To borrow from W. C. Fields, I was in love with a beautiful blonde once, dear. She drove me to Nine Inch Nails. That's the one thing I'm indebted to her for.

Indeed, it was the year 1991. I was 14 years old. She had blonde hair and a cassette copy of Pretty Hate Machine. It was, rather appropriately, big black and clunky. I quickly wore out that cassette and, when I did, I tore out the tape and did my own version of the "Head Like a Hole" video.

So, one can imagine how excited I was about the release of the new Nine Inch Nails' album, [With_Teeth].

The sound and title suggest a newly invigorated Nine Inch Nails. While The Fragile was a sprawling work, lacking clear focus and full of long soundscapes, With Teeth is taut, efficient and raucous.

"All the Love in the World" is one of the album's greatest moments and a fitting opener. It builds to a raucous climax that includes Trent singing in falsetto and playing piano. It is a gospel song and Trent comes as close as ever to becoming Little Richard.

"You Know What You Are?" is the grimiest song on the album, a dark sludge of industrial skronk. It also marks the album's first "Fuck." "Fuck" is, after all, Trent's favorite word and no Nine Inch Nails album would be complete without it. In fact, the song should be called "Don't You FUCKING Know What You Are?"

"The Collector" is Trent Reznor at his most petulant, screaming, "I am a good boy and I will swallow it all, swallow it all, swallow it all."

"The Hand that Feeds" is a decent if forgettable song and lead single off With Teeth. It is this album's "We're in this Together."

Odd influences pop up throughout the record. For example, during "Only" Trent makes a few asides, "Your world that is" and, "Yes it did" that are reminiscent of The Dismemberment Plan.

"Only" is THE song on this album. It is self-referential, fun, rocking and it inspires even the palest of the bald men (this reviewer) to dance. With a video that is rumored to be directed by David Fincher, this might be the album's hit.

The trippiest track is, without a doubt, "Beside you in Time." The listener takes a slow train through the night when, after 3 minutes and 40 seconds, s/he is smacked with one of the most vibrant and grand moments on the album, a climax well worth the wait.

"Getting Smaller" is the guilty pleasure song on the album. It is not really that great, but it is great fun... not unlike "Starfuckers" from The Fragile.

The album's closer, "Right Where it Belongs," is a beautiful ballad that may well end up replacing the well worn "Hurt" as THE live ballad. "Right Where it Belongs" actually reminds this reviewer a great deal of the soundtrack to Richard Kelly's Donnie Darko, both in mood and in sound. It is fitting, then, that Trent Reznor is said to be contributing to the soundtrack of Richard Kelly's new film, Southland Tales. The song slowly emerges from the hum of what sounds like a car cruising in the night to the burst of applause from an audience... a transition that is particularly touching.

Glad to have you back Trent.

Rating: 4