Nine Inch Nails: Bad Witch
When you’re young, you try to find your way in life and when you finally find it, the world has already changed. Music and the way music is consumed does not seem to play an important role anymore as it used to. Everyone has become a blogger with a fast-growing blog full of advertising and second-hand news articles, and feel entitled to anonymously force their opinion on others because they think they are an exception to the rest, shitting on everything that gets in their way while they forget what music is about.
New world, new times
Sometimes it’s best to reflect on the past to proceed with the future, and this is exactly what Nine Inch Nails did with Bad Witch, resulting in a rock-ish, noisy album with layers of hidden stuff, with tracks meticulously arranged which Nine Inch Nails hope the listener will dig into, while every now and then pick up the needle to get the door or answer the phone. Tormentous things that add up to the experience of listening to music and merging with the grooves.
The overall sound of the record is very hostile, noisy and harmoniously destroyed, making it one of the most impenetrable albums that Nine Inch Nails has released to date. While many fans argue about whether it is an EP or an album, or that they’ve lost their unique sound, Nine Inch Nails couldn’t care less and they even throw in some saxophone, which Trent Reznor wanted to pick up for a long time now. Most notably, “God Break Down the Door” and “Over and Out” has a bowie-esque sound to it, which initially wasn’t intended for the outside world, but Atticus Ross insisted he used that vocal part.
Bad Witch is an excellent album once you pierced its skin, but if you expect to fall in love with this record when you listen to it for the first time, think again, as it encourages you to participate in its experience to fully understand the record.