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The Bad Witch is the ninth studio album released by American industrial rock band Nine Inch Nails. It was released on June 22, 2018, and serves as a follow-up to their previous EPs "Not the Actual Events" and "Add Violence". The album is considered a part of a trilogy, collectively known as the "Trilogy of EPs". With the Bad Witch, Nine Inch Nails continues to explore the dark and industrial sound they are known for. The album features a mix of aggressive and atmospheric tracks, showcasing the band's versatility in creating intense and haunting music. Trent Reznor, the frontman and primary member of Nine Inch Nails, incorporates elements of industrial rock, electronic music, and experimental sounds to create a unique and captivating listening experience.

Also the paper cutout eyes which appear on character faces as they become shocked are very nostalgic of favourite 2d cartoons from childhood.

The contrast between the flatness of the central characters and the realism of the minor human characters is a little creepy, as it is totally unexpected in such a small colourful fantasy world that I m not sure if it works. The way the characters are animated is personal to each, for instance Dougal seems to glide along the floor very quickly, doubling back on himself and often running in circles.

Trent Reznor, the frontman and primary member of Nine Inch Nails, incorporates elements of industrial rock, electronic music, and experimental sounds to create a unique and captivating listening experience. Lyrically, the album delves into themes of despair, anger, and disillusionment. Reznor's lyrics often reflect personal struggles and societal issues, drawing from his own experiences and observations.

Stop Motion Cartoons : Part 1

Part of a summer brief this year was to look at specific “movements” of animation. I’m not sure that the very vague term of “old stop motions” fits into the term of a single movement, but oh well.

I started off by watching Gumby, a claymotion made in 1956 by Art Clokey. Most of the main characters are designed with very flat 2 dimensional shapes in mind, which is simplistic and a good idea that I like. It’s almost like paper cutouts that can walk in 3 dimensions

Also the paper cutout eyes which appear on character faces as they become shocked are very nostalgic of favourite 2d cartoons from childhood.

The contrast between the flatness of the central characters and the realism of the minor “human” characters is a little creepy, as it is totally unexpected in such a small colourful fantasy world that I’m not sure if it works. Even with the 3 dimensional, toy based background, the “human” characters I find a little disturbing and don’t feel that they add anything to the aesthetic that another 2d character couldn’t have.

Serge Danot’s Magic Roundabout (1963) is a French Stop motion, partially developed by Ivor Wood and first aired in the UK in 1970. The show was translated by Eric Thompson, who opted to do this without looking at the French scripts and so the series comes across as very literal.

The way the characters are animated is personal to each, for instance Dougal seems to glide along the floor very quickly, doubling back on himself and often running in circles. This suits his childlike personality, and also the usual dog trait of being extremely excitable, bordering on hyperactive.

Florence however usually follows at a more lethargic pace, making her look either very melancholy, or occasionally quite contemplative.

The character design in this show is quite incredible anyway, compared to many British cartoons at the time in which the design was very pragmatic and always seemed to be based around whatever materials the makers had most access to at the moment, the French were more loose, giving the show a distinct feel and then choosing materials which would work with it and look fitting, so that even today it doesn’t look all that dated. The fully paper cut-out background also seemed to create something of a trend, as it was repeated in many shows after such as the Wombles, Postman Pat, Charlie Chalk, and Paddington bear to name a few. It’s also a really efficient way of making a stylized yet beautifully colourful background on a budget.

Everything about this show is just so aesthetically pleasing. The movements are incredibly smooth, but are also really interesting to watch. Zebadee is really quirky to watch, and the majority of his movement is based on moustache twirling.

And the walk cycle of Buxton the blue cat (from Dougal and the Blue Cat) is amazing, I just love how his tail flicks behind him. And when he starts playing the piano in his solo! Oh my goodness!

The Clangers were created in 1969 by Peter Firmin and Oliver Postgate, (who also created Bagpuss) while the puppets were knitted by Joan Firmin.

The motion is very fluid here and in conjunction with the wide variety of camera shots, helps give the otherwise expressionless clangers a good deal of character and personality.

Body language is also important in showing character and emotion even though the puppets have no posable faces, For instance, the clanger on the left is leaning back, stroking his chin while he holds the treasure, suggesting he is contemplative, bordering on intimidated. Tiny Clanger (middle) in this scene was making a lot of sudden, jerky movements which is seen as quite aggressive by the other clangers, while the clanger on the right clearly wants nothing to do with the situation.

I started off by watching Gumby, a claymotion made in 1956 by Art Clokey. Most of the main characters are designed with very flat 2 dimensional shapes in mind, which is simplistic and a good idea that I like. It’s almost like paper cutouts that can walk in 3 dimensions

The album's tracks often have cryptic and introspective lyrics, inviting listeners to interpret and engage with the messages being conveyed. In terms of critical reception, the Bad Witch has received positive reviews from music critics. The album was praised for its experimental approach and the band's ability to create a dense and atmospheric sonic landscape. It was also noted for pushing the boundaries of industrial rock and embracing a more avant-garde sound. Overall, the Bad Witch is a testament to Nine Inch Nails' ability to continuously evolve their sound while maintaining their signature style. It further solidifies the band's status as pioneers of industrial rock and experimental music. The album's dark and introspective themes, combined with its unique musical approach, make it a compelling addition to Nine Inch Nails' discography..

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