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To promote the album, Reznor announced a film festival hosted on the band's Website/YouTube channel, requesting fans to visually interpret the music; although over 2,000 submissions were posted, no mention of the festival has been made since initial announcement. The album was also notably licensed under a Creative Commons license, allowing anyone to use or rework the tracks for non-profit purposes as long as they provided credit and released their work under a similar license. Reznor explained this as "a stance we're taking that we feel is appropriate" with "digital technology, and outdated copyright laws".
to:
To promote the album, Reznor announced a film festival hosted on the band's Website/YouTube channel, requesting fans to visually interpret the music; although over 2,000 submissions were posted, no mention of the festival has been made since initial announcement. The album was also notably licensed released under a Creative Commons license, allowing anyone to use or rework the tracks for non-profit purposes as long as they provided credit and released their work under a similar license. Reznor explained this as "a stance we're taking that we feel is appropriate" with "digital technology, and outdated copyright laws".
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The album was born from an experimental, improvisational process in which Reznor and his team gave themselves 10 weeks to create with "no clear agenda" and "no overthinking". The tracks were reportedly inspired by visual references that the band attempted to "describe" with sound, texture and melody such that Reznor summarized their approach to the album as "[treating] it, in a sense, as if it were a soundtrack." Co-composed with producer Atticus Ross, and featuring additional contributions from Alessandro Cortini, Adrian Belew, and Brian Vigilone, the album features a wide variety of instruments[[note]]piano, guitar, bass, synthesizer, marimba, tambourine, banjo, dulcimer, xylophone, etc.[[/note]], with many of them being sampled and modified electronically. Additional percussion, contributed mainly by Viglione, was mostly built out of found objects and household items.
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The album was born from an experimental, improvisational process in which Reznor and his team -- co-composing producer Atticus Ross and collaborators Alessandro Cortini, Adrian Belew, and Brian Vigilone -- gave themselves 10 weeks to create with "no clear agenda" and "no overthinking". The tracks were reportedly inspired by visual references that the band attempted to "describe" with sound, texture and melody such that Reznor summarized their approach to the album as "[treating] it, in a sense, as if it were a soundtrack." Co-composed with producer Atticus Ross, and featuring additional contributions from Alessandro Cortini, Adrian Belew, and Brian Vigilone, the The album features a wide variety of instruments[[note]]piano, guitar, bass, synthesizer, marimba, tambourine, banjo, dulcimer, xylophone, etc.[[/note]], with many of them being sampled and modified electronically. Additional percussion, contributed mainly by Viglione, was mostly built out of found objects and household items.
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* NoTitle: The tracks have no proper titles, being referred to only as "[position on album] Ghosts [volume]".
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* NoTitle: The tracks have no proper titles, being referred to only as "[position on album] Ghosts [volume]". However, "35 Ghosts IV" and "14 Ghosts II" were reworked in ''Film/TheSocialNetwork'' soundtrack as "A Familiar Taste" and "Magnetic", respectively.
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* NewSoundAlbum: An all-instrumental ambient album that foreshadows Trent Reznor's film score work with Atticus Ross.
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* NoTitle: The tracks have no proper titles, being referred to only as "[position on album] Ghosts [volume]".
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Co-composed with producer Atticus Ross, and featuring additional contributions from Alessandro Cortini, Adrian Belew, and Brian Vigilone, the album features a wide variety of instruments (piano, guitar, bass, synthesizer, marimba, tambourine, banjo, dulcimer, xylophone, etc.), with many of them being sampled and modified electronically. Additional percussion, contributed mainly by Viglione, was mostly built out of found objects and household items.
The album was born from an experimental, improvisational process in which Reznor and his team gave themselves 10 weeks to create with "no clear agenda" and "no overthinking". The tracks were reportedly inspired by visual references that the band attempted to "describe" with sound, texture and melody such that Reznor summarized their approach to the album as "[treating] it, in a sense, as if it were a soundtrack."
The album was born from an experimental, improvisational process in which Reznor and his team gave themselves 10 weeks to create with "no clear agenda" and "no overthinking". The tracks were reportedly inspired by visual references that the band attempted to "describe" with sound, texture and melody such that Reznor summarized their approach to the album as "[treating] it, in a sense, as if it were a soundtrack."
