All of Reznor’s (decreasing) credibility in the metal and industrial circles stems from this release, a six-song (eight, counting the two covers that comprise its bonus track), half-hour blast of noise. Perhaps inspired by Reznor’s bitter feud with TVT, the label that released Pretty Hate Machine, Broken is as angry as Reznor gets — he does not sing, he screams. He offers no ballads, and shows no remorse. Unlike Pretty Hate Machine, Broken incorporates guitars into the Nine Inch Nails sound in a big way — they would not be so prominent again until With Teeth. Hilariously, one of the central instruments on Broken was a Mellotron originally owned by John Lennon — I wonder what that avid proponent of peace would think of his instrument supporting “the big time, hard line, bad luck, fistfuck.” The hatred works in Reznor’s favor; for the first (and maybe the last) time, Reznor’s ridiculous lyrics actually work, adding to the record’s blistering intensity. Listening to Broken on high volume is like watching magnesium burn.

Reznor’s songwriting on Broken is concise, and tighter than before — the four songs that comprise the album’s core (those that are not instrumental interludes or covers) have each stood the test of time. “Last,” with its merciless stomp, merges Reznor’s sex drive with his more vitriolic songwriting to great effect. “Happiness In Slavery” veers from anthemic to confessional, one of Reznor’s later specialties. “Gave Up” and “Wish,” the two fastest, most metallic songs in Reznor’s catalog, are so solid they’ve never left NIN’s live set; according to Setlist.FM, he’s played each more than both “Closer” and “Hurt.” “Wish,” in particular, has become so iconic that recording a cover of it is practically a heavy metal rite of passage. Reznor performed the song live with math-metal band the Dillinger Escape Plan, who have recorded maybe the best cover of “Wish,” on NIN’s last “farewell” tour.

Even the two covers are outstanding. His take on Adam Ant’s “Physical (You’re So)” burns slower, and hotter than the original — you can hear Reznor strain his vocal cords on the recording. The second cover, “Suck,” was originally recorded by industrial metal band Pigface — really, just Reznor playing with the best live incarnation of ‘the other’ great industrial metal band, Ministry. Reznor’s recording, with its “I feel so dirty on the inside” bridge, and overt display of sleaze, has become the definitive recording.

The Broken EP is the only true industrial metal release in Reznor’s discography. It’s also one of the best industrial (and/or metal) recordings ever put to tape. Pound for pound, it’s as strong as The Downward Spiral, only less nuanced. It’s just too short, and too one-note to be the central gem in Reznor’s crown.