A Review of Nine Inch Noize

Ever wondered what a Nine Inch Nails rave would sound like?

Nine Inch Noize’s self-titled release presents remixes from a diverse selection of existing Nine Inch Nails projects. This album is the collaborative effort between NIN and Boys Noize (Alexander Ridha), with the tracklist first appearing at Coachella 2026 and performed under the new Nine Inch Noize moniker. This debut followed the Peel It Back tour of 2025-2026, where Ridha’s opening act would seamlessly slip into the main NIN set.

Compared to NIN’s usual output, Nine Inch Noize presents a straightforward and live-inspired cacophony of extremely danceable, EBM-influenced variations on the source material. NIN is no stranger to remixes or collaborations (i.e., Fixed, Things Falling Apart, Further Down the Spiral), but as a standalone album with a persistent collaborator throughout it is a first. The experience of listening to this project often mimics something closer to a DJ set than the archetypal NIN concept album.

Recorded audience cheer from the tour is deployed throughout the album. This motif makes its first appearance in the intro’s ominous, pounding soundscape, building into a reimagination of Vessel from Year Zero. This Vessel is explosive. It invokes fist-pumps and bodily motion. It rapidly transports the listener to the front of a massive crowd. It is an incredible opening that sets the tone for all that comes after. 

Nine Inch Noize is merciless. As Vessel subsides, She’s Gone Away extrudes to take its place. Distorted instrumentation and the first appearance of Mariqueen Maandig’s backing vocals haunt Reznor before abruptly crashing into a cacophony of bass. Heresy follows up: “god is dead, and no one cares” rides on top of these hellish saw-like buzzes and retreats into one of this album’s catchiest sections. Maandig’s murmurs return for a sparing but potent addition to the bridge, “will you die for this?”. Heresy reiterates the cathartic nihilism of The Downward Spiral with a shiny new coat of savagery.

Me, I’m Not is perhaps the weakest track here. It forsakes the tense, skulking dread of its original and instead tries to build up to something that never quite pays off. It isn’t terrible, but it does pale in comparison to the steep competition that it shares an album with (especially tracks like Vessel). It also does not help that it’s sandwiched between a solid rendition of Copy of A and a banger of a Closer remix.

Speaking of which, this version of Closer is such a fun listen. I was almost embarrassed to find myself playing it on repeat (out of all the tracks) after initial listens to this record. Its alterations are modest compared to some of the other tracks on this project, the most notable being the increased volume and distortion to the iconic synth line amongst other subtle “noize-ifications” applied to match the energy of the other tracks. Closer transforms from a creepy, desperate, and self-destructive anthem to all of the above plus the added compulsion to violently flip your hair.

My favorite track on here is Memorabilia, a Soft Cell cover originally appearing on 1994’s Closer To God single. While Closer to God‘s Memorabilia had a persistently unsettling and chaotic sound (fitting of that era of NIN’s discography), the remix from this album introduces bouncy, more energetic percussion and relentless buzzy synths. Reznor’s vocal delivery outside the chorus is largely in his distinct NIN half-whisper, creepy, a little horny, employed to great effect in lines like “I have been inside you”.

Nine Inch Noize is a strong addition to the NIN catalog, a well-executed collaboration-remix album that stands on its own. It’s paced well, and while not every track hits as hard as it could, it avoids ever quite sounding dull or boring. It recontextualizes and breathes new life into its source material within a runtime that doesn’t overstay its welcome. Nine Inch Noize successfully executes what it sets out to do: its mixes and elements evoke live performances, massive crowds, flashing lights, and movement. It isn’t the greatest NIN record of all time, but it doesn’t have to be. 8/10.