Nine Inch Nails‘ collaborations with Boys Noize began in 2024, when the German EDM producer remixed Trent Reznor and Atticus Ross’ Challengers soundtrack, and it blossomed last year when NIN made a short set of songs with Boys Noize a centerpiece of their Peel It Back Tour.
Now, they’re releasing a unique, “purely electronic” full-length Nine Inch Noize album recorded “all over the place – some of it’s live, some in studios, hotels, planes, etc.”
“The creative fulfillment of working on the Challengers and Tron scores with Boys Noize led me to think that including him in the Peel It Back tour could be an interesting way to express NIN in more purely electronic terms live – a concept I’ve wanted to explore for some time”…
Category: industrial
Remember when Matmos’ Drew Daniel posted about “hit em,” an imaginary electronic genre at 212 bpm and in 5/4 time? Seoul-based producer Guinneissik was one of many across the world who submitted an interpretation: “London Hammer,” a noisy techno belter with screamo vocals, later included on the resulting Machinedrum-curated compilation. But 2024 was already shaping up to be Guinneissik’s breakout year, with his slow-building trance single “Farewell Two Shell” nominated for Best Electronic Song at the Korean Music Awards. Daniel’s infamous tweet might have sparked Guinneissik’s entry into an international story, but the kindling had been accumulating for years.
Learning the ropes of Ableton from Korean electro-house pioneer KIRARA, Guinneissik…
Sacred Lodge is the side project of Paris-based producer/sound artist Matthieu Ruben N’Dongo. Rooted in his ethnomusicological research, which explores the role of music in ritual contexts and his own Equatoguinean heritage, the results are unsettling but compelling, characterised by heady percussion and swarming electronics.
But while his 2019 debut Hijos Del Sol was made up of murky downtempo instrumentals, N’Dongo’s follow-up amps up the intensity almost beyond recognition, with a collection of sludgy, abrasive tracks.
One of the starkest differences is the use of vocals, which have previously only featured as echoey background textures. On Ambam, N’Dongo makes full use of his voice. Inspired by…
Tron Ares: Divergence arrives as a surprise release from Nine Inch Nails, shadow-dropped on February 27, 2026, right in the middle of the band’s North American arena tour. Framed as a remix companion to their score for Tron: Ares, the album feels less like a simple reworking and more like a parallel universe to the original soundtrack—darker in places, more club-oriented in others, and fully committed to pushing the digital dystopia of the Tron world into new sonic territory.
The release is currently digital-only, but it’s presented as a two-disc set that reflects two distinct moods. Disc 1 reimagines the Tron: Ares material through new compositions and remix collaborations with a range of electronic artists, pulling the score toward industrial techno…
Berlin’s experimental trio Zahn returns with their most electrifying work yet. A lush fusion of heaviness, electronics, and hallucinatory color. Monolithic grooves meet synthetic shimmer. Purpur breathes tension and danger, pulsing with depth and density.
Known for their intense, driving sound that echoes the relentless march of a world on the edge, the trio Zahn Chris Breuer, Nic Stockmann and Felix Gebhard are deepening their sonic exploration with a record that is simultaneously more electronic and more rock-infused than their acclaimed predecessors.
Recorded once again in Gyhum with recording engineer Peter Voigtmann (ex–The Ocean, Death By Gong, Heads.), Purpur follows in the footsteps…
Postulate soundtracks a shattered life, mixed and strewn beneath your feet. The album vibrates with menace, as if every track were cut from the same glass that explodes outward in the poem accompanying it. “To your fear, another is added — the fear of windows. / Your transparent, imagined shield has become a weapon of entropy, / tense and ready to kill, / piercing your fragile flesh with a thousand fragments. / Stay away from windows. / Better to move through corridors. / Remember the rule of two walls.” Ujif_notfound transforms this fear into a sonic condition, a landscape where transparency is a lie and safety is an illusion. The record refuses mediation or softening; it is angry, unfiltered, and unapologetic, and it has earned the right to be so. Every sound here is…
While working on their second album, two members of Mandy, Indiana — the Mancunian quartet fronted by a French valkyrie named Valentine Caulfield — were faced with their own corporeality. Drummer Alex Macdougall underwent surgery for a hernia and, after doctors found a lump, had half of his thyroid removed. Caulfield lost most of her vision in one eye. The 10-hour days that comprised the recording sessions could have broken them. Instead, the band’s distinctive sound — an alloy of industrial, post-punk, and ’80s neo-noir soundtracks — emerged titanium-plated and electrified. URGH is both headier and more visceral than anything Mandy, Indiana have made before. This isn’t body music or brain music; it’s spine music, homed in on the bony…
Knowing when to stop is a much-undervalued attribute, particularly in the music industry. So rare is the artist who calls it a day – and doesn’t renege on the decision – they are exceptions that prove the rule. Syd Barrett, Mark Hollis, Meg White… Even rarer is knowing how to stop – David Bowie of course set the benchmark for career-concluding swan songs with 2016’s Blackstar.
