Photographs by Michael Hurcomb
“Dude, since you’re a Massive Attack fan, you’ll love Trent Reznor’s new project. It’s fucking awesome! … Would you mind passing the joint please?”
This was the first I heard of How To Destroy Angels at Massive Attack concert in Vancouver’s majestic Stanley Park back in 2010, yet didn’t hear much of the music except for the band’s first official music video, The Space in Between. So, the last minute confirmation for the Thursday night show at Sound Academy was a great opportunity to explore yet another perspective of the mind of Trent Reznor, the multi-instrumentalist, singer-songwriter, composer and record producer behind perhaps the most successful Industrial Rock project in history, Nine Inch Nails.
The show started at 10pm. As the two red, velvet curtains were opening up, the appearance of the the four LED curtains in front of the band, was, by itself, the perfect representation of the analog- digital nature of the project. Starting with The Wake-Up, How To Destroy Angels established the one-of-a-kind atmosphere with the heavy groove and characteristic sound design and music, familiar to the fans of Mr. Reznor and his “long-time partner in crime”, Atticus Ross. Floating in the deepest realm of practical low-frequency spectrum, the packed venue welcomed the sound of the music with the angelic voice of Mr. Reznor’s wife, Mariqueen Maandig, accompanied by stellar lights and visual effects created and performed by Rob Sheridan. Almost done with the tour for their latest album Welcome Oblivion, How to Destroy Angles continued with Keep It Together and Parasite, where the LED curtains opened up for the first time to give the fans the first clear glimpse of the quintet on the stage.
Along with Mr. Reznor on guitar, vocals and electronics, the two electronics performers, including Mr. Ross, Mrs. Maandig on vocals and Mr. Sheridan’s lights and visual effects station, How To Destroy Angels have created, without a doubt, one of the most interesting live setups in today’s mainstream music industry. Goin’ through the deep, dark ride of thirteen songs, including Ice Age, The Believers, Welcome Oblivion, BBB, Fur-Lined, A Drowning, and The Space in Between, we have reached the end of an hour-long set with A Drowning, which was quickly followed by three encores, On The Wing, Strings And Attractors, and We Fade Away.
In February 2013, I’ve had the pleasure of witnessing Mr. Reznor and Mr. Ross winning a Grammy Award for Best Score Soundtrack for Visual Media for their music for The girl with the Dragon Tattoo. The due has also won the Academy Award for Best Original Score for the Social Network in 2010. The lesson here, for any artist including musicians who’re interested to not only survive but to shine in the 21st century Entertainment Industry, is that finding, exploring and experimenting with your own sound is much more important and valuable than anything else you can think of and hope for. Once you get to the point where you can create and produce something that is you and only you, there are many alike you who will recognize, respect and support your creativity and artistic freedom. There is, and always will be, only one Trent Reznor, one Atticus Ross, one Maynard James Keenan, one Elvis Presley and one Michael Jackon. So be yourself, and there will be only one of you.
