Unwarranted conjecture is the premise of every bad analytical column you’ve ever read, and generalization is the enemy of the precise writer. That said, I don’t think it’s horribly inaccurate to say that Trent Reznor’s music has inspired a lot of anger ever since he started Nine Inch Nails. But intensity comes in all shapes and sounds, which is why the theme song he wrote for Call of Duty: Black Ops II is so interesting: There’s some trademark aggro hiss toward the beginning, but for the most part, it’s a lilting, melancholy piano melody that’s a surprising contrast to the mad as hell state of mind evoked by most of the people playing this game. (Another generalization, but one with some supporting evidence.) It wouldn’t feel horribly out of place in Reznor’s soundtracks for The Girl With the Dragon Tattoo and The Social Network, which makes me wonder if he’s simply recycling unused fragments into less artistic projects for maximum efficiency. Which isn’t to say that there isn’t anything artful about a 15-year old calling someone a “queer Mexican iguana” over voice-chat, as one will frequently encounter when playing Call of Duty online, but it’s a different state of mind.