But fellow New York resident JG Thirlwell has made a similar creative choice with the release of Halt, his tenth album under the Foetus nom de plume – satellite, remix and live releases notwithstanding. The record brings to a close a project that spans 45 years of exceptional creativity, and at times controversy.
There’s an apocryphal story about Thirlwell…
Before Chat Pile took on sold-out tours and widespread critical acclaim, they played Roadburn 2023-their biggest show to date, in front of a packed room of 3,000 on the festival’s main stage. Fresh off the release of God’s Country, the Oklahoma quartet brought their suffocating, sludgy noise rock to Tilburg for their first-ever European performance, delivering a set that felt like a milestone. The bleakness, the anguish, the raw absurdity-it all scaled up effortlessly, proving that Chat Pile’s chaos could consume any audience, no matter the size.
The set was recorded by the Roadburn staff and later remixed by the band’s longtime engineer, Jared Stimpfl, capturing the full weight of the performance. The result is something both…
Taking their name from the mining byproducts that litter their home state of Oklahoma, American four-piece Chat Pile attempt to make sense of a crumbling world through their sludgy strain of noise rock. After finding online viral success with their 2019 debut EP, This Dungeon Earth, the group built their tense sound across the 2020s with acclaimed albums like God’s Country (2022), Cool World (2024), and In the Earth Again, a collaborative album with guitarist Hayden Pedigo.
Blood at Night: This release contains the entire collection of manipulated tape loops recorded during the making of Cool World. Sections of most of these tracks were dissected and subtly woven into the final version of the record. All the original cassettes used on this collection were sourced…
Witch house — the spooky, internet-y electronic music microgenre that was conceived as a joke and had little to do with actual house music — seems to be enjoying a bit of a renaissance right now.
When artists like SALEM, White Ring, and Ritualz were gathering buzz in the early 2010s, witch house was a loosely applied term referring to just about anything that was dark, mysterious, and made on a synthesizer.
By the time a cohesive aesthetic started to emerge, derived from the graininess of the early digital era and the collective taste of extremely online horror subcultures, the would-be genre had already jumped the shark. When Deftones’s Chino Moreno got in on the action with his ††† (Crosses) project, the whole thing felt vaguely embarrassing.
To mark the 40th anniversary of their debut album, Laibach and Mute are releasing a special Laibach 40 CD box set. Originally issued in 1985 without the band’s name – as they were banned in Slovenia and Yugoslavia at the time – this legendary first album now appears on a remastered form bearing its originally intended name for the first time.
The box also features historic recordings from Laibach’s formative years. These include the cult live album Ljubljana – Zagreb – Belgrade, capturing their first concerts in 1982 across Yugoslavia, with some tracks originating from early rehearsals held in a practice space wedged between a mortuary, a dissection room, and a madhouse.
Another highlight is M.B. December 21, 1984, documenting a semi-illegal Ljubljana concert…
An expanded CD reissue of Black Rain’s Obliteration Bliss, originally released on cassette via Downwards in 2023.
Degraded, faded cities now empty of people. You can hear household appliances in the kitchens still talking, but only to each other.
The phrases are distorted, unclear; broken English, Japanese and a few Korean and Chinese automated voices, syllables, shopping lists, play lists for dinner and recipes.
Somewhere one of the machines is dialled in on an isolated pre Buddhist monk chant, distant like from a high cliff meditation cell. The flow of the wide, long Black Mother River Kali Gandaki below them. Here is Obliteration Bliss A world in a flash of light. The world running faster and faster.
