Welcome oblivion (yes, that’s a lower case O) is one of Trent Reznor’s strongest efforts of the last decade. And to the trolls equating Mariqueen to Yoko Ono, this record is a response to your unfocused and undeserving hatred. Social media is often used as a viscous tool for the incomplete, unsatisfied masses. I agree that the initial, dual EP releases from the band were mostly disappointing. However, Welcome oblivion surpasses everything Reznor has released since Year Zero.
The record is bookended by its two strongest tracks, “The wake-up” and “Hallowed ground.” The former track introduces Mariqueen Reznor immediately, and it’s unfathomable to dislike anything she offers here. “Hallowed ground” features Reznor on piano, and his simple chord progressions on top of fuzzed out bass and synth compliment the heavily processed Mrs. Reznor. Reznor and company are revolting against the immediacy and impersonal nature of current communications technnologies. Sorry, but we need to mention Pitchfork’s unfathomable review. While the smug excuse for a music website does not dismiss Welcome oblivion in the same manner it dismissed Reznor’s 1999 magnum opus The Fragile, its references are beyond laughable.
Grayson Currin rambles on with mentions of Alexis Krauss of Sleigh Bells, Justin Vernon of Bon Iver, Kanye West, and Karin Dreijer Andrersson of The Knife. Who is this gopher? He also incoherently compares Reznor’s work to Burial and Purity Ring. Has he actually listened to the record? I think it’s time to reset. His nonsensical mess of a review never talks of the music but focuses on obscure, inaccurate comparisons to other artists. It’s pathetic music journalism. Pitchfork should be ashamed for publishing such rubbish. Welcome oblivion is a surprisingly inspiring reemergence of music’s dark prince. Stream Welcome oblivion by How To Destroy Angels in its entirety via Spotify below: