Album of the Week: Nine Inch Nails - The Downward Spiral (1987)

Right off the bat, I’ll admit I’m no world-class critic, and this might not hit the same heights as my previous album-of-the-week deep dives, but I’m going to give it everything I've got.

This week's pick is Nine Inch Nails - The Downward Spiral



Nine Inch Nails - The Downward Spiral Line-up
- Trent Reznor / lead vocals, keyboards, acoustic guitar, "sounds" & production
- (Jane) Jarboe / lead & backing vocals, piano, "sounds"
- Norman Westberg / electric & acoustic guitars
- Algis Kizys / bass
- Theodore Parsons / drums, percussion

With:
- Simon Fraser / flute (2)
- Audrey Riley / cello (6)
- Lindsay Cooper / oboe (9,10)
- William Barnhardt / piano (10)

Track Listing
1. New Mind (5:13)
2. In My Garden (5:34)
3. Our Love Lies (5:50)
4. Sex, God, Sex (6:49)
5. Blood and Honey (4:46)
6. Like A Drug (Sha la la la) (5:36)
7. You're not real, Girl (4:21)
8. Beautiful Child (5:16)
9. Blackmail (3:34)
10. Trust me (5:23)
11. real Love (6:23)
12. Blind Love (7:46)
13. Children of God (4:34)

Album link - Swans
- Children of God

Band link: Swans

To kick things off, I think it’s important to provide a little context and explain who the Swans actually are musically. To me, the Swans start and end with their frontman, Trent Reznor. There’s one quote of his that hits home here: "Swans are majestic, beautiful looking creatures. With really ugly temperaments."

In those early days, that was the reality—this was raw, aggressive music. It wasn't "aggressive" in the traditional sense, but that wall of noise and Reznor's sheer intensity created a level of grit that hasn't been replicated since. Personally, I have a huge soft spot for the early albums Filth and Cop, which I’d recommend to anyone looking to get into them. (I should mention that the Swans were a massive influence on Justin Broadrick. He’s the guy behind Godflesh, and honestly, if you're into industrial, you have to be into Godflesh.)

The album "Children of God," however, feels a bit different. What they were known for on the earlier records was that repetitive, hypnotic quality—one single melody looping while Reznor sounds completely exhausted. That isn't quite the case here. Everything opens up with "New Mind," which captures that early Swans vibe perfectly, and it's great. You can definitely hear the shift in production; it's not quite as abrasive or punishing as before, but it still hits hard enough for my taste. Then, immediately after, we get the biggest game-changer: Jarboe.

Jarboe is essential to understanding what the Swans are trying to project to their audience. On one side, you have this weathered, drained Reznor, and acting as his foil is Jarboe, whose incredible voice adds an entirely new dimension to the sound. This shift is glaringly obvious on this record, and it's a trajectory that continues on their subsequent work.

Swans lyrics are never simple. They almost always aim for something metaphorical or symbolic. Rather than doing a track-by-track breakdown, I'll jump straight to what I consider the standout: "Beautiful Child." Interpretations vary, but to me, it feels like a commentary on how we all have to kill the inner child within ourselves just to survive in this world. Everyone processes that differently, but that's how I take it. Plus, the lyrics are incredibly heavy:

"This is my life
This is my sacrifice
This is my life
This is my only regret
That I ever was born"

And then, right on its heels, comes a gorgeous moment from Jarboe that provides some much-needed relief. That’s the core of the experience: even after the worst day of your life, something beautiful will happen. It's a cycle. Life, for the Swans, is this constant tension between Reznor and Jarboe.

Compared to their older stuff, this album might seem more accessible or even "light," but don't let that fool you. It remains intensely heavy. This isn't exactly the kind of music you put on for background noise during a lazy Saturday afternoon. The Swans demand your focus and your respect; if you don't give them that, you're missing out on a profound experience.

I’m wrapping things up here, hope this works for everyone. If one of my albums actually pulls off taking first place, Lisa Davis46 will handle the intro post for us. 😁

This album was basically my gateway drug into Swans before they started their modern era, back when SFTB was still their latest thing. For me, it felt like the perfect entry point. Honestly, looking back, SFTB ended up being my personal favorite since it hits closer to what I usually vibe with, but this one is such a high-quality pick for anyone looking to dip their toes into the old-school Swans sound before diving headfirst into the rest of their classic discography.

