The Fragile

Writing and recording

The Fragile was produced by Trent Reznor and Alan Moulder at Nothing Studios in New Orleans. There were some personnel changes within Nine Inch Nails after the Self-Destruct tour, which saw drummer Chris Vrenna replaced by Bill Rieflin and Jerome Dillon, the latter of whom would become Nine Inch Nails' full-time drummer until late 2005. Charlie Clouser and Danny Lohner contributed occasional instrumentation and composition to several tracks although the album was predominantly written and performed by Reznor alone. The Fragile was mixed by Alan Moulder and mastered by Tom Baker. The packaging was created by David Carson and Rob Sheridan.{{cite web | access-date = March 6, 2012 | url-status = dead | archive-url = https://web.archive.org/web/20120303182518/http://www.nin.com/albums/ | archive-date = March 3, 2012

According to a February 2000 interview in Keyboard Magazine, two of the album's programmers, Charlie Clouser and Keith Hillebrandt, disclosed some synths used in the album's production, among them: Clavia Nord Lead 2, Waldorf Pulse and Microwave, Minimoog, Oberheim Xpander, Novation Bass Station, Sequential Circuits Prophet-VS, and the Access Virus.

Music and lyrics

Over a year before the album's release, Reznor suggested, perhaps with intentional or dismissive misdirection, that the album would "be irritating to people because it's not traditional Nine Inch Nails. Think of the most ridiculous music you could ever imagine with nursery rhymes over the top of it. A bunch of pop songs." In contrast to the heavily distorted instruments and gritty industrial sounds of their previous album, The Downward Spiral, The Fragile relies more on soundscapes, electronic beats, ambient noise, rock-laden guitar, and the usage of melodies as harmonies. Several critics noted that the album was seemingly influenced by progressive rock, art rock, electronica, and avant-garde music. It is categorized as an art rock album by The Rolling Stone Album Guide (2004), Edna Gundersen of USA Today, and Will Hermes of Entertainment Weekly. Hermes views that, like "art-rockers" King Crimson and David Bowie, Reznor incorporates elements of 20th-century classical music on the album, "mixing prepared piano melodies à la John Cage with thematic flavor from Claude Debussy". Music journalist Ann Powers observes elements of progressive rock bands King Crimson and Roxy Music, Reznor's influences, and the experimentation of electronica artists such as Autechre and Squarepusher, and writes that The Fragile uses funk bass lines, North African minor-key modalities, and the treatment of tonality by Symbolist composers like Debussy. The album also features several distorted guitar parts which Powers suggests that fans can enjoy. Rob Sheffield observes a "prog-rock vibe" akin to Pink Floyd's 1979 album The Wall and feels that The Fragile is similarly "a double album that vents ... alienation and misery into paranoid studio hallucinations, each track crammed with overdubs until there's no breathing room".

Described by Reznor as a sequel to The Downward Spiral—an album with a plot detailing the destruction of a man—The Fragile is a concept album dealing with his personal issues, including depression, angst, and drug abuse. His vocals, for the most part, are more melodic and somewhat softer, a departure from his harsh and often angry singing in previous works. However, several music critics including Reznor noticed the lack of lyrics on the album. The Bulletin interprets it as an industrial rock album about "fear and loathing that could compete with Pink Floyd's The Wall". In some ways, The Fragile is a response to The Downward Spiral. Reznor compared the lyrical content of the two albums:

The song "I'm Looking Forward to Joining You, Finally" is credited in the album's booklet as "for clara", suggesting that the song's topic, like "The Day the World Went Away", is about Reznor's grandmother, Clara Clark. Fight Club author Chuck Palahniuk singled out "The Wretched" for comment: "I remember being amazed when I first heard this... This wasn't just ennui: this was an active, aggressive, angry lack of caring. It's not 'Let's kill ourselves'; it's 'Let's kill each other'... It's not rock 'n' roll and it's not classical. It's something in between." According to a CIA document entitled Guidelines for Interrogation Methods the song "Somewhat Damaged" was one of 13 songs played to detainees at Guantanamo Bay, supposedly as a means of torture.

