My empire of dirt
I will let you down
I will make you hurt."
The Downward Spiral, released in 1994, is the second album by American rock band Nine Inch Nails, and the band's first full work following their shift from a darker, more mechanical take on Synth-Pop (Pretty Hate Machine) to a harsher, angrier industrial sound (Broken EP).
The album was (in)famously recorded in a home studio frontman Trent Reznor had built at 10050 Cielo Drive, dubbed by him as "Le Pig", where the Charles Manson "family" performed the Tate murders in 1969. (He ended up being the house's final resident, as he left at the end of 1993, taking only the front door to install at his new studio, and the house was demolished the year after.)
Built as a Concept Album, Reznor wanted The Downward Spiral both to sonically distinguish itself from Broken and tell the story of a psychologically wounded character on a path towards complete nihilism, misanthropy, and self-destruction. This character was based heavily on himself, as he was struggling with band conflicts, alcoholism, drug addiction, and depression around the time he made the album.
While working on the album, Reznor strived to focus on texture and space, avoiding explicit guitar or synthesizer use, and make certain parts of the album's story ambiguous, which has made it ripe for interpretation and analysis to this day, with perhaps the most famous unanswered question being whether or not the protagonist dies from his suicide attempt near the end of the album. You can read one such interpretation here.
The Downward Spiral established Nine Inch Nails as a force in the 1990s music scene, its sounds heavily imitated and the album ultimately being seen as one of the most important musical works of the decade, although Moral Guardians did have quite a mouthful for some of the album's lyrics.
Just over a year after its initial release, The Downward Spiral received a remix album called Further Down the Spiral that contains remixes from Aphex Twin, Rick Rubin, J.G. Thirlwell, and a good portion of Coil, among other high-profile names. It is also reportedly one of the bestselling remix albums of all time.
- "Mr. Self Destruct" (4:30)
- "Piggy" (4:24)
- "Heresy" (3:54)
- "March of the Pigs" (2:58)
- "Closer" (6:13)
- "Ruiner" (4:58)
- "The Becoming" (5:31)
- "I Do Not Want This" (5:41)
- "Big Man with a Gun" (1:36)
- "A Warm Place" (3:22)
- "Eraser" (4:54)
- "Reptile" (6:51)
- "The Downward Spiral" (3:57)
- "Hurt" (6:13)
- Trent Reznor: vocals, all instruments, drums
- Chris Vrenna: drums, sampling, programming
- Adrian Belew: texture generating guitar, ring mod guitar
- Danny Lohner: additional guitar
- Andy Kubiszewski, Chris Vrenna: drums
- Stephen Perkins: drum loops
- Charlie Clouser: programming
March of the Tropes:
- 13 Is Unlucky: The Title Track is (literally) the 13th track of the album and also the part of the main protagonist's attempted suicide.
- Alas, Poor Villain: By the time the album is over, you can't help but feel sorry for the Villain Protagonist of the album. Despite all that he's done, he's come to realize the consequences for his actions far outweigh any pleasure he received from them.
- Animal Motifs: While pigs are the most prominent (i.e. "Piggy," "March of the Pigs," the reference to swine in "Heresy"), other examples include "Reptile," a reference to insects from the aforementioned song, flies and cattle in the rapped sections of "Ruiner," and references to bees (and their honey) in "Closer" and "Reptile."
- Arc Words: Nothing can stop me now.
- The references to pigs and some sort of machine also qualify.
- Badass Boast: From "Ruiner":"You didn't hurt me, nothing can hurt me, you didn't hurt me, nothing can stop me now..."
- Belief Makes You Stupid:
I speak religion's message clear (and I control you)
- "Mr. Self Destruct"
I am denial, guilt, and fear (and I control you)
I am the prayers of the naive (and I control you)
I am the lie that you believe (and I control you)
He dreamed a god up and called it ChristianityYour god is dead and no one caresIf there is a hell, I'll see you there
- Black Comedy: This is the furthest thing from a humorous album, but the cheerful instances of Mood Whiplash in "March of the Pigs" are somewhat funny due to how purely out of left field they are.
- Book-Ends: According to Trent, the album's first "section" is tracks 1-9, and the first and final tracks ("Mr. Self Destruct" and "Big Man with a Gun") of this section are connected; in "Big Man", the protagonist becomes fully corrupted and seemingly irredeemable, the very same thing initially foreshadowed in "Mr. Self Destruct". Additionally, the songs are both at 100 BPM and have similar melodies.
- Bowdlerise: Probably one of music's most brilliant examples; the "crown of shit" line in "Hurt" was changed in the Johnny Cash cover to "crown of thorns", nodding to Cash's devout following of Christianity.
- Bungled Suicide: According to some interpretations of the album's ending, the protagonist's suicide attempt is unsuccessful.
