So what is with the name? Does anyone know the story behind it? Is there a story behind it?

I find the name disturbing, maybe that is the meaning of it.

Is there a definitive answer?

Are they still a thing? The last news regarding them was that their Voodoo and Mountain Oasis sets were canceled.

Any hope for another tour or album?

I ordered "An Omen" on Vinyl a couple days ago. I was wondering how long it takes for the EP to ship to me.

Hey guys, I have checked iTunes, the htda website, googling it, and even pirating it as a last ditch effort and I couldn't find anywhere how I can get the video.

It may just be that the video isn't available for download, but I thought I would ask.

Hey everybody!!! I'm just wondering if anybody here knows where to get the multitracks to How Long, Strings & Attractors & On The Wing. I had them before, but my friend acciddentally dropped my laptop, killing my HDD. I'd love it if I could get any help with this. THANKS! :)

I know she did at the beginning, but I also know the band did a lot of readjusting/finding their feet in the process of the LP. Just curious whether she's still behind all the lyrics or if other members of the band have contributed words?

So, After finally sitting down to listen to the high resolution version of the album that came as a download when purchasing the vinyl version, I noticed the vinyl exclusive tracks are not included. The white label cd which comes with the vinyl has them, but it isn't hi-rez.

SO - are these extra tracks available anywhere in 24/96?

Thanks.

Hey guys,

This One Is On Us (the group that produced the concert DVD/Blu-Ray for Nine Inch Nails' 'Lights in the Sky' Concert called AVOTT - http://www.youtube.com/playlist?list=PL0652B79BAF05635F) is putting together a concert DVD/Blu-ray for How to Destroy Angels.

We filmed with several pro-cameras at the Chicago show, but we are looking for footage from anyone else who wants to submit it. Some information on what we're looking for:

"We are most specifically looking for higher quality footage (1080p minimum, shot with DSLRs or pro cameras), closeups if possible, to help us cover for angles we may have missed in Chicago. I think we'll refrain from using iPhone footage but you can still let us know if you shot anything."

If you have footage that you want to donate, then PLEASE get in contact with Ash at ppchevigny (AT) filmssix.com .

If you are going to film at a future show, here are the directions that we have for settings:

"We're going to try to refrain from using iPhone/Flip, etc footage and concentrate on higher end gear. You can still let us know if you shoot with those, but we can't promise we'll use it. However, if you've got a DSLR that shoots in 1080p (5D, 7D, 60D, etc), or a prosumer HD camcorder (Panasonic HVX-200/Sony EX1, EX3, FS100, NXCAM/etc), we're definitely takers!

Technical specs : -Set EVERYTHING manually. No autofocus, no autoexposure, no auto white balance. -DON'T EVER CUT : we need continuous shots of the entire show, including breaks between songs. If you cut, we'll have to manually resynch your video and that can be a pain in the ass, especially if you cut between each and every song. If for some reason you had to cut, let us know when you submit your footage. -Record in 1920x1080, 24 frames per second, with the highest possible bitrate on your cameras. -Use whichever Picture Profile's got the most dynamic range or manually set everything to neutral except contrast which you'll want to drop even more. If you shoot with a DSLR, I can't insist enough that you get Technicolor's CineStyle profile. The image will look flat and lifeless but, trust us : that's what we need for color correction. -Set & lock your white balance manually to 3200K. Don't try to make custom white balances with a sheet of white paper : these will always result in great difference between cameras for various reasons. -Try to keep your ISO sensitivity as low as possible. It'd be best never to go over ISO 600. It probably won't be possible given the low light environment but keep that in mind anyway. -Open your aperture as much as possible. Most Sony's will open up to f2.8 which is great for the lighting conditions. -If you still don't have quite enough light, instead of boosting the ISO, you can slightly slow down the shutter speed (1/40 should be fine, but don't go below 1/30 or you'll get trails whenever there is movement). -If your camera has such tools, I suggest you display your Histogram and your Peaking at all times. Histogram is a little graphic that shows which parts of the screen is over or underexposed. Slightly underexposed is okay, slightly overexposed is not okay in the digital world, so try to watch out for overexposure. Peaking will highlight all pixels that are sharp, which is going to make it much easier to focus especially on small LCD displays. -If you are filming with a zoom from a single position for the entire show, zoom in as far as you can go, focus on the farthest thing you see. Everything in between will stay sharp and you won't have to worry again about focus.