What to make of the band that HEALTH have become? To keep up with them these past few years has been an often-dizzying endeavour; they’ve collaborated with everybody from Poppy to Nine Inch Nails, and undulated between refining their punishingly loud brand of industrial noise rock and attempting to tear apart its very esence at the seams by pushing it into uncharted territory – melodic one minute, avowedly experimental the next. Add to this that they’ve carved out what they describe as a “coalition of subcultures” in a fanbase, incorporating everybody from terminally online meme-botherers, to gamers, to enlightened true believers in the Los Angeles trio’s self-described brand of “cum metal”, and you wonder whether there’s another band quite like them.
There are few bands like Sand. Borrowing from jazz, industrial, techno and post-punk, somehow everything is mixed up to produce some seriously bowel-shifting grooves. Their 1999 debut Beautiful People Are Evil sees the York band still working on their formula which had been perfected by the time of 2002 follow-up Still Born Alive.
Sand musically walk the line between different worlds. They have played with, on the one hand, dance artists such as Robert Hood, Patrick Pulsinger, Andy Weatherall and Carl Craig and on the other hand with groups such as God Speed You Black Emperor, Squarepusher , Add N to X and ESG. Sand play diverse live events. They have performed on stage with the Karas Dance Company in Tokyo (where they played onstage with…
Nine Inch Nails returns with over 70 minutes of new music for the motion picture Tron: Ares, the first soundtrack / score work from Trent Reznor and Atticus Ross that will live under the Nine Inch Nails moniker; consisting of all original music, complete at 24 tracks.
Reznor and Ross bring their Grammy and Oscar-winning sonic vision to the Grid, crafting a soundtrack that hums with menace, melancholy, and momentum. More than an album, its architecture in sound: pulsating synths, distorted textures, and haunting melodies that rewire the Tron universe from the inside out. It is the collision of analog soul and digital dread – a score that doesn’t just accompany the film, it possesses it. This release marks the first official film…
Industrial music legend Chris Connelly returns to his first love with White Phosphorus (Chris Connelly plays Throbbing Gristle), a suitably uncompromising homage to the “random, tense, scary & compulsively fascinating” phase of industrial music’s catalysers and ur-agitators. Having carved a twisted career with behemoths Ministry and Revolting Cocks over the past 40 years, starting life with the formidable Fini Tribe and collaborating with disparate characters such as Killing Joke, Cabaret Voltaire, Jim O’Rourke, and too many others, Connelly has returned armed with nothing but a cassette recorder, a reel to reel, a razor blade and some tape.
The Scottish-born musician first discovered Throbbing Gristle through their…
After compiling numerous anthologies charting the evolution of synth pop and post-punk, Cherry Red explores the harder side of alternative dance music with the three-disc Control I’m Here: Adventures on the Industrial Dance Floor 1983-1990. Like a lot of the label’s genre deep-dives, the set touches on several different scenes and movements within a larger whole, aiming to demonstrate the range of styles produced within the era.
Lots of big names and influential figures are present, including groups synonymous with EBM such as Nitzer Ebb and Front 242, but the focus is often on deep cuts or extended 12″ mixes rather than hits. Case in point: the compilers went with Twitch-era Ministry, rather than the group’s early synth pop incarnation or the heavy,…
Swiss electro-rockers, Young Gods have been around for 40 years, but this in no way should suggest that they’ve gone soft in their old age. These days, vocalist Franz Treichler looks like the psychopathic Bob from David Lynch’s original Twin Peaks TV series and still exudes a certain malevolence – which is more than reflected in their new album Appear Disappear.
The Young Gods’ influence has been readily acknowledged over the years by the likes of David Bowie, Mike Patton and even U2, to name just a few. Their sound draws from the same sonic seam as industrial metalheads Ministry and Nine Inch Nails, as well as the proto-techno of Front 242, while they have also incorporated a broad range of other musical genres into their dark and…
You can see why Model/Actriz’s 2023 debut album Dogsbody attracted a lot of approving critical attention. In an era when rock music largely leans towards familiarity – where originality has essentially come to mean rearranging recognisable sounds from the past in a relatively fresh way – here was a band who genuinely didn’t seem to sound much like anyone else.
The Brooklyn quartet had released a handful of noisy singles pre-Covid, which attracted vague comparisons to the notoriously challenging clangour of the late ’70s no wave movement or the frenetic dance-punk of Liars, an outlier band on the far left field of the early ’00s New York scene that gave the world the Strokes and the Yeah Yeah Yeahs. But on Dogsbody they honed…