Packaging

The cover artwork was designed by David Carson. A section within his book Fotografiks reveals that the top section of the album cover is from a photo of a waterfall and the bottom section is from a closeup photo of the inside of a seashell. Carson elaborated on this further in an image on his website:

Promotion

Fragility Tour

On September 10, 1998, at the 1998 MTV Video Music Awards, a thirty-second teaser trailer was shown on television to promote the then untitled album. It would be more than a year before the album was finally released. The first single, "The Day the World Went Away", was released two months before the album. "Into the Void" and "We're in This Together" proved to be the album's most successful singles. The B-side "Starfuckers, Inc." was released on the album as a track at the last minute , and served as a promotional single for The Fragile. In support of The Fragile, the Nine Inch Nails live band reformed for the Fragility tour. The tour began in late 1999 and lasted until mid-2000, spanning Europe, Japan, New Zealand, Australia, and North America.{{cite news | access-date = February 1, 2008 | archive-date = July 27, 2020 | archive-url = https://web.archive.org/web/20200727060438/http://nl.newsbank.com/nl-search/we/Archives?p_product=LVRB&p_theme=lvrb&p_action=search&p_maxdocs=200&p_topdoc=1&p_text_direct-0=0FD3937E043E83C4&p_field_direct-0=document_id&p_perpage=10&p_sort=YMD_date:D | url-status = dead | archive-url = https://web.archive.org/web/20010725044359/http://www.mtv.com/news/articles/1432650/19990928/nine_inch_nails.jhtml | url-status = dead | archive-date = July 25, 2001 | access-date =February 8, 2008 |archive-url=https://web.archive.org/web/20051223111401/http://www.moderndrummer.com/updatefull/200001232 |url-status=dead |archive-date=December 23, 2005 |access-date=February 9, 2008 | access-date =February 8, 2008}} Rolling Stone magazine named Fragility the best tour of 2000.{{cite news |archive-url=https://archive.today/20110718032029/http://media.www.westerncourier.com/media/storage/paper650/news/2002/02/01/TheEdge/Nin-It.Wasnt.All.It.Could.Have.Been-443708.shtml |url-status=dead |archive-date=July 18, 2011 |access-date=February 19, 2008 | archive-url = https://web.archive.org/web/20080416133027/http://www.rollingstone.com/news/story/5931442/nin_doing_fragility_dvd | url-status = dead | archive-date = April 16, 2008 | access-date =February 1, 2008}} but later wrote that "I can't watch it at all. I was sick for most of that tour and I really don't think it was Nine Inch Nails at its best."{{cite web | archive-date = May 14, 2007 | archive-url = https://web.archive.org/web/20070514173115/http://www.nin.com/access/7_21_04/index.php | author-link = Trent Reznor | access-date =February 1, 2008}}

Reznor's drug dependence and overdose in 2000

In the years leading up to the Fragility Tour, Reznor’s personal life had been complicated by addiction and grief. Following the commercial breakthrough of The Downward Spiral (1994), Reznor struggled privately with alcohol and drug use, which intensified after the death of his grandmother, the woman who had raised him. The loss profoundly destabilized him, and he began using substances heavily to cope. Cocaine and alcohol became central to his daily routine, with sessions often blurring into days of self-destructive excess. The recording of The Fragile took place during this period. Reznor later acknowledged that he was frequently incapable of writing lyrics or focusing on production because of withdrawal and intoxication. Although The Fragile was widely acclaimed upon release in 1999, Reznor himself could not appreciate its reception. In an interview cited by Exclaim!, he admitted that during this era "nothing felt good anymore, not music, not success, not anything". By the time the Fragility Tour began, Reznor was carrying the weight of his addictions into one of the most elaborate and demanding concert productions of his career. The most serious crisis occurred in June 2000, during the European leg of the tour in London. According to The Guardian, Reznor obtained what he thought was cocaine but which turned out to be heroin, specifically a highly potent form sometimes referred to as "China white", a type of fentanyl. After ingesting the drug, he collapsed and suffered a near-fatal overdose, requiring emergency medical care. The episode forced the cancellation of concerts and marked the lowest point of Reznor's life.

The overdose left Reznor shaken. Though he continued to downplay the severity of his addiction immediately afterward, the London episode planted the realization that he was no longer in control. Several planned European performances were canceled, and Nine Inch Nails temporarily withdrew from touring. By 2001, Reznor entered rehabilitation, beginning the process of recovery. In interviews, he has repeatedly cited the 2000 overdose as the moment that forced him to confront the reality of his addictions. In a 2005 conversation he stated: "If I drink again I’ll probably die. And I don’t want to die."

Reissue

On September 21, 2009—the tenth anniversary of the album's release—a Nine Inch Nails official Twitter update hinted that a deluxe 5.1 surround audio reissue of The Fragile was in the works and was scheduled for a 2010 release. During an interview with The New York Times that was broadcast on January 7, 2011, after questioned about the album Reznor explained:

While on tour in 2014 in Australia and New Zealand, Reznor was interviewed by a local reporter and was quoted about the reissue stating:

And I think it has something to do with that package, and I just need the bandwidth to kind of calmly think about it, and decide how much effort I want to devote into that and what to do with it. I have a lot of ideas that could eat up immense amounts of time and I'm trying to weigh out - just think it through. I don't want to pull the trigger on something and go, 'Man, I should have done it in this way.' And I just haven't had a chance to be in a calm place where I can think it through completely and make that decision.}}

In June 2015, an instrumental version of the album was released to Apple Music. This version of the album also includes alternative versions of "The Frail", "Just Like You Imagined", "Pilgrimage", "La Mer", "The Mark Has Been Made", and "Complication", the instrumental version of "The Day the World Went Away (Quiet)", an extended version of "+Appendage", a demo version of "10 Miles High" called "Hello, Everything Is Not OK", and two previously unreleased tracks from The Fragile ("The March" and "Can I Stay Here?")

