Hostile takeovers, social decay, senseless death and destruction, poisoin and chemicals being slipped into the water, the end of the world, and much much more is on the agenda for Nine Inch Nails' mastermind Trent Reznor on his outward-looking, intensely critical, observant, and, in an unusual way, hopeful 2007 masterwork, Year Zero.
Trent Reznor's Dystopian Sci-Fi Vision
A sprawling emotional and aural journey of a listen which, while always immensely dark and terror-inducing in it's increasingly chaotic and jagged ebb and flow, simultaneously holds the (patient) listener's attention from beginning to end with it's consistently strong songs and sonic structures (the most inspired and detailed tracks to be crafted by Trent in years) and his deeply affecting lyrics, which for once have more on their mind than introverted self-examination.
Way, way more, in fact, as Trent switches characters like a Cheshire cat from one song to the next, like when he goes from the guise of corrupt politician in the surprisingly fun and rocking "Capital G" to the serpent-like whispers of the vengeful united on "God Given", to name but one example. A technique that allows Trent to present the end of the world, as he envisions it, from every side possible, the result of which is an impressively well-rounded setting and story.
Every side of which is sketched out in an equally villainous and sympathetic manner, like the guilt-ridden protagonist wishing he/she could stop the catastrophic chain of events he/she has begun in the tensely brooding and humming "Me, I'm Not", and the survivor who fails to try and stop what has been started on the almost violently-intense "Vessel". Both of which are but two faces in the world-spanning desolated landscape of the dwindling human population. And all of which, as Trent sees it, are equally to blame.
Nine Inch Nails' Detailed Industrial Rock Sound
A theme of dualism which extends to the alternatingly gorgeous and distrubing music itself. Music which is perfectly suited to each and every step along the album's journey, as well as music that (as mentioned previously) is extremely lush and rich in each of it's many intricate details. All of which come together to form tracks that manage to be atmospheric and tone-setting and hook-laden and immediate at the same time.
Tracks like the startling and introductory "Hyperpower!" which, while rumbling along on it's industrial beat and assembly-line operation buzzsaw guitar lines, gradually escalates into a chaotic cacophony of frightening blasts of pure white noise and dread-induced and panicked screams until it all comes to a jarring halt, as if the massive machine of society has finally fallen apart.
As well as heavily-processed and unnatural tracks like lead-off single "Survivalism" which, while coming off like an unapproachable mess upon first listen, gradually reveals itself to be an extremely catchy gem of a tune filled to the brim with memorable hooks, the most apparent of which is the foreboding and humming guitar riff at it's very center, not to mention the gnarled vocals which make up the song's descending sweep of a chorus.
Year Zero An Overall Uplifting Listen
As well as tracks (found in the album's final act) which are, for lack of a btter word, beautiful and transcendental. Tracks like "Another Version Of The Truth" which, while taking the listener through the toxic desctruction and rubble of all that has come before, simultaneously manage to find a comforting beauty amidst it all. Sometimes (as in the previously mentioned song) it's a beauty that comes in the form of a fragile, enduring and oddly comforting piano line.
Other times, as in the final track, "Zero Sum", it comes in the form of a gospel-inspired melody and set of lyrics delivered by a gospel choir. One which, with lines like "Shame on us, for all the we've done, God have mercy on us" comes to terms with the tragic end that has arrived for humanity and, in doing so, looks forward to what comes next as Mother Earth begins the process of purifying herself and beginning anew.
In Closing
A universal vision and relatable conclusion that lends Year Zero a monolithic amount of purpose and importance in the history of popular music. A penetrating, unforgettable, and fully fleshed-out vision that comes courtesy of industrial music's number-one act, Nine Inch Nails. As well as, and perhaps more appropriately, a vision which comes courtesy of Trent Reznor, an artist who has finally shown what artistry he is capable of by turning his artistic focus to the world at large.
Jacob Goguen - Jacob Goguen is a professional journalist with an extensive background in the arts. He has acted in short films, as well as with Young ...
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