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[[Image:halo-2.jpg|thumb|200px|Halo 2: ''Pretty Hate Machine''<br />[http://www.amazon.com/gp/redirect.html?ie=UTF8&location=http%3A%2F%2Fwww.amazon.com%2Fs%3Fie%3DUTF8%26x%3D0%26ref_%3Dnb%5Fsb%5Fnoss%26y%3D0%26field-keywords%3Dnine%2520inch%2520nails%2520pretty%2520hate%2520machine%26url%3Dsearch-alias%253Daps&tag=thniinnawi-20&linkCode=ur2&camp=1789&creative=390957 Find on Amazon] - [http://rover.ebay.com/rover/1/711-53200-19255-0/1?icep_ff3=9&pub=5574848848&toolid=10001&campid=5336384580&customid=&icep_uq=nine+inch+nails+pretty+hate+machine&icep_sellerId=&icep_ex_kw=&icep_sortBy=12&icep_catId=&icep_minPrice=&icep_maxPrice=&ipn=psmain&icep_vectorid=229466&kwid=902099&mtid=824&kw=lg Find on eBay]]][[Image:PHM-reissue.jpg|thumb|200px|2010 Remaster (Halo 2R: ''Pretty Hate Machine'' 2010 Remaster<br />) artwork]][[httpImage://wwwPHMvinyl.amazon.com/gp/redirect.html?ie=UTF8&location=http%3A%2F%2Fwww.amazon.com%2Fs%3Fie%3DUTF8%26x%3D0%26ref_%3Dnb%5Fsb%5Fnoss%26y%3D0%26field-keywords%3Dnine%2520inch%2520nails%2520pretty%2520hate%2520machine%26url%3Dsearch-alias%253Daps&tag=thniinnawi-20&linkCode=ur2&camp=1789&creative=390957 Find on Amazonjpg|thumb|Vinyl artwork]] - [[httpImage://roverPHMvinyl2010.ebay.com/rover/1/711-53200-19255-0/1?icep_ff3=9&pub=5574848848&toolid=10001&campid=5336384580&customid=&icep_uq=pretty+hate+machine&icep_sellerId=&icep_ex_kw=&icep_sortBy=12&icep_catId=&icep_minPrice=&icep_maxPrice=&ipn=psmain&icep_vectorid=229466&kwid=902099&mtid=824&kw=lg Find on eBay]jpg|thumb|2010 Remaster vinyl artwork]]

'''''Pretty Hate Machine''''' (also known as '''''[[Halo numbers|Halo 2]]''''') is the first studio album by [[Nine Inch Nails]], released on October 20, 1989 by [[TVT Records]] and was a huge success. The first single off of the album, ''[[Down In It (halo)|Down In It]]'', was released on September 27, 1989. It received radio airplay for the aforementioned single as well as subsequent singles ''[[Head Like A Hole (halo)|Head Like A Hole]]'' and ''[[Sin (halo)|Sin]]''. The former also serves as a companion [[Remixes|remix]] album of sorts to ''Pretty Hate Machine''.

It received radio airplay for the aforementioned == Track Listing ======CD====#"[[Head Like A Hole (song)|Head Like A Hole]]" – 4:59#"[[Terrible Lie]]" – 4:38#"[[Down In in It (song)|Down In It]]" as well as subsequent singles – 3:46#"[[Head Like A Hole (song)|Head Like A HoleSanctified]]" – 5:48#"[[Something I Can Never Have]]" – 5:54#"[[Kinda I Want To]]" and – 4:33#"[[Sin (song)|Sin]]"– 4:06#"[[That's What I Get]]" – 4:30#"[[The Only Time]]" – 4:47#"[[Ringfinger]]" – 5:40*The 2010 remastered edition adds "[[Get Down, Make Love]]," originally a B-side on ''Sin'', on the end. ====12" Vinyl====&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A1&nbsp; "Head Like A Hole" – 4:59<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A2&nbsp; "Terrible Lie" – 4:38<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A3&nbsp; "Down In It" – 3:46<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A4&nbsp; "Sanctified" – 5:48<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A5&nbsp; "Something I Can Never Have" – 5:54<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;B1&nbsp; "Kinda I Want To" – 4:33<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;B2&nbsp; "Sin" – 4:06<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;B3&nbsp; "That's What I Get" – 4:30<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;B4&nbsp; "The Only Time" – 4:47<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;B5&nbsp; "Ringfinger" – 5:40*The 2010 remastered edition is split across three sides: side 1 has A1 through A4, side 2 has A5 through B3, and side 3 has B4 & B5 along with "Get Down, Make Love" on the end.

