Nine Inch Nails dropped their full-length album collaboration with German producer Boys Noize. In the collab titled “Nine Inch Noize,” Nine Inch Nails’ older songs get reimagined with electronic music.
As a lover of electronic music, who loves it when a song is changed to sound like it belongs in a club, an entire album channeling that mixed vibe sounded right up my alley.
The album starts off incredibly strong with “Intro – Nine Inch Noize Version.” It draws you in, captures your attention and builds anticipation. If I had been at Coachella when they debuted the full-length album, I would’ve lost my mind at this killer intro.
I love when an album flows the songs together, and the second track, “Vessel – Nine Inch Noize Version,” did just that.
After the absolutely shocking intro, I figured the electronic music would go well with the vibe NIN is known for—industrial. Pulling elements from Boys Noize’s 2020 collaboration with Rico Nasty on “Girl Crush,” the original distorted drum loops and synthesization of the original track pair well with the additional glitch and distorted vibe of electronic music.
Not to mention the growls. But that isn’t important for the review (or is it?).
“She’s Gone Away – Nine Inch Noize Version” felt like a classic NIN industrial rock sound mixed with the classic electronic music four-on-the-floor beat. Leaning toward a more hardtekk vibe, I loved this track.
Having also drawn elements from “Girl Crush,” it felt similar to “Vessel,” but I enjoyed this track more. If this remix came on at a rave, I would go insane.
Immediately captured by the slutty, desperate, yearning vocals Trent Reznor delivers in “Heresy – Nine Inch Noize Version,” my mind immediately went to She Wants Revenge and their music.
That did change for the chorus, though—a pleasant shock. Reznor’s deep screams mixed with the hardcore electronic elements reminded me a bit of Bring Me The Horizon’s newer music, specifically the “L.I.V.E in São Paulo (Live Immersive Visual Experiment).
Anyway, “Heresy – Nine Inch Noize Version” is probably one of my favorites from this remixed album.
“Parasite – Nine Inch Noize Version” was originally played last year in Dublin during their “Peel It Back” tour, and earlier this year during the North American leg.
I found this song intriguing—the electronic music didn’t overpower the distorted, indistinct background dialogue.
If you’ve ever seen “Blade” (1998), it kind of felt like it belonged in the blood rave scene.
I don’t have much to say on “Copy of a – Nine Inch Noize Version” as it wasn’t my favorite. I do feel like it should’ve been placed higher in the album because it isn’t as high-energy as some of the other tracks. However, the vocals were very clear as it was one of the songs they recorded in the studio rather than live, in a hotel, or on a plane (yes, really, they discussed recording all over the place in one of their interviews).
Synthesizers and electronic music go pretty well together, in my opinion.“Me, I’m Not – Nine Inch Noize Version” kept the original synthesizers, consistent drum loops and manipulated bass riffs, pairing industrial and electronic, similarly to “Vessel – Nine Inch Noize Version.”
It also showed off Reznor’s deeper range, and I am a huge fan of deeper vocals in rock.
Now, the song I was most excited for was the remixed “Closer,” and boy, did it not disappoint. I’ve heard DJs make their own electronic versions of this song, but Boys Noize knocked it out of the park. The electronic elements make you feel the beat even more than the original—which is something I did not really think was possible.
Recorded live, the vocals could’ve been clearer—I would love a studio version of this song— but the whisper growls were still ever-present. It did feel a touch less desperate than the original; however, the addition of faded and background vocals gave it the extra oomph necessary to keep it high-rated.
Originally, “The Warning – Nine Inch Noize Version” felt like it was going to be a live recording, but it quickly transitioned into clearer vocals, likely one of the few recorded in a studio. Besides the addition of electronic music and “ticking” vocals, the song felt pretty similar to its original.
It wasn’t bad—it also used some elements of the Rico Nasty collaboration, but in comparison to the others that used those elements, it just isn’t my favorite.
Nine Inch Nails covered “Memorabilia” by Soft Cell back in the ‘90s, and they remixed it for this partnership—bringing a more modern feel to an older song.
The repetitive lines and looping effect, combined with the electronic beat produced by Boys Noize, worked really well together. Repetitive beats mixed with repeated lyrics are somewhat of a guilty pleasure for me, though, perhaps I am biased.
Like before, when a song begins with the outro of the song beforehand, I know I’m gonna enjoy it. The remix of “Came Back Haunted” was not changed much from the original, but the outro immediately stood out to me.
The main drum loop, with the introduction of the bassline, coupled nicely with electro. The chorus felt noisier than the verses, which I really liked.
My main issue with this remix, though? They got rid of the sick-ass guitar riff. They could’ve— and should’ve—kept it.
Finally, the “As Alive As You Need Me To Be” remix captivated me immediately. An evil intro? Hell yes, sign me up. My brain automatically went to “Tia Tamera feat. Rico Nasty” by Doja Cat because of that intro— and if you know how Doja Cat performs that intro live, you cannot imagine the biblical levels of jealousy I had for the Coachella crowd when Nine Inch Nails debuted this remix.
There was a quick buildup before the bass drop after the long intro. Since this song is originally from the “Tron: Ares” soundtrack, it makes sense that it feels Daft Punk-esque after the killer soundtrack that is “Tron: Legacy.”
Overall, I was thoroughly impressed by the album. Is it my favorite album I’ve ever listened to? No. Is it a really good electronic album? I would say so.
Boys Noize produced some really great beats for this collaboration. While Nine Inch Nails have had an electro-industrial vibe since their early days, along with the “Tron: Ares” soundtrack, a full length re-imagined EBM album was a pleasant surprise.
If you’re a fan of rock and raves, “Nine Inch Noize” might be right up your alley.
