NINE INCH NAILS: Albums Ranked

Like many gen-xers, MTV was both a gateway and conduit to all things music for yours truly. Still, by the late ‘80s, the channel had gotten really stale. Which is probably why I so vividly remember the first time I saw Nine Inch Nails.

Compared to the hair metal and top-40 divas that tended to dominate the channel, “Head Like a Hole” felt like a glimpse of something far more dangerous and, most importantly, exciting. In place of the teased hair and sports cars that I’d grown accustomed to seeing was something that felt like a lost scene from a Mad Max movie. 

I didn’t know it at the time, but I was literally watching the birth of something important–Trent Reznor was about to bring industrial music to the masses via some of the most important albums of the ‘90s. Of course, that was only the beginning.

Per usual, there are a few caveats I need to get out of the way before I get to this album ranking…

*Caveat Number 1: This list will cover what I feel are the ‘proper’ studio albums/EP’s. That means Broken and the 2016-2018 trilogy of abbreviated releases will be included. That does not include any of the umteen remix albums (a mixed bag to be honest) or the 2002 live album (which is actually pretty essential).

**Caveat Number 2: I will also not be including any of the Ghosts entries. Virtually every list I’ve come across has these clustered at the bottom, and for good reason. Don’t get me wrong, I genuinely enjoy all six volumes, but they are essentially mix-tapes full of (mostly) ambient instrumentals. To compare Ghosts VI: Locusts to, say, The Downward Spiral just doesn’t make sense (to me). Rather than toss ‘em all at the bottom, I’m gonna let them be their own thing.

***Caveat Number 3: It should go without saying, but I’m going to say it regardless: I’m a massive fan of Trent’s work. Any critique offered here is deeply subjective and reflects personal taste rather than objective quality.

****Caveat Number 4: I’d like to file anything that I’ve written below in the ever-so-subjective ‘prisoner of the moment’ category. As with most things in life, nothing here is set in stone.

Alright, let’s get this show on the road.

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The second installment in Reznor’s EP trilogy, 2017’s Add Violence packs an impressive amount of sonic exploration into its five-song, 27-minute runtime. While it opens with a trademark burst of NIN aggression, the collection works best when it leans into textured soundscapes and patient compositions. Unfortunately, the attempt to balance experimental excursions with the more traditional Nine Inch Nails sound results in a bit of a mixed bag. Of course, that was probably the point, but still. Something has to be last, and as much as I like Add Violence, it’s got for-completists-only written all over it.

The Perfect Drug (Highlights)

While the raucous “Less Than” is yet another serviceable opener (and something that would’ve worked quite well on With Teeth), the one-two punch of “The Lovers” and “This Isn’t the Place” is basically nine minutes of moody perfection.

All Time Low (Lowlights)

Tacking an almost-endless loop of decaying audio on the end of an understated closer (“The Background World”) is one of those ideas that was probably ten times more fun to create than it will ever be to listen to.

Even Deeper (Best Deep Cut)

“This Isn’t the Place” might be the most successful marriage of Add Violence’s ambient leanings and traditional song structures, building all sorts of tension through its deliberate pacing and layered production.

Echoplex (Favorite Musical Moment):

The way “This Isn’t the Place” gradually evolves from sparse electronic pulses into its full arrangement is a good demonstration of Reznor’s ever-evolving gift for dynamics. Also, his vocal (even more naked and raw than usual) on the track deserves a shout out as one of his best.

Right Where It Belongs (Favorite Lyric and/or Moment)

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What began as a final EP evolved into the band’s shortest full-length, clocking in at just over 30 minutes (a designation partially motivated by the way streaming algorithms work). The result is a fascinating fusion of industrial aggression and experimental jazz that feels like a confident step into uncharted territory from beginning to end.

