SHARON VAN ETTEN Covers Gripping Ballad ‘HURT’ By NINE INCH NAILS

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 Saving and 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 original

NINE INCH NAILS: Facebook

Guerrilla Time! Mean Metal Machine INTER ARMA Covers NINE INCH NAILS

Mean metal machine INTER ARMA out of Richmond, Virginia unleash a new EP
next month, entitled GARBERS DAYS REVISITED. A collection of covers recorded
‘for the hell of it‘ with their take on big tracks by Prince, Neil Young, Ministry, Cro-Mags,
and Tom Petty.

Also on the EP is a cover of MARCH OF THE PIGS. A thunderous highlight of NINE
INCH NAILS
‘ 1994 album The Downward Spiral. Inter Arma‘s version is just monstrous.

It’s guerrilla time, folks! Power to the people! Highway to hell for all authoritarian world leaders! No more oppression, no more injustice, no more inequality! Stand up, get up
and fight for your right to be respected. Black Lives Matter!

Damn right…

INTER ARMA: Facebook

TODAY’S YESTERDAY ALBUM – ‘ The Downward Spiral’ – NINE INCH NAILS…

Great longplayers from the past…

‘The Downward Spiral’
NINE INCH NAILS

Release: 8 March 1994
Second album

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.”

Album in full…