In 2017 a reissue of the vinyl version of The Fragile was released, alongside an expanded, instrumental version, titled The Fragile: Deviations 1. This version of The Fragile contains all songs in either instrumental or alternate formats, and combines them with newly released songs written and recorded during the sessions for The Fragile. Deviations 1 consists of a one-off 4×LP pressing.

Critical reception and legacy

8.7/10 (2017) The Fragile received generally positive reviews from contemporary critics. Mojo called it "an impressively multi-textured, satisfyingly violent sonic workout", and Alternative Press found it "nothing short of astounding". Edna Gundersen of USA Today called it "meticulously honed and twisted to baffle, tantalize, disarm and challenge the listener", and wrote that "the coats of polish ... can't camouflage Trent Reznor's perverse and subversive paths to musical glory." Ann Powers of Spin called the album "a good old-fashioned strap-on-your-headphones experience". Jon Pareles of The New York Times wrote that, although he "doesn't approach suicide as he did on" The Downward Spiral, "Reznor can hide in the studio and piece together music that's as cunning, and disquieting, as his raw anger used to be." Will Hermes of Entertainment Weekly viewed that, even "if [Reznor's] emotional palette is limited, it remains broader than any of his metalhead peers", and that, "right now, hard rock simply doesn't get any smarter, harder, or more ambitious than this." Robert Hilburn of the Los Angeles Times wrote that, despite its length, "this is a profoundly challenging and moving work that strikes at the hollowness of most contemporary pop-rock with bullwhip force." The Guardians Adam Sweeting praised it as "a fearsomely accomplished mix of monster riffing, brooding melodies and patches of minimalist soul-searching". Rolling Stone writer Rob Sheffield felt that the album's "excess is Reznor's chosen shock tactic here, and what's especially shocking is how much action he packs into his digital via dolorosa."

In a negative review, Pitchforks Brent DiCrescenzo panned the album's lyrics as "overly melodramatic". John Aizlewood of Q felt that it is "let down by Reznor's refusal to trouble himself with melody and by some embarrassing lyrics". NMEs Victoria Segal panned its music as "background" and accused it of "chas[ing] 'crossover'", with "grey rock sleet masquerading as a storm beneath a haze of 'experimental' textures." Scott Seward of The Village Voice facetiously commended Reznor for "once again ... pioneering the marriage of heavy guitars, moody atmospherics, electronic drones and beats, and aggressive singing. Just like Killing Joke 20 years ago." Village Voice critic Robert Christgau was even less receptive: "After six fucking years, genius-by-acclamation Trent Reznor delivers double-hoohah, every second remixed till it glistens like broken glass on a prison wall. Is the way he takes his petty pain out on the world a little, er, immature for a guy who's pushing 35? Never mind, I'm told—just immerse in the music. So I do. 'Dream job: emperor,' it says. 'More fun than death by injection.'"

The Fragile was included on several magazines' "end-of-year" album lists, including The Village Voice (number 14), Rolling Stone (number four), and Spin (number one). In a retrospective review, The Rolling Stone Album Guide (2004) gave it three-and-a-half out of five stars and wrote that, as "NIN's monumental double-disc bid for the art-rock crown, The Fragile sounds fantastic from start to finish, but there aren't enough memorable tunes underneath the alluring surfaces." AllMusic editor Stephen Thomas Erlewine offered similar criticism, writing that "Reznor's music is immaculately crafted and arranged, with every note and nuance gliding into the next — but he spent more time constructing surfaces than songs. Those surfaces can be enticing but since it's just surface, The Fragile winds up being vaguely unsatisfying." In 2005, The Fragile was ranked number 341 in Rock Hard magazine's book The 500 Greatest Rock & Metal Albums of All Time. In 2016, Exclaim! listed The Fragile at number two on their "Essential Albums" list for Nine Inch Nails, citing it as their most ambitious work and "a tragic if not stunning portrait of depression." Pitchfork would later reassess the album in their review of the album's 2017 "Definitive Edition", with a score change going from 2.0 to 8.7, describing it as Reznor's "magnum opus... The Fragile scrapes the sky like never before."

In Metal Hammer, it was named one of the 10 best industrial metal albums as well as one of the 20 best metal albums of 1999.

