Every Nine Inch Nails remix album ends up being a mixed bag.
It's just what happens when you get different artists with different styles in one place.
And like other Nine Inch Nails remix albums, the results are varied.
In the case of “Y34RZ3R0R3M1X3D”, the results are more varied than any Nine Inch Nails remix album to date.
Here's a track by track breakdown...
Gunshots By Computer (Saul Williams)You don't remix a one minute and forty three second instrumental.
Instead, you get an amazing poet like Saul Williams to give it a voice.
A voice that speaks of the army we hear in it and of the people who the army is marching against and of the Nation that the army comes from and of the leader of the army who doesn't know why he has an army in the first place and of the world in which there exists such an army.
Excellent reinterpretation of an excellent opener.
The Great Destroyer (modwheelmood)I'm usually not a fan of cutting and pasting lyrics to serve the purpose of a remixer, but in the case of modwheelmood's reinvisioning of ‘The Great Destroyer’, it works…very well.
Along with Saul Williams, Alessandro Cortini is the only remixer on this album to have worked closely with Reznor for an extended period of time.
Cortini has performed this song live with Reznor dozens of times, who better to remix it?
What modwheelmood does is amazing; they turn this half paranoid anthem/half computer error explosion into a gentle, sad and climactic introduction to the album.
The re-keying of Reznor's vocals creates a whole new range of emotions not found in the original and it's gorgeous.
Yes, it sounds a bit like Radiohead.
So does modwheelmood.
And anyway, Radiohead is good.
So shut up.
My Violent Heart (Pirate Robot Midget)The truncated but solid stompfest of Pirate Robot Midget's ‘My Violent Heart’ adds some jagged edges to an already heavy track.
In the original, the army you hear is angry and desperate; in this version they're at your door.
The intro and outro sounds give it a pirated (no pun intended) radio transmission feel.
Nice touch.
The Beginning of the End (Ladytron)At first listen, Ladytron's ‘The Beginning of the End’ seems a bit lacking and typical.
But if you really dig in, you'll find it has more to offer; not huge amounts more mind you, but more than one would originally think.
The sonic textures add a colder feel to one of the only organic tracks on “Year Zero”.
The 'Closer' reference at the end?
I'm of two minds.
On one hand, it sort of takes you out of the whole “year zero" concept, but then again, these days Reznor does break into 'The Only Time' during performances of 'Closer'.
No harm, no foul.
Survivalism (Saul Williams)Saul Williams’ version of ‘Survivalism’ takes a bit of the militaristic edge off the original and highlights some elements buried beneath the noise, but I think he should stick to being an amazing wordsmith rather than a so-so remixer.
It isn't bad by any means, but it doesn't float my remix boat.
Also, any Nine Inch Nails fan that picked up the ‘Survivalism’ single back in March has had this remix for over 6 months.
To be fair, I loved his vocal version of this track; it adds that special brand of Williams' vitriol.
Capital G (Epworth Phones)Not a fan of the reworking of ‘Capital G’.
Too bleepy and bloopy in that annoying "hott clubb mixxx" sort of way.
Interesting use of the vocals though.
They got it half right.
Vessel (Bill Laswell)Bill Laswell's ‘Vessel’ adds some nice dimension and ferocity to the original although it's hardly a reinvention.
It's a very good remix, as in it's exactly what you'd expect a remix of this song to sound like. I can't really say much more.
The Warning (Stefan Goodchild featuring Doudou N'Diaye)‘The Warning’ is a great track and the remix by Stefan Goodchild and Doudou N'Diaye Rose is incredible.
The drums add a more organic feel that's missing from the grinding machine sound of the original.
The tinkling piano adds a very unsettling element that fits perfectly with the core of the song.
One of the best on the album.
Meet Your Master (The Faint)The Faint took the snide, rebellious feel of ‘Meet Your Master’ and multiplied it by 1,000 Funktates.
A Funktate is the unit of measurement for funkiness.
The editing is razor sharp and, with the vocal rendering, the result is incredibly energetic.
This one of the best recreations on here...and you can shake your ass to it.
God Given & Zero Sum (Stephen Morris and Gillian Gilbert)Both of Stephen Morris and Gillian Gilbert’s remixes add a little something here and there, but the "lay down most of the original elements with a simple synth line underneath them" device never really blows anyone's mind.
As for ‘God Given’, I've never really loved the song and this is just a remix of a song that I've never really loved.
‘Zero Sum’ gained a few interesting components but lost much more in the treatment.
Originally, the song was beautiful, haunting, sad and expansive, now?
It's a remix with some keyboards added.
Way to go, New Order.
Me, I’m Not (Olof Dreijer)Fuck you, Olof.
After 14 solid minutes of your boring dark wave drones with a few whispers from the original track thrown in I wanted to mutilate my genitals...with a knife.
Thanks for that.
Another Version of the Truth (Kronos Quartet and Enrique Gonzalez Muller)It's hard not to compare the Kronos Quartet and Enrique Gonzalez Muller’s version of ‘Another Version of the Truth’ with Bellini's version of ‘The Frail’ from the 2000 remix album "Things Falling Apart".
However, it's easy to say that this is better.
Rather than just playing piano parts on the strings, the Kronos Quartet takes the theme provided by Reznor and travels all over with it.
The original feels cold and lonely while this version feels reflective and warm.
In This Twilight (Fennesz)Fennesz transforms the dying old machine of ‘In This Twilight’ into a beautiful yet sorrowful recollective dream.
From the haze of noise, the occasional sharp edge is felt, but it's more a bitter edge of regret rather than the cold metal felt in the original.
A much more human version of a song about the end of humanity.
The most beautiful offering on “Y34RZ3R0R3M1X3D”.
And the best part is…if you hated every remix on this thing, you can put your money where your whiny, malcontent mouth is!
The disc has EVERY SINGLE SOUND that makes up “Year Zero” included on it.
They’re all there, and there’s even a special website opening up on the release date for you to show the world that you’re better than the artists on this album.
You pretentious asshole.
