiet acceptance. 
The lyrics where the "Na Na's" were are no longer sung, but rather 
played on both piano and guitar. The soft "ooing" at the end, found 
on the original, is brought forward for emphasis, adding another 
texture of gentle acceptance to the song, fitting in with the tone 
of Still, presenting a new musical statement. Grace flows throughout 
the piece in a new way.

	The final track with the lyrics, "And All That Could Have 
Been," begins with a water sound and slight programming exhibiting 
a hollow sound with guitar. Some of the background programming is 
similar to other tracks before it, yet has a softer tone and is 
more hidden. This connects old with new, giving Nine Inch Nails 
new direction while not forgetting where it has been. The lyrics 
are sung in a slow manner, implying a regret and sadness. Piano 
and guitar mesh with programming to produce the sound of the song 
in its slow, calculated manner. It is a continuation of The Fragile's 
story, the song representing a protection of someone from himself in 
the song, as if he's failed them in some way. The chorus causes the 
listener to believe the singer has regrets. "Please take this/and 
run far away/far away from me/I am/tainted/the two of us/were never 
meant to be" reflect previous themes; yet present them in new ways, 
demonstrating a growth. This follows along with the acceptance theme 
of the record, giving a new statement to Nine Inch Nails' music. 
Throughout the song, it is evident that the singer has accepted that 
he is "tainted" and therefore would rather push those not tainted away 
to keep them from becoming such as himself. "If only I could see/in 
my/ nothing/you meant everything/everything to me" The lyrics in the 
song present an answer to the "Fragile," either version, which seals 
the story up. The singer feels that if he had let this person help 
him, perhaps he wouldn't be at this stage that he finds himself in 
now. Now that he has lost this person, due to his self-hate and lack 
of self-worth, perhaps the most important person (the person in The 
Fragile) would still be with him now and this is his one big regret. 
It is the story of The Fragile, come full circle. While some critics 
would state that it is simple rehash of previous statements, it is 
a statement that holds on its own in a way that others before it did 
not. It also is the continuation of a story, where characters have 
changed and grown since the last chapter, something critics may have 
missed while listening to the song. 

	"The Persistence of Loss" is the second to last track. It is 
a somber piece with a heavy, low sounding piano conversing with a 
higher piano sound. It is slower and darker than "Adrift and At 
Peace" and "Gone, Still." While a light piano part floats above the 
top, it is the foreboding sounds of the strings and low piano that 
dominate the song throughout. It is a dark song with many layers; 
hope lurking above and desolation sinking at the bottom. Similar 
to "Adrift and At Peace," hope is attempting to cut through murkiness 
and glide across the top of the dark, foreboding strings and 
programming which are trying to drag it down. Though it has been 
seen before on previous albums, it is shown now in a new way. It 
is softer, less bitter, following the new theme of acceptance found 
in "Gone, Still" and the "Fragile." The song is a conversation without 
words, as if each side is talking to itself. It is a piece that 
demonstrates Reznor's ability as pianist, arranger and composer to 
use traditional instruments in ways not thought of previously while 
adding his personal style of programming for the full effect of the 
ongoing theme of humanity against machine, found in older works. 
This mixture of traditional with Reznor's personal style shows 
changing views while maintaining older ones that still fit within 
the vision of the music. 

	"Leaving Hope," the final track, seals the album up in its 
instrumental presentation. While quiet programming and piano 
mimicking water leads into the song, as the song truly begins, it 
is evident that the piano is the star. Slow, deliberate execution 
of the song sums the entire album's mood up into one song, along 
with the growth and change that Nine Inch Nails and Trent Reznor 
have had. Much like "Persistence of Loss," a conversation seems 
to be going on in the song, yet the strings and piano parts are 
conversing with one another, rather than ignoring each other. 
While programming is used, it is simply giving the song a flavor 
that might not be evident without. It is the calculated use of 
programming that makes the entire piece fit nicely and snuggly 
together, the piano, strings and programming meshing into each 
other to fit into a tight, clean musical package. The music flows 
like water almost, showing a slow regret with hope, though the 
title of the track would leave one to believe otherwise. This 
connects it to the previous instrumental tracks found on Still. 
The new themes mixing with the older ones, showing growth while 
maintaining the older themes as previous songs have done, seals 
the message of the album into one song. Here, in the final track, 
it is humanity and machinery that have found a way to co-exist. 
There is no fighting from the humanity, nor is the machinery 
overbearing. Strings end the song quietly, allowing the fade out of 
the album as an ending fit perfectly. The tiny fragment of voice at 
the very end as fade out occurs embodies the spirit of the entire 
album as a human presentation in a way that is beautiful and 
intoxicating. 

	Still, as a whole, is an album that gives us a look into 
the growth of Trent Reznor as a musician. Tracks from previous 
albums altered by using different approaches and different 
instruments demonstrate to fans and critics alike the maturity 
and growth that has occurred. Rather than an album to be dismissed, 
it is an album that ought to be listened to and enjoyed for its 
majestic beauty and complexity. It is not light, but more of an 
album one might use to think or reflect upon their own experiences. 
Though some fans and critics may feel disappointed with so few new 
songs and only one new vocal track, given a chance many of these 
same people may find themselves enjoying the depth and thoughtfulness 
of the album. Perhaps it is a new direction for Nine Inch Nails and 
Trent Reznor, or perhaps it is a start to incorporate both harsh-
sounding programming with quieter songs on future albums. Whatever 
people think of it, only one person knows the future of the music: 
Trent Reznor.