Add Violence resonates more than its predecessor. It feels more cohesive, like Trent Reznor and Atticus Ross sat down and mapped out some songs with a sonic thru-line. They kept it more of a blippy, electronic affair with a healthy dose of their rich atmosphere.
Say what you will about Trent Reznor, but the guy over the last four years has been in constant creative motion. Nine Inch Nails’ 2013 return with Hesitation Marks was met with equal parts cheers and jeers. Cheers for a guy coming out of a 4 year NIN shutdown to a solid return to form. Jeers for folks that felt he was softening and repeating old motifs. Me? I liked the album. He never came across to me as some poet laureate, so I could forgive the average in the lyrics department. But his compositional, arranging, and studio skills were as tight as ever. From there he scores three films with Atticus Ross(Gone Girl(2014), Before The Flood(2016), Patriot’s Day(2016)), becomes some mogul/music wizard dujour at Beats and helped curate Apple Music, and at the end of 2016 he and Ross put out the NIN EP Not The Actual Events. The latter was released with the promise of two more EPs to follow later in 2017, making it a trilogy of sorts. That EP was promising, with some biting NIN aggression and experimental twists and turns that while wasn’t mind blowing was a welcome addition to the NIN discography(while wetting the appetites of NIN fans everywhere.)
We’re in the middle of 2017 and that second EP has arrived. Add Violence dials down the angst and turns up the oscillation a bit. It feels better conceived and fluid than its predecessor, while still retaining the wily spirit of classic NIN.
Opening track “Less Than” gets all early 80s bouncy synth with the help of some catchy keyboard lines and synsonic-sounding drums. It’s like Reznor dropped the needle on Black Celebration and Power, Corruption & Lies and got heavy-handed with the Kahlua he was pouring into his protein shakes. This is the loosest and most fun NIN has sounded since Year Zero. “The Lovers” is the best track on here. It’s dark, brooding, and yes, sexy. Jittery rhythms, Pong-like synth notes, and menacing piano zig zag through the mix as Reznor turns up the longing in his vocal spots. This track feels like the very best of Reznor and Ross’ creative power. It builds; ascending then descending like a menacing tower on the horizon. I imagine playing Tetris on a grainy black and white TV with this as the soundtrack. Odd, but fitting. “This Isn’t The Place” has an electronic swing to it. It’s decent, but seems to meander a bit too long. “Not Anymore” sounds like a cross between Suicide and the Art of Noise, but with Reznor ad-libbing lyrics over a distorted bass line. The song goes into a frenzied explosion of fuzz in the chorus. “The Background World” moves along for nearly 12 minutes. First opening with a smooth, familiar groove that you easily fall into. Soon enough you notice something becomes slightly off. A skip in the song. As the track moves along it slowly falls into a deep distortion as that skip becomes more prominent. The track falls into an abyss of white noise before falling into some other dimension.
Add Violence resonates more than its predecessor. It feels more cohesive, like Trent Reznor and Atticus Ross sat down and mapped out some songs with a sonic thru-line. They kept it more of a blippy, electronic affair with a healthy dose of their rich atmosphere. The result is a sweet shot of electronic urgency.