Nine Inch Nails - Add Violence FLAC album
Title: Add Violence
FLAC version ZIP size: 1213 mb
MP3 version ZIP size: 1575 mb
WMA version ZIP size: 1466 mb
Other Formats: MP2 AUD XM WAV AC3 AU MIDI
Many of the songs evoke memories of Ghosts I – IV, and the duo’s soundtrack work on The Girl with the Dragon Tattoo and Gone Girl. Additionally, the album artwork as well as music videos have revisited themes originally created during the band’s immersive Year Zero ARG seemingly contributing to that overall narrative. The reverse side of the Vinyl release album art consists of the following image, which was also featured in the music video for Less Than.
For Nine Inch Nails, breaking up an album’s worth of music into a trilogy of smaller EPs sustains fan excitement and diffuses pressure on creating a singular, definitive statement. It also allows the duo of Trent Reznor and Atticus Ross to take bigger risks. Years ago, the synthwave of Less Than would never have come from this band, yet Reznor’s snarling vocals and his wall of guitars à la The Hand That Feeds remain comfortable territory. This Isn’t the Place is a standout, foregrounding Reznor’s ability to build tension across an arrangement, one of his strong suits.
The two mashed together tempos and moods of Not Anymore could be just a quick and dirty way to stick two otherwise incomplete musical fragments together - the long outro of The Background World simply a way to make the rest of the song feel less unfinished.
It was produced by Trent Reznor and Atticus Ross. Moving away from the more aggressive nature of Not The Actual Events, the EP focused more on soundscapes and textures alongside their traditional elements, similar to that of The Fragile, which resulted in more longform compositions.
Trent Reznor has always aspired to the artistic malleability of David Bowie, tweaking his sound and vision with each release while twisting his kaleidoscope of grays into different shades of anguish. Like the late Thin White Duke, he’s made missteps (his remix EPs never fixed anything, and his glitchy How to Destroy Angels space-pop detour could be his Tin Machine), but also like Bowie, he’s always regained his footing, funneling his anxieties into new teeth-gnashing horrorscapes. His soundtrack work in recent years.
2017 The Null Corporation.