Nine Inch Nails – Bad Witch
(The Null Corporation)
Reviewed by Bridget Herlihy.
Having been a fan for the last two decades, I have come to the conclusion that one of the greatest and most enduring qualities of Nine Inch Nails is that they never become stagnant. Instead, they continuing to diversify explore new sonic territories with every release. They continue to push the proverbial boundaries, and the possibilities appear to be endless. The band’s latest release, Bad Witch, is no exception to this modus operandi.
Bad Witch was hastily lauded by some as Nine Inch Nails mastermind Trent Reznor’s and Atticus Ross’ ‘best’ release of the last decade. Subjective rankings aside, however, Bad Witch is without a shadow of a doubt one of Reznor and Ross’ most diverse and complex releases in recent years. Rounding out the trilogy of EPs promised by Reznor , following 2016’s ‘Not The Actual Events’ and last year’s ‘Add Violence‘, Bad Witch packs an immediate auditory wallop with opener Shit Mirror, which provides an onslaught of distorted guitars and vocals as Reznor proclaims “Ive got a new face and its feels alright”. Second track Ahead of Ourselves offers a ferocious energy, as well as a lyrical wake up call that we are “getting ahead of ourselves”. Instrumental track Play The Goddamned Part marks a change in tone; a multi-faceted soundscape whose musical tendrils stretch into slightly more experimental territory while offering a feast for the ears and the mind.
The first single from the EP, God Break Down the Door is a revelation; a proverbial breath of fresh air that demands the listener sits up and takes notice. Upon its release the track quickly drew comparisons to the great David Bowie’s final album Blackstar, largely due to the frenzy of electronic beats and the juxtaposition of a saxophone. Whether the comparisons are founded or not are irrelevant in light of the sheer brilliance of a track that sends the mind on a musical journey; a track that would provide the perfect soundtrack to a cinematic creation from the weird and wonderful David Lynch. I’m Not From This World, the second instrumental track, slows the pace considerably, almost as if it was the musical equivalent of the eye of the storm while simultaneously building suspense with a plethora of interwoven sounds and beats. Final track Over And Out boasts a more melodic beat that gives way to quieter moments punctuated with Reznor’s vocals “time is running out, I don’t know what I’m waiting for”.
Over these six tracks, each of them providing a distinct and lush auditory experience in their own right, Reznor and Ross take the listener on a musical odyssey like no other. Listen loud, and listen closely; you are in for a sonic treat that will leave you eager for more. Much more.
If you liked this content, please consider donating towards the running of Ambient Light, covering expenses and allowing us to expand the coverage you love by clicking the red button below or visiting our PressPatron page.