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To promote the album, Reznor announced a film festival, requesting fans to visually interpret the music and post submissions; however, no mention of the festival has been made since initial announcement. Additionally, the album was notably licensed under a Creative Commons Attribution Non-Commercial Share Alike license, in effect allowing anyone to use or rework the material for non-profit purposes as long as they provided credit and released their work under a similar license. Reznor explained this as "a stance we're taking that we feel is appropriate" with "digital technology, and outdated copyright laws".
In retrospect, many have considered the format of the album as foreshadowing for Reznor and Ross' joint career as film score composers, starting with ''Film/TheSocialNetwork'' (which features some reworked versions of tracks on this album).
In retrospect, many have considered the format of the album as foreshadowing for Reznor and Ross' joint career as film score composers, starting with ''Film/TheSocialNetwork'' (which features some reworked versions of tracks on this album).
to:
To promote the album, Reznor announced a film festival, festival hosted on the band's Website/YouTube channel, requesting fans to visually interpret the music and post submissions; however, music; although over 2,000 submissions were posted, no mention of the festival has been made since initial announcement. Additionally, the The album was also notably licensed under a Creative Commons Attribution Non-Commercial Share Alike license, in effect allowing anyone to use or rework the material tracks for non-profit purposes as long as they provided credit and released their work under a similar license. Reznor explained this as "a stance we're taking that we feel is appropriate" with "digital technology, and outdated copyright laws".
In retrospect, many have considered the cinematic sound and release format ofthe album ''Ghosts I-IV'' as foreshadowing for Reznor and Ross' joint career as film score composers, starting with ''Film/TheSocialNetwork'' (which features some reworked versions of tracks on this album).
In retrospect, many have considered the cinematic sound and release format of
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"34 Ghosts IV" was sampled on Music/LilNasX’s BreakthroughHit "Old Town Road".
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Among the various places that tracks on the album have appeared in, "34 Ghosts IV" was gained a new wave of attention after being sampled on Music/LilNasX’s BreakthroughHit "Old Town Road".
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''Ghosts I-IV'' is the sixth full album by Music/NineInchNails, initially released on March 2, 2008, less than a year after Music/YearZero. It is the first album to be released by The Null Corporation, an independent label started by Trent Reznor for projects associated with him following his split from Creator/InterscopeRecords. It is an all-instrumental {{Ambient}} album described by Reznor as "a soundtrack for daydreams" and co-composed with producer Atticus Ross - featuring additional contributions from Alessandro Cortini, Adrian Belew, and Brian Vigilone - making the album feel like a prototype for Reznor and Ross' film score collaborations, starting with ''Film/TheSocialNetwork'' (which features some reworked versions of tracks on this album).
To promote the album, Reznor announced a Ghosts I-IV film festival, requesting fans to make videos for the tracks to bring out their creative side, though, despite several [=YouTube=] submissions being made, nothing became of the film festival. Some of the tracks were played live on the 2008 Lights in the Sky tour, though dropped from setlists afterward. Initially conceived as a five-track EP, the album became a set of four nine-track [=EPs=]. It was released in several formats: digital; 2-CD; 4-LP; a deluxe edition with the two [=CDs=], a data DVD with the multitrack files, a Blu-Ray of the album in HD stereo, and a 48-page photobook. A $300 "Ultra-Deluxe Limited Edition," limited to 2,500 numbered copies signed by Reznor, combined the deluxe edition with the vinyl version in a fabric slipcase, with each copy coming with two unique Giclée prints.
