Nine Inch Nails' 'Ghosts V-VI': Will It Yield Another 'Old Town Road'?

Ghostsof Lil Nas X’s hit. “Then it just exploded. I’d heard it now three or four times, and I realized I’d wake up in the morning singing it. It was like, ‘All right, it’s made its way into my brain. It’s catchy.’ And then it was just sitting back in awe for however that went on to infect the world.”to new albumsthe follow-ups to the instrumental project sampled by Lil Nas X -- that he and longtime collaborator Atticus Ross had been quietly working on.is the more elegant-sounding of the pair.

Nine Inch Nails has certainly given everyone a lot to play with here. Both albums are loaded with musical moments big and small that cry out and demand to be heard through the dense aural miasma that Reznor and Ross have woven together. As you might expect, the material fromis much lighter and altogether more pleasant. There’s certainly a lot of fodder for the pop-minded creatives to parse through.

Piano melodies -- like the one introduced around the two-minute mark of “Out In the Open” or three minutes into “Apart” -- twinkle and shimmer like high-quality diamonds in soot-caked mantle. The escalating guitar riff at the center of “Still Right Here” strikes a sanguine note as it drives into a wall of frenetic, electronic blips.

There’s also moments of sheer, unsettling beauty. The opening piano figure on “The Worriment Waltz,” for instance, weeps by its lonesome, begging to be married to a lo-fi trap beat and sub-woofer bursting bass lines. Throw in a few verses about any number of bummer-inducing themes -- loneliness, isolation, paranoia -- and you’ve just created a potentially interesting underground SoundCloud cut.

That being said, can Nine Inch Nails' latest works lay the foundation for the creation of a wide set of diverse and interesting music in any number of genres?

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