-Try not to move around the venue too much. It's always better if you stay in one place and film from that spot the entire time. That way when we're editing, we're sure your angle will be usable at all times and won't have to worry that you're shaking or moving around. If you're zooming in or out and panning across the stage, make sure you stop long enough in between movements... In otherwords, don't just keep scanning and moving around : that's unusable. You want to make at least 30 seconds to a minute-long stops between each move for us to cut easily.

• Rule of thirds: Try not to frame anything dead center unless you're filming a very wide shot. Always put your subject on one third of the image.

What we most need : -Dynamic, handheld shots from the pit. -Closeups. As per Rob's indication though : don't bother trying to get closeups when the band is hidden behind the screens. They are meant to be hidden, the show is all about video projections at those points. Ice age and Fur-lined, by exemple, will give you better opportunities to film the performers and zoom in real close. -We'll still take everything else you shoot, though."

If you have any questions - please email the address above or ask them here!

For updates, follow @thisoneisonus or @ritcnin

I just got back from the live show in Vegas, and I gotta admit, I was a little hesitant. I mean, I like HTDA and all, but wasn't sure how the electronics would transition into a live show. One would think an electronic band would be boring to see live. Not only that, but some of the clips so far of the live performance just really does not do Mariqueen's voice justice.

Anyway, I realized this is probably one of the only times HTDA will be touring, it is already a limited and small tour, and with NIN reforming for later this year and next year, and based on the slow progress of the track they recently released- I decided to just go ahead, fly up to Vegas (from Phoenix) and see them live as there may not be another chance and if so, it won't be for a while.

I knew Mariqueen's voice was pretty, but wow- live her voice is just so musical, and you can hear it way better. The album just doesn't do her voice justice after seeing her perform live. You could tell Trent was really allowing her to lead the way throughout the show- some of the more memorable parts of the album where Trent is the main vocal were abandoned so that Mariqueen could fill that role. She was also the only one to say thanks, etc. to the crowd the whole show, another indication that the HTDA crew is happy to prop her up front to lead the way as the frontwoman of the band.

I was doubtful about Mariqueen's enthusiasm for the genre until I saw this show. She is just as theatrical and just as much of a showperson as Trent is- although in a slightly different way. Whereas Trent (NIN) can be seen shrieking and pleading and bouncing around energetically to the music. Mariqueen in HTDA wasjust as dramatic but in a more calm, reserved way, which is completely fitting for HTDA. At one point she creeps closer to the front of the stage for her Ice Age solo, and you can barely see her feet move she seems to glide forward. When the song ends, she retracts back behind the cellophane screen just as eerily- slowly, calculated. There are very few times during the album when you really get a hint of her musical abilities, and these times are highlighted tremendously in the live performance. You can tell this chick has got a powerful set of vocal cords, and it leaves me wondering when we will get a chance to really hear them- in a raw, unedited, un-roboticized way.

And, seeing an electronic band live was WAY better than a regular band! The production value that went into it, with lighting and screening, was awesome, and really shoved you into the atmosphere the album portrays. The way the crew was separated from the audience by the cellophane sheets, which periodically rotated and opened, made you all the more excited when it happened and they were suddenly clearly visible before you.

You can also see them do much more than just stand around and play with soundboards. They were all obviously into the music, but also were doing the effects that they could live- I saw Trent use a set of drums, some sort of scratchboard, the keyboard, guitar and a tambourine and who knows what else, those are just the instruments I was able to pick out and recognize.

So for anyone who likes the album and/or is just in the fence and not sure about how they feel about HTDA, I definitely recommend the live show, you won't be disappointed, and you'll appreciate the album way, way more.

For anyone who is more interested in seeing HTDA for Trent, well, you will probably be disappointed- his role is even further diminished in the live show than it is in the album.

I've developed a wholly new respect for Mariqueen from this, both for her amazing voice and her theatrical talents. And, for having had 2 kids in the recent past, she looks damn good!