To promote the album, Reznor announced a Ghosts I-IV film festival, requesting fans to make videos for the tracks to bring out their creative side, though, despite several [=YouTube=] submissions being made, nothing became of the film festival. Some of the tracks were played live on the 2008 Lights in the Sky tour, though dropped from setlists afterward. Initially conceived as a five-track EP, the album became a set of four nine-track [=EPs=]. It was released in several formats: digital; 2-CD; 4-LP; a deluxe edition with the two [=CDs=], a data DVD with the multitrack files, a Blu-Ray of the album in HD stereo, and a 48-page photobook. A $300 "Ultra-Deluxe Limited Edition," limited to 2,500 numbered copies signed by Reznor, combined the deluxe edition with the vinyl version in a fabric slipcase, with each copy coming with two unique Giclée prints.
to:
''Ghosts I-IV'' is the sixth full studio album by American rock band Music/NineInchNails, initially released on March 2, 2008, less than a year after Music/YearZero. their previous album ''Music/YearZero''. It is the first album to be released by The Null Corporation, an independent label started by frontman Trent Reznor for projects associated with him following his split from Creator/InterscopeRecords. It Creator/InterscopeRecords.
In [[NewSoundAlbum a divergence from the band's previous discography]], ''Ghosts I-IV'' is anall-instrumental {{Ambient}} almost entirely instrumental {{ambient}} album described by Reznor as "a "the result of working from a very visual perspective—dressing imagined locations and scenarios with sound and texture; a soundtrack for daydreams" daydreams." The album was initially conceived as a five-track EP but resulted as a set of four nine-track [=EPs=]; the album's tracks are untitled, identified only by their EP and co-composed track listing.
Co-composed with producer AtticusRoss - Ross, and featuring additional contributions from Alessandro Cortini, Adrian Belew, and Brian Vigilone - making Vigilone, the album feel like features a prototype for wide variety of instruments (piano, guitar, bass, synthesizer, marimba, tambourine, banjo, dulcimer, xylophone, etc.), with many of them being sampled and modified electronically. Additional percussion, contributed mainly by Viglione, was mostly built out of found objects and household items.
The album was born from an experimental, improvisational process in which Reznor andRoss' film score collaborations, starting his team gave themselves 10 weeks to create with ''Film/TheSocialNetwork'' (which features some reworked versions of tracks on this album).
To promote the album, Reznor announced a Ghosts I-IV film festival, requesting fans to make videos for the tracks to bring out their creative side, though, despite several [=YouTube=] submissions being made, nothing became of the film festival. Some of the"no clear agenda" and "no overthinking". The tracks were played live on reportedly inspired by visual references that the 2008 Lights in the Sky tour, though dropped from setlists afterward. Initially conceived as a five-track EP, band attempted to "describe" with sound, texture and melody such that Reznor summarized their approach to the album became as "[treating] it, in a set of four nine-track [=EPs=]. It sense, as if it were a soundtrack."
''Ghosts I-IV'' was released inseveral formats: a variety of formats and sizes: digital; 2-CD; 4-LP; a deluxe edition with the two [=CDs=], a data DVD with the multitrack files, a Blu-Ray of the album in HD stereo, and a 48-page photobook. A $300 "Ultra-Deluxe Limited Edition," limited to 2,500 numbered copies signed by Reznor, combined the deluxe edition with the vinyl version in a fabric slipcase, with each copy coming with two unique Giclée prints.
prints. Each version of the album also came with a 40-page PDF containing a photograph for each of the 36 tracks.
To promote the album, Reznor announced a film festival, requesting fans to visually interpret the music and post submissions; however, no mention of the festival has been made since initial announcement. Additionally, the album was notably licensed under a Creative Commons Attribution Non-Commercial Share Alike license, in effect allowing anyone to use or rework the material for non-profit purposes as long as they provided credit and released their work under a similar license. Reznor explained this as "a stance we're taking that we feel is appropriate" with "digital technology, and outdated copyright laws".
In retrospect, many have considered the format of the album as foreshadowing for Reznor and Ross' joint career as film score composers, starting with ''Film/TheSocialNetwork'' (which features some reworked versions of tracks on this album).
Following the album's release, Reznor stated that "more volumes of ''Ghosts'' are likely to appear in the future." This would eventually come to pass a whole 12 years later when NIN released the fifth and sixth volumes of ''Ghosts'' (respectively titled ''Together'' and ''Locusts'') on March 26, 2020 in response to the UsefulNotes/COVID19Pandemic.