Working nights at Right Track Studio as a handyman and toilet cleaner, [[Trent Reznor]] used studio "down time" to record and develop his own music. Playing most of the keyboards, drum machines, guitars, and samplers himself, he recorded a demo, unofficially titled ''[[Purest Feeling (album)|Purest Feeling]]''.Teaming up with manager [[John A. Malm, Jr.]] they sent the demo to various record labels. Reznor received serious offers from many of them. He signed a deal with TVT Records who, until then, were known mainly for releasing novelty and television jingle records. ''Pretty Hate Machine'' was recorded in various studios around the world with Reznor collaborating with some of his most idolized producers - [[Flood]], Keith LeBlanc, [[Adrian Sherwood]], and John Fryer. After the album was finished, TVT Records were not happy about the direction the album had taken from the original demos. This would lead to friction between Reznor and the label. John Fryer elaborated:

Teaming up with manager John A<blockquote>"We were trying to make the hardest record we could make. MalmIt was very strange because we made it, Jrwe thought it sounded brilliant, we had it on the big speakers just blowing us away. they sent Then someone from the record company came in — and because the demos were more synthy and not as industrial as the demo album, he listened to various it and his mouth dropped open and he said 'You've ruined this record labels. Reznor received serious offers from many ' But of course it's gone on to be a classic. It was done in 20 days. I think it was a good thing that we made records so quickly back then because there's a lot of themenergy in there and mistakes are left in, so it sounds human and it's not blanded out over time. He signed "[http://www.soundonsound.com/sos/jan06/articles/johnfryer.htm]</blockquote>===Instrumentation and samples===In a deal 1990 interview with ''Keyboard'' magazine[[TVT Records]http://www.nin-pages.de/1990_Keyboard_April_english.htm] who, until then, were known mainly for releasing novelty and television jingle records.Reznor gave some details on what went into the album:<blockquote>Where did you get the samples that you used on the album?