- Careful with That Axe:
- "Eraser" ends with Reznor screaming "KILL ME" over and over until it dissolves into the noisy background.
- The ending of "Big Man with a Gun" has Reznor outright screeching "ME AND MY FUCKING GUN" over and over.
- The Title Track has muffled sounds of Reznor screaming so loudly that it almost drowns out the Machine's talking.
- Creepy Monotone: The Machine, as portrayed by Trent with a chillingly subdued and flat speaking tone.
- Cybernetics Eat Your Soul: In a symbolic sense; the protagonist's gradual dissociation throughout the album are personified as the Machine. "The Becoming" most explicitly details this and even likens his loss of feeling to his body being replaced by machinery.
- Darker and Edgier: Easily the darkest album, lyrically and sonically, that the band had put out at the time, if ever.
- Double Entendre: "Big Man with a Gun" is rife with these, considering its view of the "gun" in question shuffles between an actual gun (insinuating a killing spree) and a penis (insinuating a rape).. Throw in some double meanings on words such as "shoot"note , and you have a song that could genuinely go either way.
- Downer Ending: Whether or not you believe that the protagonist killed himself, the album's conclusion still has the protagonist at the bottom of the spiral after his disconnection from everything including himself. The only light at the end of the tunnel that the album provides is in retrospect, as the protagonist realizes the errors of his ways in "Hurt" but acknowledges that it's too late to start over.
- Without referencing the album's concept, the album's concluding with "Hurt" is an eligible example, as the song is told from the perspective of someone lamenting the emptiness of their life and acknowledging that they will leave no legacy behind.
- Driven to Suicide: Maybe. Seems to be played straight in the title track, but the ending of the record especially is open to interpretation - "Hurt" is sometimes also seen as being essentially the character's dying moments, or as outside of the story arc altogether.
- There was a song called "Just Do It" that was originally going to be on the album that is particularly upfront and unapologetically blunt about suicide (the only known lyrics are "Just do it / nobody cares at all"), but producer Flood convinced him to leave it off due to being too grim.
- Drone of Dread: The sustained, gurgling bass synth in "Reptile".
- The watery, droning noise in the Title Track.
- Drugs Are Bad:
I am the needle in your veinAnd I control you
- From "Mr. Self Destruct":
The needle tears a hole, the old familiar sting.
- Also, from "Hurt":
- Echoing Acoustics: In the second half of the chorus of "Hurt", a distant duplicate of Trent's vocals panned to the side begins singing one quarter-bar before the main vocals.
- Eleven O'Clock Number: "Reptile" acts as this, being the moment where the protagonist fully realizes he's hit rock bottom as the only emotional solace he can find is within a prostitute, and is the final track we hear before his suicide attempt.
- Epic Rocking: "Closer", "Reptile", and "Hurt"
- Fading into the Next Song: "A Warm Place" ends with the blowing sounds that open "Eraser", "The Becoming" crossfades into "I Do Not Want This", "I Do Not Want This" in turn segues into "Big Man with a Gun", and "The Downward Spiral" ends with the white noise heard throughout "Hurt".
- Some of the songs actually have bits from the previous song at the very, very start. "Piggy" has a bit of "Mr. Self Destruct", and "A Warm Place" has a very loud and abrupt bit from "Big Man with a Gun". These were fixed on the remastered version.
- Fate Worse than Death: Heavily implied to be the case for the protagonist's entire existence. At the end of "Eraser" you can faintly hear him screaming "help me".
- God Is Dead: "Heresy" and "Ruiner". In the former, he rants against Christianity and religion as a whole, and in the latter, he kills God himself.Your god is dead and no one cares
- Going Postal: A possible interpretation in "Big Man with a Gun" (See Double Entendre).
- Heroic Self-Deprecation: As the album goes on, the protagonist becomes increasingly untrustworthy for himself being the embodiment of all the things he doesn't like.
- Hope Spot: "A Warm Place" acts as a moment of clarity for the protagonist following whatever horrific act he committed in "Big Man with a Gun", and possibly hints that he will turn things around...but we find that the damage he's done is truly irreversible as the song segues into "Eraser", which is where the Machine finally consumes the protagonist.
- "I Am" Song: "Mr. Self Destruct" and "Big Man with a Gun" are both songs with the protagonist basking quite amorously in their character.
- The Immodest Orgasm: "Big Man With a Gun" begins with a distorted, warbling female scream of pleasure.
- Instrumental: "A Warm Place".
- Intercourse with You:
- In "Reptile" he is to have someone else who feels nothing at all emotionally, but sexually tortures him instead.
- It is widely rumored that in "Closer" he feels closer to God by doing this through helpless victims to escape his former life. Reznor in interviews denied that "Closer" was about sex and instead suggested it to be an Anti-Love Song.
