Changes

The track list for the double cassette releases of ''The Fragile'' follow the CD track list, save for the insertion of "[[+Appendage]]" onto the end of "Please" on US and EU copies. The first tape splits between "Just Like You Imagined" and "Even Deeper," while the second tape splits between either "Please (+ Appendage)" and "Starfuckers, Inc." (most US versions) or "Starfuckers, Inc." and "Complication" (non-US and also some US versions).''The Fragile'' was the final NIN release to be officially issued on cassette. Subsequent albums have been issued on cassette in other countries, though they are of questionable authenticity. ==Instrumental VersionVersions=====''The Fragile Instrumental''===[[Image:FragileInst.jpg|thumb|''The Fragile Instrumental'' Artwork]] ''The Fragile Instrumental'' was made available on June 30th , 2015 via Apple Music. It contained instrumentals and alternate versions of every track , with some also being alternate versions (though "The Frail" and "Pilgrimage" were forgotten in see the playlist[[Remixes#The_Fragile_Era|remixes]] page for details.).  It also contained three previously unheard tracks:

It was released along with ''[[With Teeth (halo)|With Teeth Instrumental]]'', and is exclusive to the Apple Music platform. It is also notable that it contains the first non-cassette version of "+Appendage"."The Frail" and "Pilgrimage" were not included in the playlist posted on Apple Music, but are still available as tracks on the service. ===''[[The Fragile: Deviations 1]]''===On December 16, 2016 an expanded instrumental version of ''The Fragile'' on 180 gram vinyl was announced. Entitled ''The Fragile: Deviations 1'', it began shipping in June 2017 and contains over an hour of unreleased material. ==Sequencing=====For Different Formats===[[Trent Reznor]] on the different track sequencing for different formats: <blockquote><p>"Hello everybody. I've been doing a lot of European press lately and they've been mentioning the various configurations of 'the fragile' and wondering if there was a reason (other than to make the hard-core fan buy them all) to have some different tracks on them. <br><br>If you're curious, here's why. We agonized over the sequencing of the record and focused solely on the CD config. as the definitive one. After the decision was made to move to two CDs the problem then became removing tracks to get the right feel and flow. <br><br>Taking the new flesh' off the CD was a tough call because Alan and myself really like the track, but it destroyed the balance and it just didn't fit. <br><br>When we assembled the cassette, we now had four beginnings and endings to contend with instead of two of each (for the CD) follow? It worked out pretty well just dividing the songs up, but we wanted the A sides of the cassettes to be slightly longer than the B sides (so that when the tape flips over you are not in the middle of the first song on that side). We added the 'appendage' to 'please' to make that work. <br><br>For the vinyl, the decision to move to three discs was based on fidelity. (you can only fit so many minutes on a side of vinyl before it degrades the sound) <br><br>So now we are faced with SIX beginnings and endings. Simply splitting the sides up didn't work as well this time so we decided to include the other two tracks we had been considering ('10 miles high' and 'the new flesh') as well as use the full unedited versions of all the other songs on the record. The vinyl sequencing has actually grown on me lately as a viable alternate! -just thought you might want to know…"</p> <p>—Reznor [http://www.theninhotline.net/archives/articles/xart180.shtml]</p></blockquote>