Whether this is a proper album or merely a trumped up EP is really beside the point–Bad Witch ultimately feels incomplete, especially when compared to some of the fully-formed masterpieces in its wake. Had Reznor opted to forgo the ‘trilogy’ route in favor of a traditional full-length (combining all three EPs into a cohesive release), you’d have an album that ranks much higher on this list. Still, despite its placement here, Bad Witch is absolutely essential listening, and I’d encourage anyone who checked out along the way to give it a spin.

The Perfect Drug (Highlights)

The saxophone-laden “God Break Down the Door” might have been a brave, left-of-center choice for a single, but the song is a perfect encapsulation of Reznor’s avant garde leanings during this time period. Setting aside the cringe-inducing title, “Shit Mirror” is probably his most urgent, punk-tinged rocker this side of Broken. 

All Time Low (Lowlights)

While the nearly seven-minute “I’m Not from This World” is one of Reznor’s more compelling ambient instrumentals (and a good preview of Ghosts V & VI), the song still feels two minutes too long–ending it with the ear-piercing crescendo that appears around the five minute mark would’ve made this hit that much harder.

Even Deeper (Best Deep Cut)

Cheeky nod to a permanent hiatus, or merely an all-too-obvious title for an album closer? Either way, “Over and Out” is a brilliant display of, well, everything that made this trio of releases so exciting–the David Bowie impression notwithstanding.

Echoplex (Favorite Musical Moment):

Reznor’s saxophone playing (which pops up all over this record and apparently dates back to his high school marching band days) is a real treat and helps push a number of these songs into jazz-fusion territory.

Right Where It Belongs (Favorite Lyric and/or Moment)

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Focused, feral, and evoking shades of 1992’s Broken EP. Notably the first Nine Inch Nails release to feature Atticus Ross as an official band member, Not the Actual Events marks the beginning of an ambitious trilogy that would eventually culminate in 2018’s Bad Witch. Described by Reznor himself as “unfriendly” and “fairly impenetrable,” this lean 21-minute EP delivers exactly what it promises–a focused assault that strips away the polished textures of Hesitation Marks in favor of raw aggression. It’s a deliberate return to a prior form that manages to feel both nostalgic and forward-thinking, laying the groundwork for one of the band’s most experimental periods.

The Perfect Drug (Highlights)

Heavy-handed nod to “Reptile” it may be, “She’s Gone Away” (featuring Reznor’s wife, How to Destroy Angels vocalist Mariqueen Maandig) is a masterclass in tension and pacing–appropriate considering the song was written for David Lynch’s Twin Peaks revival. 

All Time Low (Lowlights)

While I’ve grown to appreciate it, the spoken-word vocal that dominates “Dear World” is probably the only thing here I don’t full-on love.

Even Deeper (Best Deep Cut)

The easily-overlooked, not-even-2-minute “Branches/Bones” is an incredibly potent opener. Something this intense is just about the only thing missing from 2013’s otherwise fantastic Hesitation Marks.

Echoplex (Favorite Musical Moment):

Dave Grohl’s fills during the breakdown of “The Idea of You” are a pleasant surprise and an apt reminder that the man still knows how to drum.

Right Where It Belongs (Favorite Lyric and/or Moment)

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Not unlike Pretty Hate Machine, there is a whole contingent of the Nine Inch Nails fanbase that will forever cite 1992’s Broken EP as Reznor’s peak. And, as an example of blistering industrial metal, it just might be Reznor and Co’s most focused, abrasive effort to date. Clocking in at just over 30 minutes (if you count the two hidden tracks), Broken was conceived as a response to label pressure and creative frustration. The result is essentially a scorched-earth reaction to control, expectation, and restraint. 

I used to think the only thing wrong with Broken was how criminally short it is—but who are we kidding? If this thing were any longer, it probably wouldn’t be nearly as fun to listen to (the word fatiguing comes to mind). As it stands, Broken doesn’t waste a single second. I’m sure there are a ton of fans that would have this way higher on their list, but for as good as this is, it’s still an EP Hey, what can I say? The NIN catalog is a stupidly crowded field.

