Nine Inch Noize is a collaborative album by American industrial rock band Nine Inch Nails and German electronic musician Boys Noize,who perform under the collaborative banner Nine Inch Noize. It was released via the Null Corporation and Interscope Records on April 17,2026. The album consists of reworked versions of songs by Nine Inch Nails,a new version of a song by Soft Cell,and a cover of a song by How to Destroy Angels.
Nine Inch Nails and Boys Noize had previously collaborated on the soundtrack to Tron:Ares and its accompanying remix album Tron Ares:Divergence,as well as the Peel It Back Tour. The Nine Inch Noize album was announced ahead of their performance at Coachella 2026. The album was praised by critics,who commented on the production and the interpretations of songs.
The album features new versions of songs by Nine Inch Nails,including a new version of "Memorabilia" by Soft Cell (originally a B-side inclusion on the "Closer to God" single[5]),and also a cover of "Parasite" by How to Destroy Angels. The album was recorded partially live,in studio settings,on planes,and elsewhere.[6] Musically,it has been described as a live album,studio recording,and remix album.[7] The album's structure follows the setlist of Nine Inch Noize's Coachella 2026 performance,which took place a week before the album's release.[6]
Nine Inch Noize was released on April 17,2026,as Halo 38 in the halo numbering system,[2] via the Null Corporation and Interscope Records.[7][11][12] The record was first announced on April 8,being advertised by a billboard on the way to Coachella in Indio,California.[2] According to the review aggregator Metacritic,the album received "universal acclaim" based on a weighted average score of 83 out of 100 from 5 critics.[8]
Critics praised the album's nature as both a live album,studio recording,and remix album,[9][7] with AllMusic's Neil Z. Yeung stating the album "goes beyond the idea of a 'remix'",[5] while Pitchfork's Will Lynch assessed the record as "not so much a live album as a live-inspired album",and described Ridha's contribution as an overt one,saying,"simply put,he brings the rave".[12]Louder's Rich Hobson called the record "spacious and clean" unlike typical lusty "grime and nihilism" on Nine Inch Nails's other work.[11] Some critics commented on the crowd noise;while Lynch felt the fading was not smooth and its lack of consistency made it seem "a little canned" like a laugh track,[12]Consequence's Paolo Ragusa compared it to the shifts of brightness when traveling through a tunnel.[10] Hobson bemoaned the live album as an "incomplete puzzle" without accompanying Coachella footage (although the actual date of the album's live portions wasn't pinpointed).[11]
Clash's Robin Murray dubbed "Vessel" as "a torrent of explicit distorted digitalism",[9] Lynch felt the track had a "sassy staccato funk" reminding him of Prince and Talking Heads,[12] and Yeung remarked that the song's prominent beat heavily benefited from the remixing.[5] Ragusa felt that "Closer" remained a "pop masterpiece" in its new interpretation,praising the "supercharged" remix for its enhancement of the synths and rework of the bridge,[10] while Kerrang!'s James Hickie respected that the song was not overhauled extensively given its "iconic status".[7] Lynch compared Ridha's style with "Closer",opining the new version felt "truly fresh",praising the rearrangement of the post-chorus arpeggio into isolation in the beginning,and said that the song managed to be a "fuck yes" moment on the album despite the obviousness of its inclusion.[12] Of "Heresy",Ragusa wrote it had a new wave touch,and the remix made it "even freakier" and its beat was "even more destabilizing".[10] Lynch felt this version "materially improves" upon the original and citing the pairing Maandig's voice with the opening drum loop as "elegant",[12] while Murray wrote the "seductive duet ... sizzles with scarcely pent-up sexuality",[9] and Hobson compared it to the style of Prince's Purple Rain (1984) and Godflesh.[11]
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