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[[Image:Add_Violence_Cover.jpg|thumb|200px|Halo 31: ''Add Violence''<br />[http://www.amazon.com/gp/redirect.html?ie=UTF8&location=http%3A%2F%2Fwww.amazon.com%2Fs%3Fie%3DUTF8%26x%3D0%26ref_%3Dnb%5Fsb%5Fnoss%26y%3D0%26field-keywords%3Dnine%2520inch%2520nails%2520add%2520violence%26url%3Dsearch-alias%253Daps&tag=thniinnawi-20&linkCode=ur2&camp=1789&creative=390957 Find on Amazon] - [http://rover.ebay.com/rover/1/711-53200-19255-0/1?icep_ff3=9&pub=5574848848&toolid=10001&campid=5336384580&customid=&icep_uq=nine+inch+nails+add+violence&icep_sellerId=&icep_ex_kw=&icep_sortBy=12&icep_catId=&icep_minPrice=&icep_maxPrice=&ipn=psmain&icep_vectorid=229466&kwid=902099&mtid=824&kw=lg Find on eBay]]][[Image:Add_Violence_PC.jpg|thumb|150px|Physical component]]'''''Add Violence''''' (also known as '''''[[Halo numbers|Halo 31]]''''') is the third proper EP from [[Nine Inch Nails]]. It was released digitally on July 21, 2017, though pre-orders through [[nin.com]] allowed for a download two days early. This EP acts as the second installment of a '''[[The Trilogy|trilogy]]''', following the 2016 release of ''[[Not The Actual Events]]'', and preceding the 2018 release of ''[[Bad Witch]]''.

<blockquote>"''ADD VIOLENCE'' finds Nine Inch Nails becoming more accessible and impenetrable at the same time. The sonic palette expands significantly from ''Not The Actual Events'', incorporating elements of beauty into the dark dissonance. The narrative arc linking the three records begins to emerge through the disassociated lyrics and the provocative and clue-filled cover artwork and accompanying physical component, available exclusively through the NIN.com store."</blockquote>

==Promotional releases==In an interview with Lizzy Goodman posted 2020, a promotional CD from Capitol Records was put up for sale on nin.comeBay, Reznor explains the trilogy’s concept in detail: <blockquote>"But to be clear, the record isn’t about Trump, it’s about making sense containing instrumentals of all the world. The first record, ''Not the Actual Events'', was more of an internal fantasy of what if I lit a match to my life and just embraced burning songs on the whole fucking thing downEP. You know? All of this is an illusion and I really should be dead or lying in a ditch somewhere. Who I ''really'' am is an addict that selfIndividual promotional CD-destructs. That’s my true nature and this is an illusion and some borrowed time. It wasn’t a pleasant thing, but it felt like, that’s a story to tell. And if felt like something I needed to internally process. And that supported other things that Rs were interesting to us like aggressive music and a sense of the self-referential, looking back at other albums and pilfering bits of the art design to confuse people and also because I was thinking about those records. To try picking up a guitar, which I told myself I would never do again made for whatever reason and finding, you know what? It sounds fucking good. Listening back and going, you know what? That was a good song from 25 years ago, it’s not bad to play something like that. There are no rules. That was the first record. 
It wasn’t fully mapped out but it was meant to feel like if we broke up one big record – if it was ''Downward Spiral'', which has acts, if we do an album like that, but release one act at a time, it will be more immediate and the level each of adrenaline and momentum will be higher. And maybe it will be consumed in a way that feels more digestible to an outside world that doesn’t have long attention spans anymore. With the second onefive songs, ''Add Violence'', the idea was, loosely, to zoom out, to be more global containing instrumental and to imply that maybe we’re all in a simulated realityacapella versions. And that might introduce the concept of meaninglessness but There were also provide a safe container to explain why everything feels off.  By the time we got to the third one, we had an idea in mind but it felt … rehearsed. Predictable. In the end, what felt true was to say that we as a society data discs containing [[multitracks]] for "Less Than" and as a species are probably an accident, a mutation. Really what we are is fucking animals. And the illusion was enlightenment. "The more we’ve connected with each other the dumber we’ve gotten and the more we decide we want to kill each otherBackground World". We’re not some elevated transcendent beings, we’re bacteria in a jar. I wanted the art direction of Bad Witch to feel like shadows on a cave wall and we’re trying to figure out what it is and really there’s no nice, clean, safe scientific explanation. We’re just an accident. String theory and quantum physics is a fucking trick. And we’re not going to suddenly elevate ourselves into transcendent beings. We’re kidding ourselves. I know this will be an unsatisfying conclusion for some people. It isn’t what they want. They want it to be full matrix virtual reality, and this is the opposite of that, this is dirt and a broken computer chip and everything you believe in is really just bullshit."</blockquote>

<blockquote>"<p>With the new EPs, I liked world-building, and writing music that can sit in that world. I was always the guy who desperately wanted the ''Dark Side of the Moon'' to line up with ''The Wizard of Oz''. I wanted to believe somebody was so far out of their mind that they figured that out. Fuck, I got goose bumps just thinking about that possibility right now — the idea that someone could be thinking so hard about an album.</p> <brp>What the obsessives maybe don’t know is that if I were to explain everything to you, or just explicitly lay out what the new EP is about, you’d only be disappointed. You don’t really ''want'' to know. The experience of grappling with the thing is what makes it interesting, not the immediate gratification of going, '"Oh, that’s what it means.'"[http://www.vulture.com/2017/07/trent-reznor-nine-inch-nails.html]</p></blockquote>

<br>*Written, arranged, produced, programmed and peformed performed by Trent Reznor and Atticus Ross*Mix: [[Alan Moulder]]

<br>*Art Direction: [[John Crawford]]

*Business Management: William Harper and Michael Walsh for Gelfand, Rennet Rennert & Feldman<br><br>