If Year Zero was Trent Reznor's interpretation of a dystopia, then Ghosts should be the score to its complementary film. Even without the howls of Reznor's remorse, there is no mistaking that this is NIN. In fact, many bass lines, piano jabs and machinist clanks sound rehashed from songs that date as far back as Pretty Hate Machine. Old or new, Reznor has an innate ability to stitch together melodies and mechanics that, to an untrained ear, could come off dissonant and disjointed. The resulting instrumentals flow from serene to sadistic to systematic to chaotic without a glitch.