Band: SYLVETTE Who: Manchester five-piece Sylvette, formed 6 years ago. They have built a cult fan base around the country with their dynamic blend of emotive art-rock and Kafkaesque lyrics. Describing themselves as “Björk meets Black Midi, Nine Inch Nails and Black Country New Road”, the band’s name is inspired by the enchanting muse who appears in many of Picasso’s famous paintings.
“”Right Where It Belongs’ is the first cover we’ve ever played together that really felt like we made it our own. The song is about questioning your reality and how going through change
and trauma can distort the way you perceive yourself. It really felt appropriate for the theme
of our upcoming album ‘Single Thread’, so we made it the closing track on the record.”
Whereas mastermind Trent Reznor‘s performance is eerie Sylvette‘s take resonates fragile, sending shivers down your spine. like Sigur Ros does so wonderfully. I’m sure Reznor will like it.
Sally Shaar (frontwoman): “One by one, we need to disrupt the line and speak up for ourselves if we want a universe where the despicable don’t mockingly control our every
action. I have a deep connection to “The Hand That Feeds” and immense respect for what
Nine Inch Nails have contributed to the history of music. We hope to take note of their bravery and move towards making new music that spits out our truths unapologetically, smashes you across the face with industrialism, and leaves all manners at the door.”
Turn Up The Volume: Holy smoke! You need guts to cover industrial rock titans Nine Inch Nails. Monowhales not only have the guts but what they do with this NIN
classic hits the bullseye. Their vehement version is a solid gold stunner, a flabbergasting glam stomper, a biting belter with Sally Shaar‘s rant and roar vehemence making crystal clear what the story is about. Pure dynamite!
I wonder what would happen if Trent Reznor and Sally would put their teeth
into this crashing cracker together? I’m sure you better watch your hands.
Just how deep do you believe?
Will you bite the hand that feeds?
Countless bands/artists already launched mouth masks with their logo, pics, or covers of their albums on and now it seems that a money and marketing-driven race has started. Who develops the most original mouth masks? And the winner is (so far)… NINE INCH NAILS with their brand new Modular Face Mask Starter Kit.
“Face masks with interchangeable messages for these uncertain time,” said
the Trent Reznor fronted band in a press statement. More info here.
Who has the next unique idea?
The magnificent SHARON VAN ETTEN shared her affecting cover of HURT, the gripping ballad by industrial rockers NINE INCH NAILS from their 1994 album The Downward Spiral.
Van Etten covered the song for a special reason: “I recently spoke with Sounds Of Saving and performed a cover of “Hurt” by Nine Inch Nails. Sounds Of Saving is an organization aiming to reduce our country’s suicide rate, an effort I care deeply about.”
Here’s her short interview with Sounds Of Savingand her magical performance of Hurt…
As much as I love Sharon‘s rendition, my ears, my heart, and soul still prefer the version by the late great Johnny Cash. Nine Inch Nail’s maestro Trent Reznor said he cried when he heard Cash’s most touching exploit…
‘The Downward Spiral’
NINE INCH NAILS
Release: 8 March 1994
Rolling Stone wrote: “NIN achieve a new kind of loud on The Downward Spiral: accessible hard-rock moves overlaid with a scrim of electronic racket, white noise, screams, the kind of blown-speaker rattle that seems to use the limitations of crappy stereo equipment the way that Hendrix riffed on the distortion that howled from overdriven Marshall stacks. It’s a new frontier in rock & roll: music that pins playback levels far into the red. You have only two options with this album: Play it too softly, or play it too loud. Reznor’s voice seduces and insinuates where it previously expressed itself only in animal screams; it slithers into your ears and curls up somewhere near the medulla oblongata. This album is about music the blade runner might throw down to: low-tech futurism that rocks.”