===Early Track Sequences===

====Order 1====

====Order 2====

====CD-R====

Note that whilst "[[Anomaly]]" has been confirmed to be the working title of "[[The Way Out Is Through]]", the final titles for "[[Rotation]]" and "[[Stained]]" have not been revealed; "[[Underneath It All]]" may be the final title for the latter, based on its prominent lyrical use of the word. ===Bob Ezrin on Album Sequencing===Bob Ezrin posted on [http://www.echoingthesound.org/phpbbx/viewtopic.php?p=1966685&sid=9660ab52e8096b0e71a1bf91d0198514#1966685 ETS] about his experience working on ''The Fragile''. <blockquote><p>"Trent was anything but brain addled at the time we were completing the Fragile. He was brilliant and feverishly recording and mixing in 3 rooms at the same time to complete the project on time for its scheduled release. What he had realized was that he'd created a work that was much longer than was practical to release and that wasn't quite hanging together the way he had hoped when he created its individual parts. Remember, there are thousands of bits of music and lyric that went into this record and they were recorded asynchronously. So he called me for help. Luckily, I had just come off another project and was able to head to New Orleans immediately—supposedly for a few days.</p> <p>My job was to take all of this work and reorganize it to more practically and effectively tell the story that originally generated all these bits. Sort of like editing a film. Trent had "shot" more than he needed and it wasn't hanging together the way he wanted. But he was also tied to the other studios recording and mixing while this was going on so he needed someone he trusted to come in and take over the "editing" process and help his "film" hang together better.</p> <p>And it was a totally thrilling process. We had SO much stuff and so much to say but we needed to tighten it up and review the pacing etc. So we were literally working round the clock for what turned out to be weeks until we finally nailed it and I was able to go home.</p> <p>I loved working with him - and his whole team in fact - on this project. It just increased my respect for him as an artist and a man."</p><p>— Bob Ezrin</p></blockquote> 

In a question and answer session with NIN fans, Reznor hinted at the reissue of ''The Fragile'' for early 2010, a statement repeated via the [http://twitter.com/nineinchnails/status/4157519090 official twitter account], calling it an "ultimate reissue." [[Rob Sheridan]] has since mentioned that the project is delayed due to packaging decisions, and as yet there is no new reissue release date. [[Alan Moulder]] has completed a 5.1 surround sound mix for the re-issuereissue.[http://recforums.prosoundweb.com/index.php/mv/msg/32698/502417/0/#msg_502417]

<br><br>

* The main melody piano and bassline of "La Mer" is repeated in the intro of reused for "Into The Void", and the bass line is reused on the entire track. A similar but much slower The piano melody motif is also played at the end of "We're In This Together"at a slower tempo.* The piano melody of in "The Frail" is repeated in the guitar solo of "The Fragile".* The descending wah guitar melody played during the intro of "We're In This Together" is similar to the wah guitar that occurs roughly halfway into "Complication".* The three note motif used in the first part of "The Great Below" is briefly quoted in the ending of "We're In This Together" two semitones down and at a slower tempo. This melody may also be used to end the guitar solo, and may be played on a background synth at the end of the first verse of "The Wretched".* "The Great Below" climax melody and bassline are reused for a quiet bridge in the leftover/outtake "[[And All That Could Have Been (song)|And All That Could Have Been]]".* A sampler keyboard pad created from Reznor's voice is used for "The Frail" and leftover/outtake "[[Leaving Hope]]".* Rapidly ascending, very chromatic guitar riffs are prominently featured in "Somewhat Damaged", "The Day The World Went Away", and "The Wretched".* Mike Garson's piano improvisations are prominently featured on "Just Like You Imagined", "The Way Out is Through", and "Ripe (With Decay)".* The lyric "underneath it all" from "The Way Out is Through" is repeated in and used to title "Underneath It All".* The lyrics "now you know/this is what it feels like" are the refrain for both "The Wretched" and leftover/outtake "[[The Great Collapse]]".