A couple of people helped me. I'd say, "if you hear anything cool in a movie or any place else, just throw it onto cassette, and I'll dump it into the sampler." Of course, they were all hot to do it for a couple of days, then their interest waned and their output stopped. But every drum sound on ''Pretty Hate Machine'' is off of somebody else‘s record. I'd just gotten the Emax but I hated the factory sounds, and I didn't have anything transferred over from the Emulator. So I got a couple of albums out - Front 242, Scritti Politti, a bunch of things - and nicked sounds from here and there. Then I sequenced the songs, and took them into the studio, thinking, "Okay, if I'm gonna do it for real with a producer, let's get some real drum sounds." But the ones I had were pretty cool. We just EQ-ed them, and that's it.  Did you take any original industrial noise samples?  Most of those sounds I got from other sources. Part of it was laziness. But another part was, "That's a cool sound". I'd Turbosynth it, or put it in Alchemy and EQ it until it came out as a weird new sound. I was tempted to lay in more of other people's stuff, but I thought that would lend a real dated quality to the record, seeing where that has gone the way it has in hip-hop. I didn't go out with a DAT machine and record any thing. That's something I want to do for the next album - maybe dedicate a month to accumulating good sounds. But I had so much work heaped on me that I didn't have time to do that sort of thing. When you're in the world of independent labels, you don't have four weeks to mix two tracks.  What are some of the more memorable samples on your album?  On the last chorus of "Sanctified," you'll hear a weird little beat; that's kind of an obvious one. At the end of the last song on the album, "Ringfinger," the idea was to get as many loops playing at the same time as possible. We got about 12 before we ran out of channels. For a lot of weird percussion things, I would cheat: I'd get a track up, and if I couldn't find something that would make a groove, I'd take, say, a Public Enemy two-bar loop, turn it backwards, modulate it through Turbosynth with an oscillator tuned to the pitch of the song, and get this weird flanging-type thing that's in key. No one would guess that‘s actually another song playing. Every drum fill on "Terrible Lie" is lifted intact from some where. There are six other songs playing through that cut, recorded on tape, in and out, depending on where they worked.  "Terrible Lie" also features a very provocative dissonant theme right after the false ending.  That sound has quite an interesting history. It started out as a woodblock. I ran it through a distortion pedal, sampled it, then did my Emax trick by dropping it down a couple of octaves. Then I chopped off the beginning of it. I might also have put an envelope on it with Turbosynth. That's probably my favorite sound on the record.  What was the source of the piano sound on "Something I Can Never Have"?  That‘s the one song I kind of backed away from. I did that in London, with John Fryer. He's done a lot of things on the 4 A.D. label, like Cocteau Twins, System Event, Xymox. There's a dreamy quality to a lot of the stuff that he produces, so that track lent itself to him. It ended up being some sample off an [Akai] S900 with the filter way, way down. He's the reverb master, so it was buried in the AMS reverb. All the weird stuff in the background is from a project he does called This Mortal Coil, which is a collaboration of 4 A.D. artists. He had a bunch of half-inch tapes that they had done for backing tracks, with bass guitars slowed down. I was listening to them while he was mixing other things on the tape, checking out what was there, and accidentally brought this up in the mix. We recorded it on a couple of tracks of 24- track. Somehow it worked perfectly.  "That's What I Get" followed an unusual arrangement pattern, with a really big intro, after which the tune gradually diminished to nothing.  Initially, I didn't intend that track to be on the album. It was supposed to be a b-side or something like that. Lyrically, it didn't fit the flow of the record. So I figured I'd approach it in a different way, rather than in the Nine Inch Nails formula of small, big, small, big, big, small-verse, chorus, etc. We had kind of run out of arrangement ideas, so we just threw up some loops and things. The percussion on it wasn't ten different parts; it was one loop that John had from something else, and it worked. He's got 600 disks of weird things I've never heard of.  There doesn't seem to be a lot of synth on the album.  Actually, there was. I used a Prophet-VS, an Oberheim Xpander, and a little bit of Minimoog, which was down more than up in the studio. I've had the Xpander since it came out. I've always considered it a great analog machine. It's the only thing I've ever owned that‘s never let me down. But I'd gotten to the point where it was cumbersome to program. I had the same ten sounds I always thought were great in lt. Then, when I worked with Flood, he breathed new life into it for me. He's absolutely a master of programming the Xpander. We really got into the FM section, doing some weird modulation things I'd never attempted and coming up with very strange, non-analog sounds. That ended up being a big part of what we did for a lot of weird modulating sounds. "Terrible Lie" was all Oberheim.</blockquote> ==Subsequent Touring==

The album also gained popularity through word-of-mouth and developed an underground following. Reznor quickly hired a band for touring with [[Skinny Puppy]], [[The Jesus and Mary Chain]] and [[Peter Murphy]], including guitarist and future Filter/Army of Anyone frontman [[Richard Patrick]]. Nine Inch Nails' live set was notorious for louder, more aggressive versions of the studio songs, and also for destroying their instruments at the end of sets. Reznor preferred using the heel of his boots to strip the keys from keyboards. Taking inspiration from the photographer who did NIN's early press shots, the band would douse themselves in cornstarch before taking the stage.[http://www.nin-pages.de/artwork_phm.htm] This practice would continue through the [[Fragility]] tour.

Since After the album was released, a recording known as ''Purest Feeling'' surfaced. This bootleg album contains the original demo recordings of most of the tracks found on ''Pretty Hate Machine'', as well as a couple that were not used ("[[Purest Feeling (song)|Purest Feeling]]" and "[[Maybe Just Once]]").

The entire album was covered by a string quartet in 2005 as ''The String Quartet Tribute to [[Nine Inch Nails]]' Pretty Hate Machine'', arranged by Eric Gorfain. [http://www.amazon.com/String-Quartet-Tribute-Pretty-Machine/dp/B0007ZSH5S] It was later re-arranged using retro computers and game consoles by Inverse Phase and released as ''[[Pretty Eight Machine]]''. [http://inversephase.bandcamp.com/album/pretty-eight-machine]

==Rykodisc Re-ReleaseReleases=====Rykodisc===''Pretty Hate Machine'' went out of print through [[TVT Records]], but was reissued by [[Rykodisc Records]] on November 22, 2005 with slight changes in the packaging. Prudential owned TVT's Nine Inch Nails recordings, but Rykodisc leased the rights. Reznor had expressed an interest in creating a "deluxe edition" with surround sound remastering and new/rare remixes, similar to the re-release of ''[[The Downward Spiral (halo)|The Downward Spiral]]''. Rykodisc liked the idea, but not enough to pay Reznor to do so.