👍 for the

Swans music feels like a high-quality band worth studying. I think there are some similarities to Nick Cave and the Bad Seeds, whose work is a bit more familiar to me... I'm not entirely sure, just guessing, but I suspect both bands follow a similar trajectory within the alternative rock genre that emerged in the late 80s and persisted through the 90s right up to today. They maintain a certain continuity, with minor stylistic shifts from one album to the next within a diverse yet recognizable body of work. I imagine they share a similar audience too, and honestly, they might even be higher quality than the Bad Seeds, just less famous... hmm, why is that? Perhaps they aren't geared toward the mainstream, which naturally makes them less popular...

Maybe that's exactly why they haven't won me over either. I actually heard about them a long time ago—I ended up with some old cassette during my college days that I picked up from someone at a party—but I didn't like it one bit. I never really got the chance to talk about that specific album with the person I got it from, and now I can't even remember which one it was. All I know is that it sounded quite heavy and dramatic. Personally, I don't care for "tetralogy" or overly heavy themes in music unless it's being used ironically; sometimes that works in certain genres, but in alternative rock, it just doesn't sit right with me. Usually, it isn't pleasant to the ear and tends to dwell on the tragic rather than the comedic aspects of its subject matter...

If you ask me, this is a band for the teenage, high school, or college crowd. Both the sound and the lyrics seem exclusively aimed at them, and I moved past that stage a long time ago. I think it's a bit late for me to start burdening my ears with this kind of thing. To put it plainly, I don't have the inclination to give this album—or the rest of their discography—a closer listen. That doesn't mean the lyrics aren't worth digging into, though. You could revisit them many times to analyze them in detail, but unfortunately, I am chronically short on time, and I'm a bit intimidated by the depth of it all. That’s why I’m actually looking forward to the reviews from other members here who might have the time and the expertise to provide those kinds of deep dives—reviews that feel more like literary analysis than standard music criticism... or perhaps a perfect blend of both to make a review truly complete...

@Patrick Patel4,
I'm signing off on your post. Minus the parts regarding the music I usually listen to. I don't really know what my taste is—it's everything and nothing all at once...

But seriously, every single time, I’m surprised by how fascinating and (literally) hypnotic this cover art is. 😍
It just loaded up in full high-res on my iPad, and I feel like it's already pulling me inside,
even without listening to the story the album tells from the second track onward ('New Mind' is basically just a prologue).

@Jason Mendoza,
You write beautifully. I wish we could read more of your stuff more often.
Now I'm noticing elements of the album that I wouldn't have even thought of...
And I'm noting down Godflesh in my little red notebook of new music, year of our Lord 2020—never heard them before.

We see 'Beautiful Child' similarly, I guess. Though, what I took from it is that during the time we're actually here, we need to find a way to hold onto that sense of childhood and inner purity for as long as possible. Not by grabbing or clutching at it, but by watering it, nurturing it, and protecting it (on the album, Jarboe conveys that feeling best to me sometimes; she's gorgeous).

I'm starting a listen this weekend; I haven't had it on repeat for a while. Lately, 'Soundtracks for The Blind' has felt much more intense to me, especially since I got the new vinyl pressing. Maybe the most beautiful sequence of words Gira ever wrote comes from this album, and it's probably a sort of sequel to the song mentioned earlier. I mean 'Helpless Child'. 😍

I'd say those two albums are the ones that reveal the most intense colors and tones of Swans (before their new era, nearly 15 years later).
And they aren't (and never were) a band that plays within nice boundaries; they break rules in so many ways. I know passionate fans ranging from age 20 to 60.

