It is obvious to be nostalgic for the milestones of the greatest artists. But I don't believe it's right to remain anchored to memories. Every album by an artist who has been writing music for over 20 years should naturally be a product of its time. Thus, "The Downward Spyral" and "The Fragile" reflected the Reznorian anxieties of the '90s and were amazing because they were pioneering albums of a style created by Reznor himself—industrial metal. If it's true that the concept of art is personal, perhaps David Bowie and Kubrick described it best. Both believed that an artist's expression should adapt to his animus and the changing times, not remain monothematic. I personally agree, and for this reason, I prefer artists and bands that dare to change genre from album to album rather than constantly rehashing the same music monotonously. Trent Reznor with "With Teeth" and even more so with this "Year Zero" has ventured into a new world for him. That of melodies. If we want to view it as a sort of return to rock, with drums and guitar solos that are certainly not an "innovation" but rather a remake. If we want to see it as an approach that sometimes is a bit too "Radio Edit". But the result that might seem too commercial to many is actually the broadening towards wider audiences of sounds and lyrics once meant for a select few alternatives, and thus niche. Is this a mortal sin for an artist who has been writing chapters of alternative music history for twenty years? Is it fair to crucify him if he seeks more notoriety today? I believe that would be justified only if the product were subpar. Instead, considering it is a great album, perhaps we are witnessing a multi-instrumentalist genius who has decided at 40 to drop the mask and reveal a part of his soul intentionally hidden until now. The part that is more pop, more rock but no less fierce. Just more catchy. This, in my opinion, is an album much more beautiful than the previous one. More complete, more mature, and damned technical.
Rating: 7+
This album is the confirmation that our esteemed Trent Reznor has always been a pop music writer in disguise.
One really wonders where the author of 'March of The Pigs' or 'Closer' has gone.
The pressing drums with which 'Hyperpower!' and the entire album open are simply and absolutely a workers’ tumult in the face of advancing technology in factories.
'Year Zero' surpasses the limits of what is directly stated in the sounds and lyrics of the individual tracks.
Year Zero is truly a great album, beware of reviews that trash it.
It seems that Trent Reznor wanted to revisit and expand the architectures of his beautiful Closer.