- Jump Scare:
- On the original album, "A Warm Place" has a very loud split-second of audio leftover from "Big Man with a Gun" (the previous track) at the very start of the song. This was fixed on later editions.
- The ending of "Hurt"; up until the final sung line, the song has been generally miles calmer and slower than the tracks preceding it. However, once Trent gets to the final line ("I would find a way"), a set of loud guitar notes blares in suddenly.
- When "March of the Pigs" rather suddenly continues playing after a prolonged period of silence.
- Last Note Nightmare:
- "Mr. Self Destruct" ends with a bunch of guitars playing different melodies at once, creating dissonant noise.
- "A Warm Place" inverts this trope if you play the song on repeat (see Jump Scare above) and also plays it straight with its ending moments. Not only does its melody shift into a darker key, but it also concludes with the uneasy blowing sounds that start "Eraser", tainting the otherwise calm atmosphere.
- The Title Track ends with a harsh, distorted cymbal noise that fades into "Hurt".
- "Hurt" ends with a sudden blast of guitar noise that nearly drowns out the final line and then carries out for over a minute before fading into the background.
- Leitmotif: A particular chromatic melody, often called the "Downward Spiral motif", recurs throughout the album, appearing in "Piggy", "Heresy", "Closer", and the Title Track. "A Warm Place" also uses it, but inverted.
- Lighter and Softer: "A Warm Place" and "Hurt"—at least, until the endings.
- Madness Mantra: Used frequently throughout.
- "Mr. Self Destruct": "You let me do this to you (I am the exit)". Said a total of 8 times.
- The outro of "Ruiner" has "you didn't hurt me, nothing can stop me now" repeated, although it's clear that the protagonist is just lying to himself.
- At the end of "The Becoming": "it won't give up, it wants me dead, goddamn this noise inside my head" is shrieked over and over again.
- "I Do Not Want This" has three: "I do not want this", "Don't you tell me how I feel", and "I want to know everything/I want to be everywhere/I want to fuck everyone in the world/I want to do something that matters".
- The repeated screams of "me and my fucking gun" at the end of "Big Man With a Gun".
- "Eraser" ends with Trent repeatedly shouting "Kill me". The same thing is heard in "Erased, Over, Out" from the remix album.
- Misogyny Song:
- Mood Dissonance: "The Becoming" and "A Warm Place".
- Mood Whiplash:
- Across the whole album:
- The hard, mechanical opening of "Mr. Self Destruct" is followed by the slow and softer "Piggy".
- The violent snap in sanity seen in "Big Man With A Gun" is followed by the calming instrumental "A Warm Place", which is in turn followed by the torturing cries of "Eraser".
- The threatening, pulsating chorus of "March of the Pigs" is abruptly stopped by some rather lively piano with Trent singing jovially over it to the effect that it's the closest the album gets to sounding like a jingle.
- Across the whole album:
- My God, What Have I Done?:
- "A Warm Place" is a rare solely-auditory example following the (possibly sexually) violent power trip of "Big Man with a Gun".
- The final track, "Hurt" also counts as this, though, mainly of the What Have I Become? variant.
- No Ending: "Ruiner" ends abruptly (mid-phrase, no less; as Trent is saying "nothing can stop me now", the last word before the song cuts is "stop"), as does "Big Man with a Gun".
- Nothing Is Scarier:
- The first "doesn't it make you feel better?" piano section of "March of the Pigs" is followed by a good portion of silence before the song suddenly continues.
- "A Warm Place" manages to be soothing yet unnerving at the same time for this exact reason.
- One-Man Song: "Mr. Self Destruct" and "Big Man With A Gun".
- The Oner: The single-shot Performance Video of "March of the Pigs", reportedly the only take out of a dozen that "did not suck."
- One-Word Title: "Piggy", "Heresy", "Closer", "Ruiner", "Eraser", "Reptile" and "Hurt".
- Performance Video: "March of the Pigs" was given one, notably shot as The Oner.
- Precision F-Strike:
- "Closer" gave us one of the most iconic lines in music history: "I wanna fuck you like an animal."
- "Hurt" has "I wear this crown of shit", which was changed quite cleverly into "I wear this crown of thorns" in the Johnny Cash cover, referencing Jesus and Cash's dedicated Christianity.
- "March of the Pigs": "I wanna break it up / I wanna smash it up / I wanna fuck it up."
- "I Do Not Want This": "I want to know everything / I want to be everywhere / I want to fuck everyone in the world."
- "The Downward Spiral": "Problems do have solutions, you know / A lifetime of fucking things up fixed / In one determined flash."
- Rage Against the Heavens: "Heresy" and "Ruiner" have the protagonist violently disillusioning himself from God. The former, especially.