The Perfect Drug (Highlights)

“Wish” remains a live staple for good reason–the song (especially those venomous lyrics) hits just as hard today as it did in ‘92. “Happiness in Slavery” might be the definitive Broken track: brutal, layered, and undeniably catchy. 

All Time Low (Lowlights)

“Physical (You’re So)” and “Suck” (both hidden bonus tracks) are each a fun listen, but they’re still covers, and feel a bit tacked-on when compared to the thematic intensity of the core tracks. Of course, all those years of having to skip to track 98 might be coloring my opinion here.

Even Deeper (Best Deep Cut)

“Gave Up” is undeniably peak rage for Reznor, but “Last” hits just as hard, thanks in no small part to that monster riff at its core. It’s hard to overstate just how massive the leap from Pretty Hate Machine to Broken truly is. Despite the relentless aggression, there’s some real interesting production stuff going on here that foreshadows the high bar Reznor would set in the years to come.

Echoplex (Favorite Musical Moment):

It’s the understated “Help Me I Am in Hell” that gave us a first glimpse into how effective Reznor could be when working in mood and atmosphere. There are a ton of instrumentals in the man’s catalog, but this will always be a personal favorite.

Right Where It Belongs (Favorite Lyric and/or Vocal Moment)

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Ah, the ‘free’ one. There was this magical moment in the late 2000’s where bands like Radiohead and Nine Inch Nails were literally giving away their albums to anyone who cared to listen. I know, I know, it all feels sorta quaint now, but trust me, at the time, it was sorta mind-blowing (especially when it’s a masterpiece like In Rainbows).

 I remember hearing about how this was meant to be an EP, and for a long time I considered The Slip a handful of With Teeth leftovers with fifteen minutes of ambience tagged on at the end. That said, this album has grown on me over the years. I still wouldn’t consider it Reznor’s finest hour, but The Slip is hardly the misstep I initially judged it to be.

The Perfect Drug (Highlights)

The album features one of the most high-octane opening salvos in the entire catalog. “1,000,000” flat out rocks, “Discipline” and “Echoplex” were instant standouts that made for obvious singles, and “Letting You” is just plain vicious.

All Time Low (Lowlights)

While the ambient tracks (“Corona Radiata” and “The Four of Us Are Dying”) showcase Reznor’s gift for atmosphere, they do feel a bit disconnected from the rest of the album. And at over seven minutes, “Corona Radiata” tests even the most patient listener’s resolve.

Even Deeper (Best Deep Cut)

“Lights in the Sky” might just be Reznor’s finest ballad to date.

Echoplex (Favorite Musical Moment):

The breakdown (that’s broken apart by a spoken “one, two, three, four…” at the 3:50 mark) and the outro that follows in the album-closing “Demon Seed” is just nothing short of awesome.

Right Where It Belongs (Favorite Lyric and/or Moment)

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Let’s just go ahead and get this out of the way–1989’s Pretty Hate Machine is a phenomenal, tone-setting debut, and for a large contingent of fans, this is as good as it gets for Nine Inch Nails. Obviously, I feel differently. Don’t get me wrong, without “Head Like a Hole” or “Down In It,” the trajectory of Nine Inch Nails is probably very different. Still, other than a few standouts, there’s little here that isn’t further refined on future releases. I suspect just everyone reading this will disagree, but hey, if a bonafide classic like Pretty Hate Machine is where the conversation starts, we’re probably talking about a rather unassailable body of work.

Rule the World (Highlights)

“Down In It,” “Sin,” and the radio anthem “Head Like a Hole” are the obligatory callouts here, but don’t sleep on “Terrible Lie,” an enduring live staple that I’d argue might’ve been an even more effective album-opener.

…In Denial (Lowlights)

While so much of Pretty Hate Machine feels ahead of its time, tracks like “Kinda I Want To,” “That’s What I Get,” and “The Only Time” remind you that Reznor, like most twenty-somethings, was still a bit beholden to his influences.