Commercial performance

The Fragile debuted atop the Billboard 200 with first-week sales of 229,000 copies, earning the band their first number-one album on the chart. The album fell to number 16 the following week, becoming the largest drop from number one at the time. On January 4, 2000, the album was certified double platinum by the Recording Industry Association of America (RIAA), and by May 2005, it had sold 898,000 copies in the United States.

Steven Hyden of The A.V. Club wrote that Reznor developed Nine Inch Nails from its role as a prominent rock act and by the time he finished recording The Fragile, alternative rock's overall popularity declined with several of Nine Inch Nails' contemporaries being disestablished or displaced by newer bands. Hyden also attributes the album's commercial performance to the rise of file-sharing on the Internet, which deviated from the alternative rock movement's emphasis on "fetishized vinyl" and "music festivals as peaceful places for young people to commune and dream of better futures."

Track listing

''The Fragile: Deviations 1''

The Fragile: Deviations 1 is an alternate version of The Fragile that contains all of the original songs in either instrumental or alternate forms, and combines them with newly released tracks written and recorded during the sessions for The Fragile. Deviations 1 consists of a one-off, limited edition four-LP pressing that was not made available on CD.

Critical reception

Neil Z. Yeung of AllMusic recommended that fans listen to and understand the original album first before delving into Deviations 1. Ultimately, he said that the release "serves as both a sonic time capsule and a reminder of one of NIN's most rewarding and underrated efforts." Writing for Pitchfork, Sean T. Collins found Deviations 1 interesting but simultaneously perplexing, saying "Far too many of ''Deviations''' freshly vocal-free songs sound like karaoke versions rather than instrumentals that can stand on their own. The result is a listening experience that outstays its welcome on a song-by-song basis, let alone over the course of its massive 150-minute running time."

Track listing

2:35:46

Personnel

Credits adapted from AllMusic, and The Fragile liner notes.

Musicians

• Trent Reznor – vocals, all musical performance except as noted, programming and production
• Adrian Belew – guitars on "Just Like You Imagined", "The Great Below" and "Where Is Everybody?"
• Charlie Clouser – programming, additional sound design; atmospheres on "The Great Below" and drum programming on "Into the Void", sound design on “Starfuckers Inc.”
• Jerome Dillon – chorus drums on "We're in This Together"
• Steve Duda – marching percussion, programming and production on "Pilgrimage"; chorus on "Starfuckers, Inc."; violin on "Ripe (With Decay)"; additional sound design
• Mike Garson – piano on "Just Like You Imagined", "The Way Out Is Through" and "Ripe (With Decay)"
• Keith Hillebrandt – programming and additional production on "The Way Out Is Through"; chorus on "Starfuckers, Inc."; additional sound design
• Cherry Holly – trumpet on "Pilgrimage"
• Danny Lohner – guitars on "Somewhat Damaged", "Just Like You Imagined", "Even Deeper", "The Great Below", "Where Is Everybody?" and "Complication"; drum programming and synthesizers on "Even Deeper"
• Denise Milfort – vocals on "La Mer"
• Kim Prevost – backing vocals on "Into the Void"
• Porter Ricks – keyboards, programming and synthesizer
• Bill Rieflin – drums on "La Mer"
• Willie – cello on "La Mer"

Production and technical personnel

• Steve Albini – engineering and supplemental drum recording
• Tom Baker – mastering
• Clinton Bradley – programming; technical assistant to Bob Ezrin
• Paul Bradley – programming
• David Carson – art direction, design and photography
• Paul DeCarli – programming
• Dr. Dre – additional production and mixing assistance on "Even Deeper"
• Bob Ezrin – additional production (album sequencing)
• Ken Friedman – additional sound design
• Leo Herrera – additional engineering
• Alan Moulder – production, engineering and mixing
• Dave Ogilvie – additional engineering
• Brian Pollack – engineering

Choirs

• Buddha Debutante Choir (track 2):
  • Heather Bennett
  • Melissa Daigle
  • Judy Miller
  • Christine Parrish
  • M. Gabriela Rivas
  • Martha Wood
  • Fae Young
• Choir (track 8):
  • Di Coleman
  • Tracy Hardin
  • Gary L. Neal
  • Traci Nelson
  • Elquine L. Rice
  • Terry L. Rice
  • Rodney Sulton
  • Stefani Taylor
  • Barbara Wilson
  • Leslie Wilson
• Buddha Boys Choir (tracks 9 and 18):
  • Eric Edmonson
  • Doug Idleman
  • Marcus London
  • Clint Mansell
  • Adam Persaud
  • Nick Scott
  • Nigel Wiesehan

Charts

Weekly charts

Year-end charts

Certifications

References

References

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