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by AJ Ramirez

9 Dec 2014

Anger and frustration distilled into EP form, Broken certainly has no contenders for the title of the most direct Nine Inch Nails record. Yet the trim tracklist on the back cover doesn’t tell the whole story. Like Nirvana’s Nevermind, Broken is another early 1990s release that updates the oddball surprises that could be found on vinyl runout grooves for the CD age.

In the case of Broken, simply refrain from pressing the “Stop” button once “Gave Up” concludes and you’ll notice something odd: the CD player track numbers will increase second by second in complete silence. Once your media player reaches track 98, the first of two “hidden” cuts will emerge, a trudging cover of “Physical (You’re So)”.

by AJ Ramirez

2 Dec 2014

“Gave Up” is the final listed track on Broken, and in that position it’s well-placed to serve as an encapsulation of the brief EP’s themes. Though the record’s guitar-rock aggression can be empowering to listeners, Broken is really about the loss of control, and the frustration and self-reflection (How did I get to this point? Is it my fault? Do I deserve this?) that can flourish in such circumstances. Trent Reznor’s well-publicized struggles with his label at the time, TVT, are his obvious muses, yet his frustrations are never etched out in detail or specifics. Instead, Reznor opts for bruised proclamations that are succinct and memorable enough to enable them to be applied with universality.

by AJ Ramirez

24 Nov 2014

“Slave screams!” As with “Last”, the fifth (officially listed) track on Broken goes straight for the jugular. A dense cacophony of earth-shuddering rhythms, scything guitar and keyboards, and savage screams, “Happiness in Slavery” is tied with “Wish” for the title of the EP’s standout song, and is probably its most recognizable.

by AJ Ramirez

18 Nov 2014

The drifting ambiance that fills out the closing seconds of “Wish” is a brief respite before the Broken EP continues on with its rage-fuelled march with “Last”. Take heed and prepare yourself before pressing the “Play” button: “Last” is loud. A seemingly impossibly huge wall of guitars slams against the ears the instant the song starts, and the onslaught scarcely relents until the track finishes.

by AJ Ramirez

12 Nov 2014

Even working within the constraints of the EP format’s short runtime, Trent Reznor takes pains to open Broken with a sense of occasion. The first track is “Pinion”, a scant one minute and three seconds of an ascending guitar pattern gradually increasing in volume. When described that way, it doesn’t sound very exciting. That’s because “Pinion” is meant to be listened to, preferably with headphones on in order to appreciate the ambient noises that are also percolating in the background, slowly building up body and dread. The guitars are heavily processed and most likely sampled—note the disjointed quality of the chords, which is audible evidence of digital cut-and-pasting.

//Mixed media

20 Questions: L'Anarchiste

// Sound Affects

"To say that L'Anarchiste is one of the best bands to emerge out of Salt Lake City makes for an awfully reductive statement, as their Sufjan-inspired brand of soulful folk-rock needs to be heard to be believed.

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