The Rest of Me (Best Deep Cut)

A toss-up between “Sanctified” (that freaking bassline!) and “Something I Can Never Have,” an absolutely devastating ballad that is easily among Reznor’s best work–if you haven’t heard the “deconstructed” version included on And All That Could Have Been, do yourself a favor and give it a listen.

Right Where It Belongs (Favorite Lyric and/or Moment)

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Ambitious, even by Nine Inch Nails standards, 2007’s Year Zero represented Reznor’s most elaborate conceptual work to date–a dystopian narrative set in 2022 that woulda/shoulda/coulda sparked an ongoing television series and all sorts of other expansions. The album marked a significant sonic shift from the guitar-driven sound that dominated albums like With Teeth, with Reznor crafting most of the record on a laptop while touring. The result was a batch of songs recalling the band’s synth-heavy roots.

With sixteen (mostly) mid-tempo tracks of doom and gloom clocking in at over an hour, Year Zero demands patience. While it might be the only time in his career where Reznor’s reach exceeded his grasp, the album’s dystopian warnings feel less and less like sci-fi musings with each passing year. Here’s hoping the powers-that-be finally see fit to greenlight that supposed HBO mini-series.

The Perfect Drug (Highlights)

The fist-raising “Survivalism” and snarky “Capital G” were singles for a reason, and both offer a pretty good glimpse into Reznor’s post-apocalyptic vision. For my money, however, it’s the moodier numbers (“The Good Soldier,” “Me, I’m Not”) that bring me back to this album.

All Time Low (Lowlights)

For years, my main issue with Year Zero was the pacing. The album quickly settles into a mid-tempo groove that ultimately leads to a number of songs blurring together. Cutting a couple of tracks (say, “The Greater Good” and “Meet Your Master”–songs that almost feel redundant) would ultimately make this a much less challenging listen.

Even Deeper (Best Deep Cut)

Toss-up between the easily-overlooked “In This Twilight” (featuring the album’s strongest chorus) and the understated “Another Version of the Truth” (which feels like a Fragile era instrumental).

Echoplex (Favorite Musical Moment):

The glitch breakdown in “The Great Destroyer” remains one of the most sonically adventurous moments in the NIN catalog. Oh, and Renzor deserves a shoutout for repurposing the beat from “My Sharona” (“The Beginning of the End”).

Right Where It Belongs (Favorite Lyric and/or Vocal Moment)

The wall of harmonies that erupts when Reznor sings, “I hope they cannot see I am the great destroyer” – “The Great Destroyer”

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And now we have the one Dave Grohl played drums on (seven tracks, to be precise). After the sprawling ambition of The Fragile, Reznor emerged from a period of addiction and recovery with what might be his most straightforward rock record to date. The result is an album that feels both immediate and intimate. With Teeth trades the layered soundscapes of previous works for a more direct approach that sidesteps clinical precision for groove and momentum. The change wasn’t quite as drastic as it might have appeared on paper (those angst-ridden vocals are still front and center, after all), but time has been incredibly kind to Reznor’s rock record.

The Perfect Drug (Highlights)

All three singles (“The Hand That Feeds,” “Every Day Is Exactly the Same,” “Only”) fared well on the charts, with each showcasing a different facet of the album’s stage-ready sound.

All Time Low (Lowlights)

“The Line Begins to Blur” feels like a less interesting version of the title track, and is probably the only thing here that doesn’t feel essential. And while “Beside You in Time” features an incredible lyric and vocal from Reznor, I’ve never been able to get past the warbly, out-of-sync panning–makes me seasick to listen to it.

Even Deeper (Best Deep Cut)

Sidestepping Reznor’s preference for fist-raising album-openers, the understated “All the Love in the World” is an incredibly effective introduction. In fact, the song is in contention for my favorite Reznor composition.

Echoplex (Favorite Musical Moment):

The moment before the final chorus in “Right Where It Belongs” where the whole mix opens up and the crowd noise enters is pure genius.