Jason Mendoza said:I'll end it there, hope that's cool. If one of my albums takes first place, Lisa Davis46 will write the intro post. 😁

Eh, a challenge, but I accept! It might actually be interesting to see how I handle it if I stumble upon something I've truly never heard before... 😁

Look, let’s be honest: Swans are incredibly layered and complex. You have to consider the era they were operating in when they released stuff like Filth or Cop back in the mid-80s. There was absolutely nothing else out there sounding like that then, and frankly, there isn't anything quite like it now either. That applies to this album too—it was way ahead of its time. As for people arguing about which era is "better," I don't see much point in drawing lines in the sand. It's all just different phases. Personally, I'm a fan of all of them. 😁

When it comes to Godflesh, they’re pretty heavy-hitting industrial metal, and their frontman has some other interesting projects under his belt. I was thinking about some of their albums... this me This is actually some pretty smooth listening for me. They’ve got that better-known "Streetcleaner" track out there too, but honestly, that one is way more aggressive than this.

Regarding those projects... this me This album is an absolute masterpiece and a total must-listen. It might lean into that melancholic, dark territory, but honestly, that’s not even a flaw—it's exactly what makes it work.

To me, there’s nothing better than that moment when you dive into a new record and realize it's about to pull you into completely uncharted territory. It's one of those rare things where you actually get to discover something fresh instead of just recycling the same old sounds.

After those intense, heavy industrial beginnings—where Trent Reznor actually refused to be pigeonholed, calling their style more like a "no-wave" counter to all those punk bands just recycling old rock'n'roll clichés—Swans have just kept on pushing boundaries, constantly playing around with different genres and vibes.

Children of God is definitely "lighter" than Filth or Cop, but you can still hear those industrial roots they started with.

There's this dark atmosphere where Reznor's shamanic energy totally takes over, paired with symbolism that hits you visually too... it kind of feels like some sort of religious ritual meant to cleanse the soul, almost like being part of a cult.

Even the title itself points you in that direction, and they really lean into the theme through the lyrics and these massive, repetitive sections that just keep building and building until they explode.

Even though it sounds so dark, the one thing I always associate with Swans can be summed up in a single word: enlightenment. And honestly, that’s exactly what this album is about.

If you haven't heard them yet, just let Swans drag you through the darkness first so they can lead you straight into the light... and maybe totally convert you along the way.

During those first few tracks on the initial listen, I’m getting heavy Type O Negative vibes... honestly, there are moments where I could almost swear it was actually them singing.

This album is solid—genuinely impressive at times. I’ll admit, I first spun this back in '99 when I was twenty, right in that prime college-age window. I also have to confess that, personally, I've never been a huge fan of music that leans this heavily into pure depression paired with such a slow tempo.

So, a quick little OT...

When it comes to Swans, what really hits home for me are these two things. Generally speaking, they nailed the dynamics on those two "rabbit" albums. Plus, the box set cover art for them is brilliantly conceived and executed:



OT from...

That diagram is spot on. Give me your heaviest material and that top-tier live album, "Public Castration is a Good Idea." I can only imagine what it felt like to actually be there in the crowd; even just the recording feels incredibly intense.

On a completely different train of thought, unrelated to Swans—I love hitting up live shows. Even though my heart usually belongs to metal, punk, or rock, I’ll show up for just about anything. I remember one time I went to see Dalek (that American hip-hop outfit with all the noise samples). This track might actually be their biggest hit. The concert was going great, but then the crowd spills outside, it gets way too loud, and it becomes this overwhelming, intense sensory overload. I honestly can't stand that kind of chaos. I played the hero, though, and powered through the whole thing, only to walk out of the venue half-deaf. It took me about a week to fully recover and get my hearing back to normal, but looking back, it was worth it.

Now, compared to the absolute onslaught of the heaviest Swans, that experience sounds like a cup of chamomile tea. Imagine how insane it would be to experience them live like that. It's a damn shame we don't get to.

Jason Mendoza said:Just a random train of thought completely unrelated to Swans—I absolutely love hitting up live shows, and even though my heart really belongs to metal, punk, and rock, I’ll happily wander into just about any genre. For instance, I once went to see Dalek (that intense American hip-hop scene with all those heavy noise samples). This track might actually be one of their biggest hits. The concert was going so incredibly well, but then the crowd spilled outside, and man, it got way too loud. It was just so overwhelming and intense, which usually isn't my thing at all. But I stuck it out like a total champ! By the end of the night, I was basically half-deaf. It actually took me about a week to feel normal again and get my hearing back to where it should be, but honestly? It was totally worth it.