In [[NewSoundAlbum a divergence from the band's previous discography]], ''Ghosts I-IV'' is an
Co-composed with producer Atticus
The album was born from an experimental, improvisational process in which Reznor and
To promote the album, Reznor announced a Ghosts I-IV film festival, requesting fans to make videos for the tracks to bring out their creative side, though, despite several [=YouTube=] submissions being made, nothing became of the film festival. Some of the
''Ghosts I-IV'' was released in
To promote the album, Reznor announced a film festival, requesting fans to visually interpret the music and post submissions; however, no mention of the festival has been made since initial announcement. Additionally, the album was notably licensed under a Creative Commons Attribution Non-Commercial Share Alike license, in effect allowing anyone to use or rework the material for non-profit purposes as long as they provided credit and released their work under a similar license. Reznor explained this as "a stance we're taking that we feel is appropriate" with "digital technology, and outdated copyright laws".
In retrospect, many have considered the format of the album as foreshadowing for Reznor and Ross' joint career as film score composers, starting with ''Film/TheSocialNetwork'' (which features some reworked versions of tracks on this album).
Following the album's release, Reznor stated that "more volumes of ''Ghosts'' are likely to appear in the future." This would eventually come to pass a whole 12 years later when NIN released the fifth and sixth volumes of ''Ghosts'' (respectively titled ''Together'' and ''Locusts'') on March 26, 2020 in response to the UsefulNotes/COVID19Pandemic.
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Created work page.
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[[quoteright:300:https://static.tvtropes.org/pmwiki/pub/images/nine_inch_nails___ghosts_i_iv.png]]
[[caption-width-right:300:A soundtrack for daydreams.]]
''Ghosts I-IV'' is the sixth full album by Music/NineInchNails, initially released on March 2, 2008, less than a year after Music/YearZero. It is the first album to be released by The Null Corporation, an independent label started by Trent Reznor for projects associated with him following his split from Creator/InterscopeRecords. It is an all-instrumental {{Ambient}} album described by Reznor as "a soundtrack for daydreams" and co-composed with producer Atticus Ross - featuring additional contributions from Alessandro Cortini, Adrian Belew, and Brian Vigilone - making the album feel like a prototype for Reznor and Ross' film score collaborations, starting with ''Film/TheSocialNetwork'' (which features some reworked versions of tracks on this album).
To promote the album, Reznor announced a Ghosts I-IV film festival, requesting fans to make videos for the tracks to bring out their creative side, though, despite several [=YouTube=] submissions being made, nothing became of the film festival. Some of the tracks were played live on the 2008 Lights in the Sky tour, though dropped from setlists afterward. Initially conceived as a five-track EP, the album became a set of four nine-track [=EPs=]. It was released in several formats: digital; 2-CD; 4-LP; a deluxe edition with the two [=CDs=], a data DVD with the multitrack files, a Blu-Ray of the album in HD stereo, and a 48-page photobook. A $300 "Ultra-Deluxe Limited Edition," limited to 2,500 numbered copies signed by Reznor, combined the deluxe edition with the vinyl version in a fabric slipcase, with each copy coming with two unique Giclée prints.
"34 Ghosts IV" was sampled on Music/LilNasX’s BreakthroughHit "Old Town Road".