==Bicycle Music Re-Release=2010 Remaster===In April 2010, ''[[TVT Records#Bicycle Music|Bicycle Music]]'' bought the entirety of TVT's catalogue, including ''Pretty Hate Machine''. They confirmed that they would be reissuing the album once more, and there was speculation that they would be willing to release the deluxe edition proposed by TVT in 2005.

The co-publishing rights to Trent Reznor’s Nine Inch Nails catalog include the songs from all album releases from ''Pretty Hate Machine '' through ''Year Zero''. As well, in acquiring the master recording rights to NIN’s groundbreaking debut, ''Pretty Hate Machine'', Bicycle will be responsible for re-releasing this album which has been out of print and unavailable through digital distribution outlets for several years. “It goes without saying how important these works are to the entire landscape of Alternative Rock. Our team sees incredible creative and business opportunities with this catalog and we look forward to working with our new partners and artists," said Steve Salm, Partner at Bicycle.

== Track Listing ======CD=''Halo I-IV''===[[Image:halo2HaloI-backIV.jpg|thumb|200px|Back of CD tray liner, including tracklist.]]#"[[Head Like A Hole (song)|Head Like A Hole]]" – 4:59#"[[Terrible Lie]]" – 4:38#"[[Down in It (song)|Down In It]]" – 3:46#"[[Sanctified]]" – 5:48#"[[Something ''Halo I Can Never Have-IV'' Box Set]]" – 5:54#"[[Kinda ''Halo I Want To]]" – 4:33#"[[Sin (song)|Sin]]" – 4:06#"[[That-IV''s What I Get]]" – 4:30#"[[The Only Time]]" – 4:47#"[[Ringfinger]]" – 5:40*The 2010 remastered is a limited edition adds "[[Get Down, Make Love]]," originally a B-side on vinyl box set released by Concord/Bicycle Music for Record Store Day in November 2015. It contains the original version of ''[[Sin (halo)|Sin]]Pretty Hate Machine''on 180 gram vinyl, on as well as the end. ====domestic versions of all three 12" Vinyl====&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A1&nbsp; "Head Like A Hole" – 4:59<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A2&nbsp; "Terrible Lie" – 4:38<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A3&nbsp; "Down In It" – 3:46<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A4&nbsp; "Sanctified" – 5:48<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A5&nbsp; "Something I Can Never Have" – 5:54<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;B1&nbsp; "Kinda I Want To" – 4:33<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;B2&nbsp; "Sin" – 4:06<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;B3&nbsp; "That's What I Get" – 4:30<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;B4&nbsp; "The Only Time" – 4:47<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;B5&nbsp; "Ringfinger" – 5:40*The 2010 remastered edition is split across three sides: side 1 has A1 through A4, side 2 has A5 through B3, and side 3 has B4 & B5 along with "Get Down, Make Love" singles released from the album on 120 gram vinyl. None of the endmusic in this set is remastered.

==Cover ArtArtwork==Reznor stated in one of his posts on the Prodigy internet service in the early 90s that"the cover of PHM is a photo of the blades of some sort of turbine stretched vertically so they would look somewhat like bones or a rib cage."[http://www.theninhotline.net/archives/articles/manager/display_article.php?id=327]

''"The cover of PHM is a photo of the blades of some sort of turbine stretched vertically so they would look somewhat like bones or a rib cage."''[http://www.theninhotline.net/archives/articles/manager/display_article.php?id=327] In an interview with [http://sleevage.com/nin-pretty-hate-machine/ Sleevage.com], [[Rob Sheridan ]] described the long process he went through to update the artwork for the re-issue:

"When we began the ''Pretty Hate Machine '' remaster project, Trent discussed with me the idea of tweaking the original artwork a bit to reflect that this was a different version of the album, updated from its original release. We talked about maybe just changing the color scheme a bit – Trent was keen on losing the distinctly 80′s hot pink color, for one. It seemed like a fairly straightforward project, as I certainly didn’t want to try and radically alter an album cover I’d been looking at since I was a teenager, and that some fans had known very well for more than two decades.

