Reimagined, Industrial Classics.

Best Of Nine Inch Nails (Redux) is a sprawling tribute compilation that gathers 13 artists to reinterpret tracks from Nine Inch Nails’ catalog, pairing heavy reinterpretations with quieter, atmospheric takes. Released Nov. 28, 2025 and assembled as a companion to The Downward Spiral (Redux), the collection offers a cross-section of contemporary metal, shoegaze, folk and experimental artists placing their own stamp on Trent Reznor’s work. According to Apple Music, the set is available on streaming platforms and across physical formats (via Apple Music).

The compilation features a wide stylistic range of contributors. Highlights include Between the Buried and Me (progressive metal), Thou (sludge), Author & Punisher (industrial/ambient machinery), Black Tusk (sludge/thrash), Marissa Nadler (dream-folk) and others drawn from underground heavy scenes. Many of these performing acts have built reputations for dense textures, heavy production or intimate reworking of songs, which explains the album’s variable sonic palette. Magnetic Eye curated the roster to emphasize both heavy reinterpretations and mood-driven takes (via Theprp.com).

“The Day the World Went Away / Sin” opens the set with a crushing, extended interpretation that leans into drone and doom pacing; the arrangement stretches the original’s quiet-loud dynamics into longer-form tension (via Various Artists).

Marissa Nadler’s approach to NIN material reframes the source through sparse arrangement and vocal intimacy, exposing the songs’ melodic cores and lyrical desolation rather than emphasizing industrial noise. Northern Transmissions notes Nadler’s video drop in conjunction with the album (via Northern Transmissions).

These selections show an album that alternates between faithful cover energy and radical reinterpretation; several artists treat the material as a palette for their preferred textures rather than direct replication. 

Bands rooted in sludge, blackened metal or post-metal replace synth lines and programmed percussion with low-end guitar mass, reamped noise and live drum heaviness. That results in longer decay tails, slowed tempos and a focus on timbral density rather than pristine sequencing.

Production choices across the compilation vary by contributor but share a tendency to emphasize atmosphere: reverb and pedal-based textures for shoegaze-influenced cuts, heavy analog low end for metal covers and purposeful lo-fi elements for the more experimental tracks. The mastering across the compilation keeps overall dynamics fairly loud while allowing individual tracks to retain distinct loudness profiles appropriate to their style. These observations match coverage noting the “sprawling, multi-artist celebration” quality of the project (via Metal Injection).

Early fan reaction has been mixed-but-interested. Online forums and community posts reflect appreciation for ambitious reinterpretations and enthusiasm when the contributors are beloved heavy acts with some fans preferring faithful covers, and others welcoming the radical shifts in arrangement. Reddit and Bandcamp comments show pockets of high praise for standout reinterpretations and some critique when a cover abandons recognizable hooks entirely. 

Magnetic Eye Records packaged the release across digital, CD and vinyl pressings and promoted it alongside The Downward Spiral (Redux). The label’s Redux series is intended to spotlight reinterpretations by modern acts and has attracted attention within metal and alternative circles. Physical pressings and store listings indicate a standard release date and barcodes for retail distribution (via Knotfest).

Best Of Nine Inch Nails (Redux) is less a uniform tribute and more an anthology of perspectives on Trent Reznor’s songwriting. Fans seeking faithful nostalgia may be divided, but listeners interested in reinterpretation and scene cross-pollination will find much to admire. As Metal Injection put it, the project offers “a fresh lens on songs that have been part of the alternative and industrial landscape for over three decades.”