Right Where It Belongs (Favorite Lyric and/or Moment)

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Yes, like most of Reznor’s full-length projects, Hesitation Marks is yet another bold, ambitious, and long affair. Still, there’s an air of unfettered spontaneity here that results in what might be the band’s most accessible album to date. The record feels like the work of an artist who has found a measure of peace. Somewhere along the way the Reznor that always seemed to be screaming into the void grew up, and in the process became a father and Oscar-winning composer to boot.

Given that it started out as a couple of tracks intended for a greatest hits package (“Everything” and “Satellite”), Hesitation Marks is an impressively cohesive listen. Detractors will cite an overly familiar de-fanged sound indebted to recycled and rehashed ideas, but I’d counter that Reznor merely played to his (many) strengths. And after a decade of sonically and conceptually pushing the boundaries of his sound, who could blame the man for embracing a previously established template?

The Perfect Drug (Highlights)

“Copy of a” and “Came Back Haunted” showcase the album’s sharp focus on rhythm and groove, while “Everything” stands as perhaps the most surprisingly upbeat track in the NIN catalog. The production, handled by the dream team of Reznor, Ross, and Moulder, produced a sonic landscape that’s both familiar and fresh, confidently favoring clarity and space over the industrial clutter/chaos of earlier works.

All Time Low (Lowlights)

The restraint and (gasp) maturity on display here certainly disappointed fans in search of the aggressive industrial assault that dominated prior albums, but I’d contend the move was more an intentional evolution than a compromise. That said, the pair of instrumentals bookending the album hardly feel essential, and one could easily argue cutting any one of the many mid-tempo tracks (say, “Running”) immediately makes this a stronger cover-to-cover listen.

Even Deeper (Best Deep Cut)

A toss-up between the oft-overlooked “Find My Way” and the pitch-perfect “In Two”–both are great examples of the way this record balances electronic textures and raw emotion. 

Echoplex (Favorite Musical Moment):

On an album practically devoid of front-and-center guitars, the solo that carries the final third of “I Would For You” is a great reminder of Reznor’s impeccable (and crazy underrated) gift for tasteful lead work.

Right Where It Belongs (Favorite Lyric and/or Moment)

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Reznor’s fearless concept album remains a harrowing masterpiece of industrial rock. Pretty Hate Machine introduced the template that the Broken EP further defined, but The Downward Spiral pushed every element to its absolute extreme – somehow managing to be both more aggressive and more nuanced than anything that had come before it. The result is a richly textured descent into darkness that influenced countless artists while earning both critical acclaim and mainstream success (no small feat given its unflinching subject matter).

If this is at the top of your list, your not wrong. This is Nine Inch Nails at the peak of, well, everything. Rarely does a musical act summit the cultural zeitgeist in such an uncompromising fashion. I could go on, but you the novels have already been written. It may not be my personal favorite, but on any given day…

The Perfect Drug (Highlights)

“March of the Pigs” and “Closer” showcase the album’s masterful use of dynamics. The former’s manic energy contrasting beautifully with its piano breaks, while the latter pairs one of NIN’s most recognizable hooks with expertly layered production. “Hurt” closes the album with devastating emotional impact, while the title track remains one of the most intense pieces of music in the NIN catalog.

All Time Low (Lowlights)

The relentless intensity, abrasive production, and thematic darkness means this album requires a certain headspace (this is a far cry from casual listening). That said, there’s not a single track I’d consider dispensable to the overall experience.

Even Deeper (Best Deep Cut)

Slow, brooding, and beyond heavy (in all the right ways), “Reptile” was and remains a high-water mark for Reznor. The song is just so epic. From the huge guitars to that ridiculously sinister guitar lead to Reznor’s incredible vocal work and lyrics, every single piece comes together to make something that felt like a whole new realm for Nine Inch Nails. No, it’s not the “I want to…” song that everyone and your mother remembers, but for my money, “Reptile” is the definitive track for ‘90s Nine Inch Nails.

Echoplex (Favorite Musical Moment):

The fuzz-drenched guitar solo that erupts during “Ruiner” stands as one of Reznor’s most cathartic instrumental passages. It’s also a cool guitar hero moment that could’ve felt like a head-scratching left turn had it not been so well executed.