!! Tracklist:
[[AC: Ghosts I]]
# "1 Ghosts I" (2:49)
# "2 Ghosts I" (3:16)
# "3 Ghosts I" (3:51)
# "4 Ghosts I" (2:13)
# "5 Ghosts I" (2:52)
# "6 Ghosts I" (4:19)
# "7 Ghosts I" (2:00)
# "8 Ghosts I" (2:56)
# "9 Ghosts I" (2:47)
[[AC: Ghosts II]]
# "10 Ghosts II" (2:42)
# "11 Ghosts II" (2:17)
# "12 Ghosts II" (2:17)
# "13 Ghosts II" (3:13)
# "14 Ghosts II" (3:05)
# "15 Ghosts II" (1:53)
# "16 Ghosts II" (2:30)
# "17 Ghosts II" (2:13)
# "18 Ghosts II" (5:23)
[[AC: Ghosts III]]
# "19 Ghosts III" (2:11)
# "20 Ghosts III" (3:39)
# "21 Ghosts III" (2:54)
# "22 Ghosts III" (2:31)
# "23 Ghosts III" (2:43)
# "24 Ghosts III" (2:39)
# "25 Ghosts III" (1:58)
# "26 Ghosts III" (2:25)
# "27 Ghosts III" (2:51)
[[AC: Ghosts IV]]
# "28 Ghosts IV" (5:22)
# "29 Ghosts IV" (2:54)
# "30 Ghosts IV" (2:58)
# "31 Ghosts IV" (2:25)
# "32 Ghosts IV" (4:25)
# "33 Ghosts IV" (4:01)
# "34 Ghosts IV" (5:52)
# "35 Ghosts IV" (3:29)
# "36 Ghosts IV" (2:19)
[[AC: Deluxe DVD Bonus Tracks]]
# "37 Ghosts" (2:20)
# "38 Ghosts" (4:51)
!! Musicians:
* Trent Reznor: Most instruments
* Atticus Ross: Programming
* Adrian Belew: Guitar (3, 4, 7, 10–11, 14, 16, 21, 25, 27, 31, 32, 35), electronics (25), marimba (30)
* Alessandro Cortini: Bass (4), guitars (4, 11, 17, 20, 24, 28), dulcimer (22), additional electronics (19, 22, 29, 33)
* Josh Freese: Drums (38)
* Brian Vigilone: Drums (19, 22)
!! Tropes I-IV:
* BackgroundMusic: This whole album is this for daydreams, according to Trent Reznor.
* BoleroEffect: Multiple tracks are music loops that gradually add more instruments and sounds:
** The first track, after the first minute, becomes a loop of piano chords that adds more ambiance until everything stops except the piano loop before FadingIntoTheNextSong.
** "13 Ghosts II" is another piano loop that adds percussion, ambient synths, and breathing.
** "21 Ghosts III" is a xylophone loop that adds drums and synths as it progresses.
* BookEnds: "1 Ghosts I" starts out as a LonelyPianoPiece. "36 Ghosts IV" is primarily a LonelyPianoPiece.
* BreatherEpisode:
** "9 Ghosts I" is a sparse, piano-based track that is sandwiched between the heavy "8 Ghosts I" and the avant-garde "10 Ghosts II".
** The lighter "21 Ghosts III" comes after the DroneOfDread-based "20 Ghosts III".
** The relatively upbeat "29 Ghosts IV" is sandwiched between two more melancholic tracks.
* DroneOfDread: Appears on several tracks, with "20 Ghosts III" being the most prominent. "2 Ghosts I" has it in the background of a more ethereal-sounding piano piece.
* EpicRocking: Averted. The longest track ("34 Ghosts IV") is less than ten seconds short of six minutes.
* FadingIntoTheNextSong: Several tracks:
** The piano chords of the first track fade into the drones of the second.
** "4 Ghosts I" fades into the spooky ambiance of "5 Ghosts I".
** "24 Ghosts III" fades into the dark ambiance of "25 Ghosts III".
* FreakyElectronicMusic: "24 Ghosts III" feels like a trip through a dark alley in a futuristic setting with some shady characters lurking about.
* HellIsThatNoise: At least half the tracks are built on disturbing ambient sounds that give the feel of something horrifying waiting to happen… if it didn’t already happen.
* HiddenTrack: "37 Ghosts" and "38 Ghosts" are exclusive to the deluxe data DVD, in which they need to be assembled from the multitracks.
* {{Instrumentals}}: The entire album is instrumental, aside from occasional wordless vocals and distorted samples.
* LonelyPianoPiece: "36 Ghosts IV" is a melancholic track consisting simply of a piano with some quiet field recordings in the background.
* LeaveTheCameraRunning: "6 Ghosts I" is the most minimalist track, consisting of a sparse ambiance over four minutes of a xylophone loop.
* LongestSongGoesLast: "18 Ghosts II" (5:23) is the longest on the second volume and first CD.
* MachineMonotone: "16 Ghosts II" has an indistinct robot voice in the background.
* MinimalisticCoverArt: A light shining on a sand dune at night.
* MinisculeRocking: The majority of the tracks are under three minutes, most notably "7 Ghosts I" (2:00), "15 Ghosts II" (1:53), and "25 Ghosts II" (1:58).
