This is easily one of Trent's best albums. In fact, this was my favorite for many years until The Fragile was released. Disregard any remarks about "80s, synth or cheese." The songs on here are great. It doesn't matter what year or what particular instrument was used when the songs were created. This is not as revolutionary as The Downward Spiral or The Fragile, but it still stands out as a fine piece of work 5/5

Even though the work of several artists in the same vein and from the same period (even 10 to 15 years before in most cases) far surpass this album in terms of dance-ability, poetic angst and especially harshness, this album was to become the be-all / end-all for anyone with an interest in industrial music. At least, until Trent Reznor released each subsequent album of his under the Nine Inch Nails moniker.

The material on this album works because Trent is a songwriter, the writing works because it reads out like an individual, on the cutting edge of Gothic culture no less, spilling out each of his thoughts and feelings.

The tracks vary between several tempos of dark synthpop, and one of the things about this album that I've always found peculiar is how things begin to drag down extremely right in the middle of the CD, picking up again through the last 3 tracks. This gives the album an odd feel, like taking a downer but coming up from it again by the finish.

If you've already got Nine Inch Nails' later material, it's perfectly fine to skip this one. It's really only for the serious fan anymore and is also, to be honest, some of the cheesiest "industrial" you may ever hear. In my opinion the three major highpoints are "Head Like A Hole", "Terrible Lie" (the two first tracks) and "Ringfinger" (the last track). These are the three with the best melodies, beats and the faster tempos, making the best vehicles for Trent Reznors rather tame brand of angst.

The first industrial album to hit the mainstream, Nine Inch Nails' PRETTY HATE MACHINE, keeps the dance beats going, but adds an element of teenage angst to the lyrics -- which goes a long way in explaining its popularity. Clubs in the early 90s couldn't escape "Head Like a Hole" or, to a lesser extent, "Down In It." Nonetheless, the album has a melodic appeal that matches its pain-ridden lyrics, whether the rough, down-on-my-knees scream of "Terrible Lie" or the gentle piano and anguish on "Something I Can Never Have." The danciness recurs on "Sin" and "The Only Time" makes a case for funk-industrial, but the closer, "Ringfinger," brings back the beat. Ah, the good old days.