As the music played I couldn't quite work out what was going on. Was this heavy metal or rock music of some kind? Was this an E.P. or an album? Why were there ninety tracks of silence? Even the fold out packaging seemed deliberately obtuse and contained barbed remarks aimed at record executives.
The 2017 definitive edition I am playing here opens with the quietly sinister "Pinion" which soon cedes to the aggression and seemingly limitless anger of "Wish". Whilst the imaginative synth textures and samples of "Pretty Hate Machine" are still evident, guitars are much more prominent and the 'extra real' drums add another layer to the frenzied cacophony. This track is everything I don't like in music; and I love it.
The opening guitar riff on "Last" is an immaculate slice of noise that induces an immediate, almost visceral reaction. Everything on this record oozes anger and Trent seems to scream lyrics like, "Still stings these shattered nerves, pigs we get what pigs deserve" with a depth of feeling I haven't really heard anywhere else. As we move through the various sections of the song you begin to appreciate the intricacy and detail that is underpinning the wall of noise. For me "Last" is the highlight of this record and sits comfortably in the top ten of best Nine Inch Nails tracks.
"Help Me I an in Hell" is one of those short and menacing instrumentals that isn't too exciting when heard in isolation but definitely adds to the overall atmosphere of the record. The promotional single "Happiness in Slavery" comes next with its distorted vocals and frenetic guitars which are counterbalanced by some great synth elements. Any notion that Trent's anger may be receding is soon dismissed when the chorus of "Gave Up" drills into our cranium. Whilst I like this song, it isn't one of my favourites as there is less use of electronics in the mix.
After the four songs and two interludes we've reached the end of side one and the mini album/EP. The original CD went on to play ninety tracks of silence before 'hidden' cover versions of Adam and the Ant's "Physical" and Pigface's "Suck" erupted. On this vinyl edition, the extra tracks are contained on a separate 7" single so there's no doubt the intention was to present these tracks as being distinct from the original content. Both additional tracks are well realised, but the chugging monotony of "Physical" has the edge for me. 4/5