* NoEnding: "9 Ghosts I" ends the first volume abruptly, though it segues into "10 Ghosts II" on the CD.
* {{Sampling}}:
** "24 Ghosts III" samples "Get the door, get the door" from ''Film/TheMothmanProphecies''.
** "30 Ghosts IV" samples Usefulnotes/SaddamHussein banging on a table at his trial.
* ScareChord: "4 Ghosts I" has loud, distorted guitar chords that disrupt a melodic guitar riff.
* SongStyleShift:
** "20 Ghosts III" is a DroneOfDread track that morphs into a rock number near the end.
** "34 Ghosts IV" starts out as a banjo-driven acoustic track, then turns into a piano piece for a little while before synths and percussion effects come in.
[[caption-width-right:300:A soundtrack for daydreams.]]
''Ghosts I-IV'' is the sixth full album by Music/NineInchNails, initially released on March 2, 2008, less than a year after Music/YearZero. It is the first album to be released by The Null Corporation, an independent label started by Trent Reznor for projects associated with him following his split from Creator/InterscopeRecords. It is an all-instrumental {{Ambient}} album described by Reznor as "a soundtrack for daydreams" and co-composed with producer Atticus Ross - featuring additional contributions from Alessandro Cortini, Adrian Belew, and Brian Vigilone - making the album feel like a prototype for Reznor and Ross' film score collaborations, starting with ''Film/TheSocialNetwork'' (which features some reworked versions of tracks on this album).
To promote the album, Reznor announced a Ghosts I-IV film festival, requesting fans to make videos for the tracks to bring out their creative side, though, despite several [=YouTube=] submissions being made, nothing became of the film festival. Some of the tracks were played live on the 2008 Lights in the Sky tour, though dropped from setlists afterward. Initially conceived as a five-track EP, the album became a set of four nine-track [=EPs=]. It was released in several formats: digital; 2-CD; 4-LP; a deluxe edition with the two [=CDs=], a data DVD with the multitrack files, a Blu-Ray of the album in HD stereo, and a 48-page photobook. A $300 "Ultra-Deluxe Limited Edition," limited to 2,500 numbered copies signed by Reznor, combined the deluxe edition with the vinyl version in a fabric slipcase, with each copy coming with two unique Giclée prints.
"34 Ghosts IV" was sampled on Music/LilNasX’s BreakthroughHit "Old Town Road".
!! Tracklist:
[[AC: Ghosts I]]
# "1 Ghosts I" (2:49)
# "2 Ghosts I" (3:16)
# "3 Ghosts I" (3:51)
# "4 Ghosts I" (2:13)
# "5 Ghosts I" (2:52)
# "6 Ghosts I" (4:19)
# "7 Ghosts I" (2:00)
# "8 Ghosts I" (2:56)
# "9 Ghosts I" (2:47)
[[AC: Ghosts II]]
# "10 Ghosts II" (2:42)
# "11 Ghosts II" (2:17)
# "12 Ghosts II" (2:17)
# "13 Ghosts II" (3:13)
# "14 Ghosts II" (3:05)
# "15 Ghosts II" (1:53)
# "16 Ghosts II" (2:30)
# "17 Ghosts II" (2:13)
# "18 Ghosts II" (5:23)
[[AC: Ghosts III]]
# "19 Ghosts III" (2:11)
# "20 Ghosts III" (3:39)
# "21 Ghosts III" (2:54)
# "22 Ghosts III" (2:31)
# "23 Ghosts III" (2:43)
# "24 Ghosts III" (2:39)
# "25 Ghosts III" (1:58)
# "26 Ghosts III" (2:25)
# "27 Ghosts III" (2:51)
[[AC: Ghosts IV]]
# "28 Ghosts IV" (5:22)
# "29 Ghosts IV" (2:54)
# "30 Ghosts IV" (2:58)
# "31 Ghosts IV" (2:25)
# "32 Ghosts IV" (4:25)
# "33 Ghosts IV" (4:01)
# "34 Ghosts IV" (5:52)
# "35 Ghosts IV" (3:29)
# "36 Ghosts IV" (2:19)
[[AC: Deluxe DVD Bonus Tracks]]
# "37 Ghosts" (2:20)
# "38 Ghosts" (4:51)
!! Musicians:
* Trent Reznor: Most instruments
* Atticus Ross: Programming
* Adrian Belew: Guitar (3, 4, 7, 10–11, 14, 16, 21, 25, 27, 31, 32, 35), electronics (25), marimba (30)
* Alessandro Cortini: Bass (4), guitars (4, 11, 17, 20, 24, 28), dulcimer (22), additional electronics (19, 22, 29, 33)
* Josh Freese: Drums (38)
* Brian Vigilone: Drums (19, 22)
!! Tropes I-IV:
* BackgroundMusic: This whole album is this for daydreams, according to Trent Reznor.
