Malignant witch nine inch nails is an intriguing combination of words that encompasses various elements and ideas. The phrase can be dissected into three main parts: "malignant witch," "nine inch," and "nails." Each part contributes to the overall imagery and meaning behind this combination. Starting with the term "malignant witch," it evokes an image of a malevolent and dangerous sorceress. The word "malignant" emphasizes the sinister nature of this witch, suggesting that she is not only powerful but also intentionally malevolent or harmful. This conjures images of dark magic, curses, and manipulation.
The group incorporate more electronics in their instrumentation, throwing arrangements akin to those of Ghosts and Reznor/Ross OSTs between grander tracks which reek of late-era Bowie and Lynchian ominousness all while keeping their sound firmly in Nine Inch Nails territory. Both of these tracks set Reznor’s echoing vocals at the forefront, and in both cases his Bowie-esque style will come as a wonderful surprise for listeners as they echo across the instrumentals. “God Break Down the Door” feels like a manic matching of mournful sax and Aphex Twin that only increases as the track whirls along. For me, Bad Witch makes for a thoroughly engaging and enjoyable half hour, and despite being left yearning for more, it seems silly to disparage an album based on its length.
For me, Bad Witch makes for a thoroughly engaging and enjoyable half hour, and despite being left yearning for more, it seems silly to disparage an album based on its length. Isn t Everyone is a great example of what made Nine Inch Nails such a force in the 90s, while also showcasing Health s ability to breathe new life into metal.
This conjures images of dark magic, curses, and manipulation. Moving on to the phrase "nine inch," it adds a layer of specificity and measurement to the composition. The use of "nine inch" could refer to a literal measurement, such as the length of nails or a specific object's size.
A short, not-at-all sweet dispatch from Nine Inch Nails
Though Nine Inch Nails conceived “Bad Witch” as the final entry in a trilogy of EPs, the six-song, half-hour release is now being called the industrial alt-rock group’s first proper album since 2013. For Trent Reznor and Atticus Ross (who, after collaborating with Reznor on acclaimed soundtracks like “The Social Network,” became NIN’s first official non-Reznor member in 2016), the nomenclature change is their way of imploring listeners not to treat “Bad Witch” as a mere footnote in the band’s discography, but as a complete, thematically unified statement. Thankfully, the record is engaging and inspired enough to withstand such scrutiny.
“Bad Witch” explodes out of the gate with two corrosive, classic-NIN rockers. Maybe Reznor’s a little old to still be giving songs titles like “[Expletive] Mirror,” but at least he’s directing that rage at some worthy targets. “Mirror” seems to take the perspective of an unrepentant abuser, and when Reznor screams “I think I knew when it crossed the line/ I think I knew the whole [expletive] time,” his contempt is absolute. The God-baiting nihilism of “Ahead of Ourselves” is a little more Reznor-by-numbers, but now that reality has begun catching up with his apocalyptic worldview, the cathartic value of these polemics has never been greater.
That one-two punch proving he’s lost none of his fire, Reznor devotes the rest of “Bad Witch” to more experimental terrain. Instrumentals “Play the [Expletive] Part” and “I’m Not From This World” are like miniature Reznor-Ross film scores, packed with a horror flick’s worth of creepy sound effects and slowly unspooling dread. The influence of David Bowie’s art-rock swan song “Blackstar” is unmistakable (the mournful saxophone and crooned vocals of “God Break Down the Door” being the most obvious examples), yet the barely contained aggression fraying the edges of these songs is pure NIN. Production-wise, the album sounds amazing, every multilayered arrangement and synth tone calibrated for maximum headphone-listening pleasure.
Advertisement“I’ve always been 10 years ahead of you,” Reznor murmurs on the hypnotically dead-eyed album closer, “Over and Out.” It sure sounds like a boast about Nine Inch Nails’ boundary-pushing legacy, and even if he’s exaggerating a bit, he has a point. Long after most of his Gen-X peers have settled into cozy nostalgia, Reznor is still making records that crackle with restless energy. For an artist who once specialized in massive concept albums, the short-and-sweet approach of “Bad Witch” suits him well.
Terence Cawley can be reached at [email protected]. Follow him on Twitter @terence_cawley
It’s a credit to Trent Reznor that he can still make me feel this uncomfortable. Bad Witch is a dirty, often wretched listen, but I can’t help but be lured down to its level. The pairing of lo-fi production with avant-garde industrial jazz (for lack of a better expression) works far better than one might expect. In the space between the fuzz and crackle the record weaves in some real moments of artistry.
Alternatively, it could symbolize intensity or extremity. The choice to include this measurement implies that whatever is being described is significant, impactful, and perhaps even overwhelming. Lastly, we have the word "nails." Nails have a range of associations, from physical objects used in construction, to sharp implements, to the phrase "nail in the coffin" representing a final act or ending. In the context of "malignant witch nine inch nails," the mention of nails adds a sense of danger and power. It suggests that whatever this combination of words represents possesses the ability to penetrate or inflict harm. When considering the phrase as a whole, the main idea that emerges is a portrayal of a malevolent and powerful figure, represented by the "malignant witch." The inclusion of "nine inch" emphasizes the size and impact of this entity, while "nails" conveys its ability to inflict harm or perhaps bring about some sort of finality. Overall, the combination of words, "malignant witch nine inch nails," evokes imagery of a formidable and dangerous force, one that possesses a significant and potentially devastating impact..
Reviews for "The Witch and the Machine: Nine Inch Nails' Malignant Persona in the Age of Technology"
1. John - 2 out of 5 stars: I was really disappointed with "Malignant witch nine inch nails". The music felt chaotic and disjointed, making it difficult to follow or enjoy. The lyrics were cryptic and hard to understand, and the vocals were often drowned out by the overwhelming instrumental. Overall, it just didn't resonate with me and I wouldn't recommend it to others.
2. Sarah - 1 out of 5 stars: I couldn't stand "Malignant witch nine inch nails". The aggressive and abrasive nature of the music was unbearable to listen to. It felt like a complete assault on my ears, leaving me with a headache rather than any sense of enjoyment. The lyrics were also dark and disturbing, which further added to the negative experience. This album was definitely not my cup of tea.
3. Mike - 2 out of 5 stars: "Malignant witch nine inch nails" failed to capture my interest. The songs lacked depth and originality, sounding like a recycled version of the band's earlier work. The overall production felt muddy and messy, making it hard to appreciate the individual elements of the music. I found it to be a forgettable and underwhelming album in the band's discography.