The various new Nine Inch Nails albums covers for Hesitation Marks were just released by the band via the Nine Inch Nails Twitter, and were created by artist Russell Mills. There are four Nine Inch Nails albums covers: digital album, deluxe CD cover, standard cover and the vinyl album cover -- check em' out below. Russell Mills had this to say about the album covers: “The works explore ideas of catharsis, of being into dissolution into being, both on a personal and sociological level. They allude to ideas about chaos and order. They deal with ways of suggesting presence in absence.” Check out his full comments farther below.
The new Nine Inch Nails album arrives Sept. 3rd. There's also the new NIN song "Came Back Haunted" and a whole bunch of new Nine Inch Nails tour dates that kick off later this month. The NIN tour includes Godspeed! You Black Emperor and Explosions In The Sky as opening acts and promises to be one of the best of the year. Festival stops include Fuji Rock Festival, Lollapalooza, Outside Lands, Pukkelpop, Leeds Festival and the Reading Festival. If you haven’t seen Nine Inch Nails live, this is your big chance. The live show is nothing short of amazing.
Digital cover: “Turn And Burn" (Plaster, earth, oils, acrylics, etching varnish, bitumen, burning, rusted linen, blood, spent matches, on wood)
Deluxe CD cover: “Cargo In The Blood" (Burning, Polaroid frame, copper wire, mica, on velvet, on wood)
Standard CD cover: “Time And Again" (Plaster, earth, oils, acrylics, etching varnish, rusted linen, blood, microscope slides, on wood)
Vinyl cover: “Other Murmurs" (Plaster, earth, oils, acrylics, etching varnish, collage, on canvas, on wood)
The announcement from the Nine Inch Nails Twitter:
As far as the music on the new Nine Inch Nails song "Came Back Haunted," it's a nice reboot. The new Nine Inch Nails sounds reinvigorated after a break for Trent Reznor with movie soundtracks and how to destroy angels_. Check it out below:
Trent Reznor announced the album earlier this year, saying “For the last year I’ve been secretly working non-stop with Atticus Ross and Alan Moulder on a new, full-length Nine Inch Nails record, which I am happy to say is finished and frankly fucking great. This is the real impetus and motivation behind the decision to assemble a new band and tour again.”
Here’s the full comments from the artist Russell Mills: “The artworks, (30 mixed media pieces) that I eventually produced towards uses in the Hesitation Marks releases, evolved out of lengthy exchanges between myself and Trent and in response to the conceptual ideas that thread through the tracks and to the sonic territory that the album explores. I’ve tried to lock into the album’s prevailing mood and echo the album’s essence. The ideas are not communicated in a literal or easily digested form, as this would be boring for me and would insult the intelligence of a potential audience. I’ve tried to make works that obliquely allude to the essence of the subject matter, to its emotional core.
As with my self-initiated works - the paintings, assemblages, collages and multimedia installations - personal ideas and obsessions seep into these works. The organic, the natural, prevailing over or feeding into the industrial, the man made, is a common theme in my work generally and in this instance was particularly apt for the art required.
The works explore ideas of catharsis, of being into dissolution into being, both on a personal and sociological level. They allude to ideas about chaos and order. They deal with ways of suggesting presence in absence. They are a cross between the forensic and a pathology of the personal in which only fragments remain, in which minimal clues can suggest events that may have occurred. They attempt to harness the chaos of a situation, of now, of the personal trauma, of the human condition, into a form that is coherent, a form that accommodates the mess without disguising it as something else. It attempts to capture the essence of these ideas by implication and exclusion. Beneath the form lies the uncertainty and ceaseless flux of the mess, of the chaos.
An amalgam of the contextually-anchored and the process-driven, they are hopefully powerful, arresting, seductive, suggestive and resonant. I hope that they will invite multiple readings.”