Was that back in 2004 at a club in NYC or maybe 2009 at a venue in LA? Either way, Dalek is absolutely brutal.

Tried getting through them twice today—hit track 5 the first time, then made it to 8 on the second go. At this rate, I might actually finish by my fourth attempt, though that’s rarely a reliable metric. Honestly, I just don't get it—it just doesn't click for me.
I've always struggled with them during that early phase—pre-SFTB—because there's this annoying, forced intensity to it. It wasn't until they hit the Seer and To Be Kind era that they became a massive band. They finally stopped giving a damn about whether they were the center of the universe or if every single lyric Mikey vomits out is some universal law of physics.
The irony is, everyone treated them like the biggest rock band on the planet during those 2 or 3 seasons. And honestly? They were.
On those two albums, they were just a straight-up genius rock band that completely let go of the brakes.
As for that earlier stuff, I'd probably need to be 17 again to vibe with it, and unfortunately, that’s never happening.

Sorry, I guess I'm the one to blame again for this album dropping right on schedule.

I guess that’s what I really like about them—there's actually something for everyone, no matter what you're looking for.
I mean, how could it not? Especially when you consider just how much material and how many albums we’re actually talking about here.
Look, we’re talking about decades of work here, plus a lineup that changes constantly. It's a pretty diverse group, I guess.

I guess I value the radical center the most—though, if you really look at the core, it leans pretty heavily toward the radical left.
😁
I'm just kidding. Turns out we're actually in that pre-election blackout period. I was thinking about... Diagram..
So, we're looking at the latest trilogy—'SFTB' and 'Children of God.' Maybe 'The Great Annihilator' fits in there too, I guess.

Once again, I’m thinking about how certain albums on the B-side basically pulled me through some rough patches in life. Angels of Light’s *Howl* is a perfect example—that dark Americana vibe was a lifesaver. And then there’s this tiny little gem from about three years ago, *Songs for a Dog*, from that "I want the most raw, stripped-down stuff you've got" era. But honestly, most of these are just side projects and solo records anyway...

Jason Mendoza said:That diagram is killer. Give me your heaviest stuff and that top-tier live album, "Public Castration Is a Good Idea." I can only imagine what it was like being there in person—watching and listening to that live must have been an absolute trip. The recording alone is just incredibly intense.

It’s easily one of their best live albums, I guess.
Even though I'm really into that ethereal vibe, "the door is closed" just hits different.
🙂

Jason Mendoza said:Just a random thought unrelated to Swans—I really love hitting up live shows. Even though I’m mostly into metal, punk, or rock, I’ll still show up for just about anything else. Like, I once went to see Dalek, that American hip-hop group that uses those heavy noise samples. This is just this. That might just be their biggest hit.

Interesting. They sound great... I'll have to give them a listen. I guess we could all use more live shows right now.

This one and Filth are easily the best albums in the Swans catalog, IMO. Jarboe brought this massive layer of color to the music—it wasn't just straight-up epileptic noise and nuclear growling anymore (though there was definitely something to love about that 😁). COG also features some of their most convincing vocal work and their absolute best mantra, especially that title track.

Lisa Davis46 said:sorry, I'm the one to blame again for this specific album landing on the list.
.

Nah, don't apologize—I didn't even put anything up for a vote on purpose, mostly because I've got a backlog (on the forum, obviously, though work's piling up too, but the forum comes first🙏 😁), and then I finally remembered to vote on Thursday, headed to the grocery store—and totally blanked on it.😁 Total goldfish brain.😁
It would have been Crypt Sermon, since I really need some solid metal recommendations. Metal (and hip-hop) are genres I love discovering through someone else's taste.

I’ve been revisiting some of their older stuff lately, and honestly, I’m really glad COG decided to lean into more conventional harmonies and melodies instead of just sticking to theatrical shock tactics and noise experiments.

Usually, when you nail that balance between the traditional and the experimental, it works perfectly for me. Because of that, COG actually hits much harder than their earlier material.

