Changes

'''''Pretty Hate Machine''''' (also known as '''''[[Halo numbers|Halo 2]]''''') is the first studio album by [[Nine Inch Nails]]. It was released on October 20, 1989 by [[TVT Records]] in the US, and on October 12February 18, 1991 , by Island Records in the UK(reissued on September 30, 1991), 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''.

After the album was released, the aforementioned demo surfaced on a [[bootlegs|bootleg ]] called ''[[Purest Feeling (album)|Purest Feeling]]''. It contains the original demo recordings of most of the tracks found on the album, as well as a couple that were not used ("[[Purest Feeling (song)|Purest Feeling]]" and "[[Maybe Just Once]]").Two other batches of demos, distinct from those on ''Purest Feeling'', also exist. One batch ("Down In It", "Sanctified", "Kinda I Want To", and "Twist") can be found on the ''[[Demos and Remixes]]'' bootleg. Another batch ("Sin", "Terrible Lie", "Sanctified", "Ringfinger", and "Down In It") are on a cassette privately owned by [[Martin Atkins]].[https://exclaim.ca/music/article/early_demo_of_nine_inch_nails_pretty_hate_machine_hits_ebay]

''Pretty Hate Machine'' was recorded in various studios around the world with Reznor collaborating with some of his most idolized producers - [[Flood]]at Syncro Sound in Boston, Keith LeBlancat Unique Recording Studios in New York, [[Adrian Sherwood]]at Roundhouse Studios in London, and John Fryerat Blackwing Studios in London. Flood was originally supposed to produce the entire album, but couldn't because of his prior commitment with Depeche Mode.[httphttps://www.theninhotline.netcom/archives/articles/getdowninitdisplay/530] Reznor used his own journal entries as sources and inspiration for the album's lyrics.[https://www.theguardian.shtmlcom/music/2018/jun/21/trent-reznor-nine-inch-nails-youre-seeing-the-fall-of-america] He also listened extensively to [[Gary Numan]]'s album ''Telekon'' while recording the album.[https://www.electronicbeats.net/mr-style-icon-gary-numan-on-trent-reznor/]  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:

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 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.

That‘s 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.

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 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 it. 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>

In an interview with [https://web.archive.org/web/20101101052703/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:

*[[Rykodisc]] RLP 10836-1 - 12" Vinyl*[[Rykodisc]] RCD 10836 - CD

*[https://web.archive.org/web/20101229095515/http://portraitofdecayphm.netnin.com/wwwphm.prettyhatemachinenin.com/ Official remaster website (archived at Portrait of Decay)Wayback Machine]

*[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 ''Pretty Hate Machine'' at Amazon]*[https://craftrecordings.bandcamp.com/album/pretty-hate-machine-remastered ''Pretty Hate Machine'' at Bandcamp]