I then carefully recreated the title font from the original cover, and the black frames it sat in. The font, a stretched-out version of Helvetica, looked dated to me, but I wanted to be respectful of the original design and not mess with it too much. When Trent saw what I’d done though, he wanted to try a new approach to the title text, as he felt the font was just too dated and could use a more modern look for this remaster. So I went back to the original album and looked at the font that had been used for the credits and lyrics, which turned out to be a slight variation of a font Gary Talpas later used in ''The Downward Spiral''. Putting the PHM title in that font was way too similar to The Downward Spiral, but when I put it in caps it created an odd mix of vintage NIN and modern NIN – perfect for a 2010 remaster of a 1989 album. Trent liked this approach much better, and we settled on the way we wanted the title set on the album cover. The image sitting behind it – my recreated artwork – still felt a bit flat, though.

The original CD cover was oriented sideways, which had never felt right to me, as the vinyl cover had a distinct vertical orientation of the full image (something I preserved in the new vinyl edition). I’d always wondered if it was a byproduct of the way the insert needed to sit in the jewel case. Either way, I wanted to bring the vertical orientation over to the CD this time around, but I also wanted to preserve the way the whole image folded out from the cover in the original CD insert. We certainly didn’t want to put this in a jewel case, so to accomplish the vertical fold-out, I came up with a unique L-shaped digipak package, where a panel folds down from the cover to reveal a vertical extension of the artwork. I also decided to put the black frame and the title text on a transparent O-card that slides over the digipak (very similar to what we did on ''The Downward Spiral '' Deluxe Edition) – so when you slide the O-card off, the image underneath is bare. It turns the black “frame” around the image into an actual frame, adding a new layer of depth to the art.

I thought it was going to be a simple job, but the fact that we didn’t have the source art made it actually quite a project. Between my various failed experiments at recreating the art photographically, the meticulous way I ended up doing it by hand, and the amount of finessing it took to find the right presentation, it was actually quite a bit of work, and we had a pretty abrupt deadline for it. All things considered I’m pleased with the way it turned out."

*Exclusive representation: [[John A. Malm, Jr.]] for J Artist Management

*Drone guitar at the end of "Sanctified":" [[Richard Patrick]]*Additional synth programming: [[Flood]], [[Tim Niemi]]

*Mastering: [[Tony Dawsey]] at Masterdisk, NYC

*Portrait photography: [[Jeffrey Silverthorne]]*Thank you: Bart Koster (The Right Track), Mike Shea, Michael S. Toorock, Roz Earls, Seb Shelton, Bryan Grant, Larry Bole, Alison Fryer, Michelle de Frasia, Gerry Gerard, Martin Horne, Sioux Zimmerman, Paul Conelly, [[Ron Musarra]], Steve Woolard, Mark Jowett and all at Nettwek, Howie Klein, Preston Sullivan/Carlyle, Kevin Donoghue/Native, Frederic Wahleer/Sub Rosa

*[[Bicycle]] B0015099-02 - CD

==External Links ==*[http://phmwww.ninbicyclemusic.com/ downloads/TGH_Press%20Release_v4.pdf Bicycle Music press release confirming their purchase of ''Pretty Hate Machine'' at nin]*[http://bicyclemusic.com/downloads/PHM%20Press%20Release.pdf Reissue press release]*[http://sleevage.com/nin-pretty-hate-machine/ Interview with Rob Sheridan about the cover redesign]*[http://portraitofdecay.net/www.prettyhatemachine.com/ Official remaster website (archived at Portrait of Decay)]*[http://nincatalog.com/index.asp?halo=2 pretty-hate-machine/ ''Pretty Hate Machine'' at nincatalog.com]

*[http://rover.ebay.com/rover/1/711-53200-19255-0/1?icep_ff3=9&pub=5574848848&toolid=10001&campid=5336384580&customid=&icep_uq=nine+inch+nails+pretty+hate+machine&icep_sellerId=&icep_ex_kw=&icep_sortBy=12&icep_catId=&icep_minPrice=&icep_maxPrice=&ipn=psmain&icep_vectorid=229466&kwid=902099&mtid=824&kw=lg ''Pretty Hate Machine'' at eBay]===Reissue information===*[http://www.bicyclemusic.com/downloads/TGH_Press%20Release_v4.pdf Bicycle Music press release confirming their purchase of Pretty Hate Machine]*[http://bicyclemusic.com/downloads/PHM%20Press%20Release.pdf Reissue press release]*[http://sleevage.com/nin-pretty-hate-machine/ Interview with Rob Sheridan about the cover redesign]*[http://phm.nin.com/ Official remaster website]