* The guitar melody played during the intro lyrics of "We're In This TogetherThe Great Below" is similar to the melody that occurs roughly halfway into and "ComplicationUnderneath It All". ==Formats==Reznor on are similarly composed, and both use the different track sequencing for different formats: <blockquote><p>refrain "Hello everybody. I've been doing a lot of European press lately and they've been mentioning the various configurations of 'the fragile' and wondering if there was a reason (other than to make the hard-core fan buy them all) to have some different tracks on them. <br><br>If can still feel you're curious, here's why. We agonized over the sequencing of the record and focused solely on the CD config. as the definitive one. After the decision was made to move to two CDs the problem then became removing tracks to get the right feel and flow". <br><br>Taking the new flesh' off the CD was a tough call because Alan and myself really like the track* The lyric "could have been" is prominently used in "The Wretched", but it destroyed the balance "The Great Below" and it just didn't fit"And All That Could Have Been". <br><br>When we assembled the cassette, we now had four beginnings and endings to contend with instead * The mid-song verse of two of each (for the CD) follow? It worked out pretty well just dividing the songs up, but we wanted the A sides of the cassettes to be slightly longer than the B sides (so that when the tape flips over you are not in the middle of the first song on that side). We added the both "I'appendage' to 'please' to make that work. <br><br>For the vinylm Looking Forward To Joining You, the decision to move to three discs was based on fidelity. (you can only fit so many minutes on a side of vinyl before it degrades the sound) <br><br>So now we are faced with SIX beginnings Finally" and endings. Simply splitting the sides up didn"No, You Don't work as well this time so we decided to include the other two tracks we had been considering ('10 miles high' and 'the new flesh') as well as " use the full unedited versions of all the other songs on the recordsame lyrical meter. The vinyl sequencing has actually grown on me lately as a viable alternate! -just thought you might want to know…"</p> <p>—Reznor [http://www.theninhotline.net/archives/articles/xart180.shtml]</p></blockquote>

A look through David Carson's book ''Fotografiks'' reveals that the top section of the album cover is from a photo of a Öxarárfoss waterfall in Iceland and the bottom section is from a closeup photo of the inside of some kind of seashell. The flowers on the back cover are widely assumed to be a variety of Indian Paintbrush. He explained further in an image on his website:

Several other designs for the album cover were also created, and images of this concept art were posted on nin.com. ==Bob Ezrin on Album Sequencing==Bob Ezrin posted on [http://www.echoingthesound.org/phpbbx/viewtopic.php?p=1966685&sid=9660ab52e8096b0e71a1bf91d0198514#1966685 ETS] about his experience working on Many images that were used in the booklet for ''The Fragile''. <blockquote><p>"Trent was anything but brain addled at , as well as the time we were completing the Fragile. He was brilliant and feverishly recording and mixing artwork for its associated singles, can be found in 3 rooms at the same time to complete the project on time for its scheduled release. What he had realized was that he'd created a work that was much longer than was practical to release and that wasn't quite hanging together the way he had hoped when he created its individual partsFotografiks'' book. Remember, there are thousands of bits of music and lyric that went into this record and they were recorded asynchronously. So he called me The cover art for help. Luckily, I had just come off another project and was able to head to New Orleans immediately—supposedly for a few days.</p> <p>My job was to take all of this work and reorganize it to more practically ''The Fragile Instrumental'' used an uncropped and effectively tell the story that originally generated all these bits. Sort unpixelated version of like editing a film. Trent had "shot" more than he needed and it wasn't hanging together the way he wanted. But he was also tied to the other studios recording and mixing while this was going on so he needed someone he trusted to come in and take over the "editing" process and help his "film" hang together better.</p> <p>And it was a totally thrilling process. We had SO much stuff and so much to say but we needed to tighten it up and review the pacing etc. So we were literally working round the clock for what turned out to be weeks until we finally nailed it and I was able to go home.</p> <p>I loved working with him - and his whole team in fact - on this project. It just increased my respect for him as an artist and a manaforementioned waterfall photo."</p><p>— Bob Ezrin</p></blockquote>

*Production: Trent Reznor, [[Alan Moulder]]

*Programming: [[Keith Hillebrandt]], [[Charlie Clouser]], Trent Reznor, Paul Decarli, Steve Duda, Clinton Bradley

*Additional engineering: [[Leo Herrera]]. [[, Dave “Rave” Ogilvie]]

*Nine Inch Nails Live: Charlie Clouser, [[Jerome Dillon]], [[Robin Finck]], [[Danny Lohner]], Trent Reznor<br>