Right Where It Belongs (Favorite Lyric and/or Moment)

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Created during what Reznor has described as a “pretty dark and awful time,” 1999’s The Fragile endures as a defining statement of sorts. The ambitiously bold double album represents Reznor at his most adventurous and vulnerable. Moving away from the aggressive industrial assault characterizing the Broken EP and The Downward Spiral, Reznor embraced a wider sonic palette for LP number three, pairing ambient textures, electronic experimentation, and prog-indebted arrangements with some of his most compelling instrumental work to date. 

The Fragile debuted at number 1 on the Billboard Top 200, but soon dropped like a stone. Reznor had built NIN into something of an institution, so widespread critical praise felt almost obligatory, but I’d contend it took most fans a while to fully wrap their heads around this admittedly dense collection. Depending on who you ask, the album’s nearly two-hour runtime serves as either its greatest strength or occasional weakness (for many, it’s both). That said, time has been incredibly kind to The Fragile, with many (this writer included) now considering it in contention of the Nine Inch Nails’ finest hour.

Where my opinion remains somewhat fixed on virtually every other release on this list, I continue to find, hear, and feel something new every time I decide to revisit The Fragile. There’s something incredibly cathartic about diving into what might be Reznor’s most intimate and confessional release. It’s even more amazing that, after all these years, I still feel compelled to do so routinely.

Sure, the first-person descent chronicled on Spiral might be a pitch-perfect masterclass in storytelling, but The Fragile is clearly the work of someone overwhelmed by just about everyone and everything–honestly, who doesn’t feel that way every now and then? He struggled to capture inspiration, toiled to the point of exhaustion, and ultimately surrendered his opus to the world, unsure about what to make of it all. As much as I could relate when I was twenty, the record only hits that much harder with each passing year.  

The Perfect Drug (Highlights)

“We’re In This Together” stands as one of NIN’s most triumphant moments, while songs like “Into the Void” and “The Day the World Went Away” (both singles) showcase the album’s blend of aggression and atmosphere. The instrumental “Just Like You Imagined” demonstrates how powerful the band could be even without vocals, while “La Mer” offers a haunting piece of piano-driven ambience that just might be the best instrumental piece Reznor has committed to a hard drive.

All Time Low (Lowlights)

At 23 tracks spread across two discs, there are moments where one could argue the album’s ambition threatens to overwhelm its impact. Reznor himself later suggested it might have worked better as two separate releases, similar to Radiohead’s Kid A and Amnesiac approach. Still, other than, say, “Starf*ckers,” I firmly believe that every song here is an essential piece to this puzzle (I like it, but it’s hardly essential).

Even Deeper (Best Deep Cut)

“The Way Out Is Through” often gets overlooked in discussions of the album, but it perfectly encapsulates The Fragile’s ability to build tension and release through layered instrumentation and dynamic shifts. Fun fact: in the weeks leading up to and following the album’s release, there was a promotional commercial that actually ran on the likes of MTV (for real!), and featured a in-the-vocal-booth glimpse at Reznor tracking the vocals for this song.

Echoplex (Favorite Musical Moment):

A few minutes into “La Mer” the bass line for what will soon become “Into The Void” appears. Musical motifs were nothing new for Reznor, but The Fragile features a treasure trove of compositional cohesion and foresight. 

Right Where It Belongs (Favorite Lyric and/or Moment)

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Parting Thought: The older I get, the more I find myself appreciating the bands and artists that I’ve had an opportunity to grow up (or, maybe, grow old?) with. Sure, the output from planet NIN has slowed in recent years, but when you include his soundtrack work, Trent is as prolific as ever. He’s also managed to age rather gracefully, something all the more impressive when you consider the raging nihilism and self-destructive tendencies that seemed to go hand-in-hand with Nine Inch Nails in their mid-90’s heyday.

I have no idea what’s around the corner, and I think that’s a huge part of why I’m still so excited to find out.

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