'Bad Witch'
THE NULL CORPORATION
THE NULL CORPORATION
The third instalment of
the EP trilogy that began in 2016, 'Bad Witch' finally emerges.
Though classed as an LP by Trent Reznor the album is still of
comparable EP length featuring a total of six tracks which is only
one more that the previous two.
NIN's post 'Year Zero'
output has often been criticised of being a bit safe and samey
despite of its prowess. With that in mind this trilogy has been
really refreshing with each offering possessing a frantic unfinished
and raw energy that is at odds with the perfectionism that coloured
his 90s and early 2000s output. The album has the noisy, low-fi edges
of 'Not The Actual Events' and the analogue synth playfulness of 'Add
Violence', and throws in overt saxophones that gives the album a hint
of 'Outside' and 'Earthling' era Bowie. But most importantly out of
the albums in the trilogy this one feels the most complete and
well-rounded.
The Bowie influence is
at its most overt on the brilliantly tense and frenetic 'God Break
Down The Door' which sees Trent break out his best croon for the
occasion. Tracks such as 'Shit Mirror', '
Ahead Of Ourselves', and 'Play The Goddamned Part' are a little less-user-friendly and employ more of the noise rock vibe from the first EP. However, there's a sudden turn with 'I'm Not From This World' with it's gritty and dissonant synths over a throbbing rhythmic bass line to create a haunting industrial instrumental before the album finishes on the which once again returns to Bowie territory with a nod to his late hero's final album 'Blackstar'.
Ahead Of Ourselves', and 'Play The Goddamned Part' are a little less-user-friendly and employ more of the noise rock vibe from the first EP. However, there's a sudden turn with 'I'm Not From This World' with it's gritty and dissonant synths over a throbbing rhythmic bass line to create a haunting industrial instrumental before the album finishes on the which once again returns to Bowie territory with a nod to his late hero's final album 'Blackstar'.
The production
maintains the raw and gritty atmosphere of the previous two outings.
It's unpolished and almost live in its energy. But still crafted and
mixed with a masterful hand and certainly doesn't feel rushed. Just
honest and urgent.
'Bad Witch' pushes out from the safety of classic NIN. There is a cosmic anxiousness at play here, a sense of existential tension that permeates the tracks with discomfort and subversion. Out of the three releases in this trilogy it certainly stands apart as a stronger and more rounded release.
The trilogy as a whole, has led to a more revitalised NIN sound that raises the question that had these songs featured on one album, would the effect have been similar? Also, will we see the staggered format from Reznor and Ross again in the future? Time will tell.
'Bad Witch' pushes out from the safety of classic NIN. There is a cosmic anxiousness at play here, a sense of existential tension that permeates the tracks with discomfort and subversion. Out of the three releases in this trilogy it certainly stands apart as a stronger and more rounded release.
The trilogy as a whole, has led to a more revitalised NIN sound that raises the question that had these songs featured on one album, would the effect have been similar? Also, will we see the staggered format from Reznor and Ross again in the future? Time will tell.
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