“Sanctified”, first ever live performance
“Sanctified” unreleased demo with introduction music (from Purest Feeling bootleg)
“Sanctified” live at Irving Plaza, New York City 1988
“Sanctified” unreleased demo version 2
“Sanctified” original album version
“Sanctified” live on the Hate ’90 tour
“Sanctified” live on the Dissonance tour, 1995
“Sanctified” live from the Night of Nothing, 1996
“Sanctified”, remastered 2010 with no “Midnight Express” monologue
“Sanctified” alternate mix from Rock Band 3
“Sanctified” live from Fuji Rock, Japan, 2013
“Sanctified” live from Los Angeles, 2013
Characterized in latter-day NIN lyrics as an unending struggle to the death, a man-versus-himself conflict that persists throughout all possible changes in outward circumstances, Trent Reznor’s real-life struggle with addiction would come to define the thematic bulk of his songwriting catalogue. There are many recurring conflicts explored throughout the NIN song canon, but the deathly allure of addiction vs. a life of clarity is without doubt the most tortured out of all the recurring tropes: of ego vs. godhead, sex vs. virtue, individual vs. authority, vitality & presence vs. decay & obscurity/irrelevance, the battle with addiction surely stands out even if only for its deeply dramatic arc. Through the evasive yet thinly-veiled metaphor of a personal relationship, Reznor enacts the struggle against his inner demon (generally personified as a female entity) that all but devours after seducing its fragile male ego counterpart.
The album version of “Sanctified” opens with a pair of arpeggiated synth chords forming a noodly melodic introduction, courtesy of Reznor’s EMAX keyboard (all of Reznor’s synth patches on Pretty Hate Machine originated either on this strange piece of gear, a Moog Prodigy or a Prophet Vs, as it was only those, and a Macintosh Plus computer sequencer called Performer controlling an Oberheim Xpander that were yet in Reznor’s fledgling toolkit). Early live performances dropped this keyboard line in favour of noodly guitar improvisation, which certainly suited the more aggressive nature of the live shows, but there remains something very charming about the more mysterious, alluring album intro. It is ever-so-slightly reminiscent of the Close Encounters of the Third Kind theme, with its otherworldly, “exotic” modality, and ending on a dreamy upward pitch bend. Reznor took his musical education from a Western tradition that casts major and minor keys as poles-apart points on an emotional spectrum, and treats any composition with a sense of belonging outside of those modes as emotionally ambiguous. Such it is with “Sanctified” and many subsequent NIN tracks, their droning pedal-point harmony based on a single unchanging root note.
In the album version’s middle section, there is another keyboard solo that mirrors the feminized Vox Humana synth from the introduction in a distinctly lower, male register. With the sparse harmony and reverberant (almost ecclesiastical) texture, this bridge melody to my mind always evoked plainsong or some other form of ritualized Medieval chant, slightly sinister given the song’s dark context. The sense of dreadful ceremony is enhanced with the use of a barely distinguishable monologue sampled from the film Midnight Express. It turns out that this movie has several NIN connections: its director Alan Parker also helmed the cinematic adaptation of Reznor’s early favourite The Wall and screenwriter Oliver Stone later turned in a treatise on media sensationalization called Natural Born Killers soundtracked with a heavy dose of NIN’s music. Unfortunately, probably for copyright restrictions, the 2010 remastered version of Pretty Hate Machine expunged this sample from the mix (which leads to some confusion as to the source for the remaster, see this review at the NIN Hotline for some suppositions on my part about that).
During many live versions Reznor improvised vocal melodies over top of the bridge section, and in the 1996 “Night of Nothing” showcase at Irving Plaza in New York City he added the lyric “please God, save me”, repeated over and over. On the earliest existing video of “Sanctified”, a live performance taken from the 1988 Skinny Puppy tour (see the previous entry on “Down In It” for verification; it is not from 1989, as the video caption states), Reznor’s percussive electric guitar strumming closely matches the album take, only with a slightly beefed-up tone. This approach was later discarded, as soon-to-be-hired “pro” guitar players like Richard Patrick and Robin Finck would bring their own gear into live band rehearsals, thus adding a different flavour to the arrangement by using largely atonal, droning slides and bends. There is even evidence that Reznor tried to put this kind of texture into the album cut, but at the last minute kept mostly his own original work in the final mix (Patrick is credited with “drone guitar” on the ending of the piece, which blends into the background synth wash, rather than contributing any of the trippy solos that he, Finck, and later in 1996 Kevin McMahon would perform onstage to introduce the first verse).
By way of contrast to most other guitar players, Reznor uses the guitar primarily as a percussive instrument in arranging his music. His melodic capabilities on string instruments (pushed to their absolute limits on The Fragile, which is not saying much considering that a fan was able to tab out charts for the entire album that were posted on The NIN Hotline less than two months after its release date) were admittedly not that great, but his command of right-handed strumming technique, and precise manipulation of the instrument’s natural noise with stomp pedals and electronic processing remains a characteristic sound of his to the present day. Those stylistic elements are all here, on a track as early as “Sanctified”, present at the very beginning of NIN’s career.
One of Trent’s key influences in the making of Pretty Hate Machine was Gary Numan, and nowhere better than here is the early synth-pop star’s influence felt, as well as (on earlier iterations of the song) that of Depeche Mode. A cursory comparison of those two artists’ most immediately contemporary work would indicate that Reznor was listening very closely indeed. In a strange loop of mutual influence, Numan turned the plaintive refrain of “Sanctified” into an anthemic, heavy chorus (“Purified, sanctified, sacrificed/This is what you are”) for the title track on his album Pure. It’s no mere coincidence, either, as Numan calls NIN “the best band in the world“. Not a bad endorsement, for what started as the project of an American studio engineer originally trying to replicate the paranoid grooves from Telekon using just his computer and a couple of keyboards.
UPDATE: In 2013, NIN opened its first live show in four years at the outdoor Fuji Rock festival in Japan (mid-torrential downpour) by performing a brand new song followed immediately and quite unexpectedly by a radically reworked arrangement of “Sanctified”. This 2013 re-arrangement closely meshed with the feel of new material debuted from the as-yet unreleased Hesitation Marks album, tossing the rulebook out the window for latter-day NIN performing older material; its closest precedent is Reznor’s 2006 stripped-down live radio sessions with Peter Murphy, which radically transformed the canonical arrangements of songs even moreso than NIN’s Still recordings or the low-key all-acoustic Bridge School benefit performances Reznor also gave in 2006. Newly-added live band member and multi-instrumentalist Joshua Eustis (best known from bands Puscifer and Telefon Tel Aviv) added an electric bassline throughout that brings a much more vulnerable, human feel to the track against the icy electronic sequencers and synths. It works extremely well, particularly the manual delay effects, which Reznor uses to echo his ascending melodic vocal (recycled from, of all things, “Discipline” off of The Slip).
Later on in the tour, during the Tension 2013 arena leg, the band expanded again with the addition of dedicated bass player Pino Palladino (a thirty-plus years veteran of the music industry with an amazing resume) and backing singers Sharlotte Gibson & Lisa Fischer. Midway through this jaunt, the re-arranged “Sanctified” reappeared, with Palladino revamping and embellishing the bass part (as he did for all of the songs during this tour) and the additional singers joining in on the chorus and outro refrains, further strengthening the “unholy” gospel feel. It also interpolates the synthesizer solo melody from “Sunspots” off [i]With Teeth[/i], just for added fanatical trainspotter satisfaction.