- Rape as Drama: A common interpretation of "Big Man With a Gun", with the Freudian overtones of the titular gun in question.
- Record Producer: Trent Reznor and Mark "Flood" Ellis.
- Recurring Riff: The famous "Downward Spiral motif", which appears in "Piggy", "Heresy", "Closer", and "The Downward Spiral", as well as a certain version of "Eraser" only played on the Dissonance Tour.
- Religion Rant Song: "Heresy" and "Ruiner" again.
- The album begins with a sample from THX 1138 of the sound of a man being beaten.
- The kick drum sound of "Closer" is a sample of the song "Nightclubbing" from Iggy Pop's album The Idiot.
- The crowd screaming in the background of "The Becoming" are taken from Robot Jox.
- There's also the porn star sample on "Big Man With A Gun", distorted and processed to the point of being unrecognizable. The liner notes call the sample "Steakhouse".
- "Reptile" takes its opening machinery sounds from Leviathan, and the looping female voice in the bridge is from The Texas Chainsaw Massacre 1974.
- The Title Track's beginning watery noise is from Alien.
- Sanity Slippage Song: The whole album.
- Sensory Abuse: The vocals and musical instruments are distorted to the point of harshness.
- Sex for Solace: Deconstructed, and ruthlessly so at that. "Closer" shows how unhealthy this mindset is, and just how demented a person would have to be, emotionally, to adopt it.
- Spoken Word in Music: Whenever Trent assumes the role of the Machine, he speaks quasi-seductively and so softly that his words are almost drowned out by the music. This occurs in "I Do Not Want This" and the Title Track.
- Sociopathic Hero: The Villain Protagonist of the album is characterized by a total disregard for the well-being of others, and even his own, eventually culminating in what might have been a mass shooting or a rape. Although towards the end, just how much of a sociopath he really is is called into question, when he begins to develop a conscience and feel regret for his actions, leading to a suicide attempt that assuming he survived he shamefully comes to believe that the only purpose in his life is to hurt others.
- Subdued Section: "Mr. Self Destruct", "March of the Pigs", "Heresy", "Ruiner", "I Do Not Want This", "Eraser", and "Reptile" all have this dynamic.
- Take That!:
- Reznor has said that "Big Man With a Gun" was written as making fun of "the whole misogynistic Gangsta Rap bullshit".
- "Heresy" contains mocking references to right-wing Christians who blame HIV/AIDS on people's alleged sexual immorality, an attitude which Reznor finds to be utterly reprehensible.
- Tempting Fate: "Nothing can stop me now", basically whenever it's used, but especially in "Piggy" and "Ruiner". In the latter, the phrase is cut off after "stop" and the next song, "The Becoming", begins.
- Textless Album Cover: Some versions of the album cover, like the one on The Other Wiki's page for this album.
- That Man Is Dead: In "The Becoming", the narrator phrases his loss of the ability to feel like a dissociation from the person he used to be.The me that you know, he had some second thoughts
He's covered with scabs, he is broken and sore
The me that you know, he doesn't come around much
That part of me isn't here anymore.
- Title Track: "The Downward Spiral," though the title isn't mentioned in the lyrics themselves.
- Uncommon Time:
- "March of the Pigs" has three bars of 7/8 time and one bar of 8/8 time (except in the chorus).
- Most of "The Becoming" has a bar of 7/4 followed by a bar of 6/4.
- Villainous BSoD: After Villain Protagonist's Sanity Slippage is complete and he commits whatever horrible act he did in "Big Man With a Gun", he begins to realize that his depravity has reached its peak and makes one last attempt to find some solace in his miserable existence. He ultimately fails in doing so, and shoots himself. Assuming he survived, he's now gone past the Despair Event Horizon, as best demonstrated in "Hurt".
- Villain Protagonist: The album's main character, who is named "Mr. Self Destruct" in the opening track.I take you where you want to goI give you all you need to knowI drag you down I use you upMr. Self-destruct
- What Have I Become?: Mentioned word for word in "Hurt" and also the Trope Namer.What have I become?My sweetest friend, everyone I knowGoes away in the end
- Woobie, Destroyer of Worlds: Despite his moral reprehensibility and delusions of grandeur, the protagonist clearly has a lot of deep-seated mental issues, and by the end, he becomes pitiful in his regret-fueled despair.
- The protagonist of the album is a male example of this trope, as demonstrated in "Mr. Self Destruct" and "Closer".
- "Reptile" has a female example.
- You Keep Telling Yourself That: In "Big Man With A Gun", the protagonist has to reassure himself that he's a "big man" before he does something unspeakable.
- The pigs have won tonight.
Now they can all sleep soundly,
and everything is alright.