There has always been something totally authentic in Trent Reznor’s music. Something you can recognize every time you listen to Nine Inch Nails: his permanent need to express his shadows and nightmares with his music. In this sense Reznor is one of the most credible artists ever, his music being the inner expression of his troubled soul. This is why so many people love NIN, it has never been only a matter of sound. Industrial and electronics so skillfully manipulated in the many lives of NIN (mainly a personal project) are the best expression of his descent into hell and back.

Now Reznor is a middle aged, Oscar winner, owner of production of his music, a man who has overcome the difficult periods of his life and can concentrate on his musical research.

That is what Bad Witch represents. Nothing changes in sound patterns and industrial attitude, but song by song he offers different points of view. “Shit Mirror” is a hardcore noise blade. “Ahead of Ourselves” offers broken beats and distorted voices, with sudden explosions of violence. “Play the Goddamned Part” plays between noise and nu jazz, apparently with no direction. “God Break down the Door” goes on with a sax and Trent’s voice floating on synth layers, a masterpiece. “I’m not from this World” is the sound of a post apocalypse, a dark ambient episode. “Over and out” is a typical dark pop jewel with a powerful bass line.

NIN are a religion and Bad Witch calls us to the ritual with some brilliant tracks. The question is: at this point is it only a matter of sound?