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While Trent Reznor is known for laboring over his music for years at a time, The Slip was written and recorded in just three weeks. All formats include a PDF file with artwork and credits, all songs include individual track art and lyrics embedded. The Slip is available as a physical product in CD and vinyl formats. The 6 panel digipak is limited to , pieces worldwide, each individually numbered, and includes a DVD of NIN performing five live tracks from The Slip at rehearsals, a page booklet, and an exclusive sticker pack. It is not known at this time why the decision was made for the numbers produced to be reduced to , overall. The double gatefold vinyl release contains one gram LP and a page booklet. Unlike the CD release, the vinyl is not numbered. The physical product also comes with three 4" x 4" stickers, each representing one of 9 illustrations to album songs printed in booklet or individually embedded in distributed media files , with the difference that none of the stickers have the red lines.
Trent Reznor returns with yet another digital record; The Slip is a free download that, unlike the sprawling loss-leader Ghosts I-IV , consists of fully realized songs. Pretty good ones, too. Remember how frustrating it was when Nine Inch Nails would make us wait four to six years between albums? That trend, it appears, has entered the rearview mirror stage, along with the label messes and rehab stints that helped cause those interminable gaps. Consider the new math after The Slip hit hard drives as a free download last Monday: over the last three years, Trent Reznor's released as many full-length records of new material four as he did during the first decade of his recorded existence. Since Pretty Hate Machine , the concept behind Reznor's work with Nine Inch Nails has been blunt and straightforward: dystopian techno-metal forged from the fusion of man and machine. But since last year's Year Zero , which came bundled with an alternate-reality video game and high-concept pre-release marketing schedule, and including Ghosts I-IV , which mimicked Radiohead's lossy-leader gimmick, Reznor has slowly emerged as a new sort of cyborg: an artist wholly immersed in the newest digital trends for the distribution and promotion of his music. Like a more magnanimous Radiohead, Reznor's called into question the major-label reserve clause for established, profitable musicians by not just coming up with a new way to monetize music, but just giving it away for free, no strings attached. Instead of "tip-jar," it's "this one's on me. Unlike its most immediate predecessors, The Slip comes packaged with a crucial difference: the music itself is more satisfying than the sui generis marketing scheme.