* BoleroEffect: Multiple tracks are music loops that gradually add more instruments and sounds:
** The first track, after the first minute, becomes a loop of piano chords that adds more ambiance until everything stops except the piano loop before FadingIntoTheNextSong.
** "13 Ghosts II" is another piano loop that adds percussion, ambient synths, and breathing.
** "21 Ghosts III" is a xylophone loop that adds drums and synths as it progresses.
* BookEnds: "1 Ghosts I" starts out as a LonelyPianoPiece. "36 Ghosts IV" is primarily a LonelyPianoPiece.
* BreatherEpisode:
** "9 Ghosts I" is a sparse, piano-based track that is sandwiched between the heavy "8 Ghosts I" and the avant-garde "10 Ghosts II".
** The lighter "21 Ghosts III" comes after the DroneOfDread-based "20 Ghosts III".
** The relatively upbeat "29 Ghosts IV" is sandwiched between two more melancholic tracks.
* DroneOfDread: Appears on several tracks, with "20 Ghosts III" being the most prominent. "2 Ghosts I" has it in the background of a more ethereal-sounding piano piece.
* EpicRocking: Averted. The longest track ("34 Ghosts IV") is less than ten seconds short of six minutes.
* FadingIntoTheNextSong: Several tracks:
** The piano chords of the first track fade into the drones of the second.
** "4 Ghosts I" fades into the spooky ambiance of "5 Ghosts I".
** "24 Ghosts III" fades into the dark ambiance of "25 Ghosts III".
* FreakyElectronicMusic: "24 Ghosts III" feels like a trip through a dark alley in a futuristic setting with some shady characters lurking about.
* HellIsThatNoise: At least half the tracks are built on disturbing ambient sounds that give the feel of something horrifying waiting to happen… if it didn’t already happen.
* HiddenTrack: "37 Ghosts" and "38 Ghosts" are exclusive to the deluxe data DVD, in which they need to be assembled from the multitracks.
* {{Instrumentals}}: The entire album is instrumental, aside from occasional wordless vocals and distorted samples.
* LonelyPianoPiece: "36 Ghosts IV" is a melancholic track consisting simply of a piano with some quiet field recordings in the background.
* LeaveTheCameraRunning: "6 Ghosts I" is the most minimalist track, consisting of a sparse ambiance over four minutes of a xylophone loop.
* LongestSongGoesLast: "18 Ghosts II" (5:23) is the longest on the second volume and first CD.
* MachineMonotone: "16 Ghosts II" has an indistinct robot voice in the background.
* MinimalisticCoverArt: A light shining on a sand dune at night.
* MinisculeRocking: The majority of the tracks are under three minutes, most notably "7 Ghosts I" (2:00), "15 Ghosts II" (1:53), and "25 Ghosts II" (1:58).
* NoEnding: "9 Ghosts I" ends the first volume abruptly, though it segues into "10 Ghosts II" on the CD.
* {{Sampling}}:
** "24 Ghosts III" samples "Get the door, get the door" from ''Film/TheMothmanProphecies''.
** "30 Ghosts IV" samples Usefulnotes/SaddamHussein banging on a table at his trial.
* ScareChord: "4 Ghosts I" has loud, distorted guitar chords that disrupt a melodic guitar riff.
* SongStyleShift:
** "20 Ghosts III" is a DroneOfDread track that morphs into a rock number near the end.
** "34 Ghosts IV" starts out as a banjo-driven acoustic track, then turns into a piano piece for a little while before synths and percussion effects come in.