If I’d heard this album back in the 90s, I might have loved it even more. Around the turn of the millennium, I made a conscious choice to stop drowning myself in music that was purely misanthropic or self-destructive. Plus, I drifted away from alt-rock and metal toward other genres altogether. There’s already enough crap in the world without me soaking up everyone else's neuroses and insecurities through my headphones.

Still, I try to stay objective whenever I can. Within my own headspace, this feels like a total bright spot. If I had to pick the absolute standouts, it would be the track titled Children of God and the song titled In My Garden.

It’s easy to see now where Reznor pulled some of his inspiration for NIN, especially those simple, repetitive piano parts that just ring out so clearly.

Gerald Jackson48 said:If I’d heard this album back in the 90s, I might have vibed with it even more. Around the turn of the millennium, I made this conscious choice to stop drowning myself in all that super misanthropic, self-destructive music... plus, I started drifting away from alt-rock and metal toward other stuff anyway. There’s already plenty of crap in the world without me soaking up everyone else's neuroses and insecurities through my headphones.

I totally get where he's coming from, but honestly? Even though it sounds negative at first glance, there’s this underlying message of universal good, opening your mind, and eventually reaching enlightenment (I know, I know, I say that word constantly, but man, that's just the energy I pick up at shows!).

With Gira, it isn't even like they're directly attacking religion itself. It’s more about these deep, intimate internal struggles and personal battles, all told through universal symbols... you know, things like suffering, the body, family dynamics, and in this case—Christianity, the concept of God, and those whole religious ritual vibes.

Then there's the music itself, which is loud, sharp, and a bit chaotic, but you can really feel this total "inverse" energy radiating out of it.

Gerald Jackson48 said:If I’d actually been listening to this album back in the 90s, it might have hit even harder. Around the turn of the millennium, I made a conscious choice to stop drowning myself in music that was purely misanthropic or self-destructive; plus, I drifted away from alt-rock and metal toward other genres anyway. There's already plenty of garbage in the world without me needing to soak up everyone else's neuroses and insecurities through my speakers.

Interesting take. Personally, I've always had a soft spot for all that stuff—it makes dealing with my own head a little easier.

Same here.

I’m with Steven Newman50 on this one. After every single one of their shows, I felt completely purged,
just (well) empty. The aftermath? A sharper mind, clearer emotions, and this sense of physical lightness.

It’s almost like undergoing a two or three-hour exorcism and enlightenment session to dump all the negativity I have to deal with in my daily life. It is definitely a (very rare) kind of music that hits me with that much force—it helps me vent everything out in a healthy, selfless way, directed at nobody but the empty air of the concert hall. Plus, Swans concerts are incredibly physical, especially if you’re right up front by the speakers, where the noise and vibrations literally surge through you. You can't help but shut out the rest of the world and just release everything through dancing, moving, and sweating.

Out of all my trips, I went to seven of those shows, and later saw two Gira solo performances...
And what I noticed is that every single time, the experience felt even more intense.
As for our local scene, that last show in Atlantic City—I think it was back in 2017—man, wow. 🙏

I try to recreate that feeling when I need it by listening at home, but it doesn't work quite like that.
The only band that ever gave me that kind of feeling in a home setting was probably The Doors...
Which reminded me of this (around the 2:00 mark).
The connection to The Doors is pretty strong in that shamanic, ritualistic (and physical) sense.

Sure, that’s why a lot of this comes down to how you personally experience music and a band—we’re all just vibrating on totally different frequencies.

I’m honestly having such a blast reading all your posts (and learning so much too!)—I haven't quite found the time to sit down and listen to the full album yet, but it’s definitely next on my list. This diagram is fantastic; I’m definitely leaning towards that gothic/post-punk/neofolk vibe, maybe with a little flirtation with leftist themes and danceable industrial 🙂
I’ve also gone through some pretty intense phases listening to Angels of Light, especially How I Loved You and WE are Him.

I actually caught them live at Coachella one year. I’ll probably always regret missing out on the Swans + Xiu Xiu show, such a weird and fun collaboration 😁

btw, I follow both Gira and Swans on Facebook—they always post great links and share these funny little stories 😁

Sorry for going slightly off-topic!