What we're left with is (relatively) standard experimental film fare, vaguely inspired by Luis Buñuel's and Salvador Dali's Un Chien Andalou (the eyes), at other times reminiscent of the works of Kenneth Anger (the subversive and repetitive subject matter), Norman McLaren (the animation, the scratching of the lens), René Clair, Stan Brackhage, Fernand Léger (the repetitive found images of an odd dance/ballet), and maybe even Georges Méliès (the moon-face).
I wouldn't call it ''cliché'', but it's not all that original, either.
But I decided to give it a few days, a few listens.
And this, despite its obvious references to a film grad and screenwriter such as myself, remains the best video I've seen in a (short) while. And to anyone without the experience to see where the inspiration comes from, this could open their eyes to a whole new world of (better) films out there. Which is also great.
And the song itself fits in the NIN pantheon. Very well. It's not as political as Head Like A Hole, not as obviously subversive as Closer (though that song is now a staple at strip clubs and sporting events...), not as heavy as March Of The Pigs nor as angry as Starfuckers, Inc., not as ''inclusive of all the ingredients that make up Nine Inch Nails'' as The Perfect Drug, but it's one of the better songs released this year so far. It grows on you.
And I'd rather have Nine Inch Nails doing the rounds, performing on talk shows, touring, grabbing your attention (and dollars) than modern-day futilities such as Macklemore, Bruno Mars and Will.I.am, or past success revivalists like Chicago and Bon Jovi.
I'll be purchasing the new album, Hesitation Marks, the day of its release - on September 3rd - as I have done since 1992 because, well, NIN is a great