Changes

}}'''"And All That Could Have Been"''' is the seventh track on ''[[Still]],'' which was released with the Deluxe Edition CD version of ''[[And All That Could Have Been (halo)|And All That Could Have Been]]'' and was available for mail-order with the purchase of the DVD version and is currently available for order through NIN.com. The quiet section between the first two verses shares its chord progression and melody with [[The Great Below]].

It may be one of NIN's most complex songs regarding time signature, as the verses are in 7/4, the choruses in 4/4, and part of the bridge in 6/8. "AATCHB" features guitar distortion and the layering of multiple guitar effects often found in songs of the "Shoegaze" subgenre—bands such as My Bloody Valentine (with whom NIN's usual mixer, [[Alan Moulder]], worked) and The Jesus & Mary Chain (who NIN opened for back in 1989).

This is the only available version. Softly falling rain, continued from the end of "[[The Day The World Went Away#The Day The World Went Away (Still)|The Day the World Went Away]]," begins the song, soon joined by quiet atmospheric synthesizers playing sustained, ascending notes. These lead into the first verse, a still-quiet 7/4 combination of soft electric guitars and Reznor's melodic vocals. The verse gives way to a quiet, instrumental bridge where bass guitar and piano join in, playing the melody and chord sequence from the climax of "[[The Great Below]]" in 4/4. A second verse, again in 7/4, interrupts this bridge with a return to the verse guitars, vocals, and icy percussion loops. After reaching into his higher vocal range for the second half of this verse, Reznor sings the 4/4 chorus in a lower, more up-front and talkative voice, backed by a new guitar riff, picked bass, and drum loops focal on the toms. A second bridge follows, introduced by a solitary delayed electric guitar riff, then louder layers of strumming guitar and bass with a new lead melody in 6/8, then a return to the 7/4 verse guitar riff atmospheres, during which Reznor quietly sings sparse words, building in volume and emotion until the words "... could have been" lead into an instrumental reiteration of the chorus. After singing a different incarnation of the chorus, Reznor's vocals give way to a higher-register return of the melody from the very first 4/4 bridge of the song beneath the chorus, with all instruments stopping at the end of the final bar, leaving a distant echo that quickly fades away.