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Nothing Records

Nothing Records was an American specializing in , electronic, and , founded in 1992 by frontman and his manager John A. Malm Jr. as an imprint of to provide greater creative autonomy following Reznor's disputes with his prior label, . The label quickly gained prominence in the 1990s scene, primarily through its association with , which released landmark albums including the EP Broken (1992) and the studio album The Downward Spiral (1994), both of which achieved commercial success and critical acclaim for their innovative industrial sound. Reznor also signed and produced other influential acts, most notably , whose debut major-label album (1994) and follow-up (1996)—the latter co-produced by Reznor—propelled the band to stardom and solidified Nothing's role in shaping the genre. Beyond its flagship artists, Nothing Records expanded its roster to include diverse electronic and rock acts such as Pop Will Eat Itself (with their 1994 album Dos Dedos Mis Amigos), 12 Rounds, PIG, Prick, Meat Beat Manifesto, Autechre, Squarepusher, and Coil, often licensing material from labels like Warp Records to broaden its experimental offerings. The imprint's releases, distributed through Interscope, benefited from the parent company's resources while maintaining an underground ethos, contributing to the mainstream breakthrough of industrial music during the mid-1990s. By the early 2000s, Nothing Records faced challenges including artist departures, financial deficits, and shifts in the music industry landscape following Universal Music Group's 1999 acquisition of and the reorganization of Interscope Geffen A&M, leading to its effective dissolution in late 2004. The defunct label was named as a in a 2023 lawsuit alleging it facilitated sexual abuse by artist . Reznor's subsequent projects transitioned to his independent venture, The Null Corporation, marking the end of Nothing's operations but leaving a lasting legacy in and music.

Background

Founding

Nothing Records was established in 1992 by , the frontman of , and his manager John A. Malm Jr. in Cleveland, Ohio. The label emerged as an independent vanity imprint to grant Reznor greater creative following disputes with his prior label, , which had interfered in aspects of ' work, including promotional decisions for the "Sin" music video. This move allowed Reznor to oversee artistic decisions without external meddling, positioning Nothing as a protective "shell" for musicians to access major-label resources while preserving their vision. The initial mission of Nothing Records centered on discovering and cultivating talent while emphasizing and genres that aligned with his own aesthetic preferences for raw, innovative sounds. Reznor sought artists with originality and a distinctive voice, aiming to shield them from the creative constraints often imposed by larger labels. This ethos prioritized substance over commercial trends. The label's debut came with the release of ' Broken EP on September 22, 1992, a project secretly recorded amid the TVT tensions to bypass contractual hurdles. Issued jointly through Nothing, TVT, and , the EP marked Nothing's entry into the industry and showcased Reznor's aggressive style. Operations were initially based in , leveraging the city's community and Reznor's local roots for a grounded start.

Business Model and Distribution

Nothing Records functioned as a boutique imprint under , established by and his manager John Malm Jr. in 1992 to prioritize artistic control and development of and alternative acts. This setup enabled Reznor to oversee production and signing decisions for projects like while accessing Interscope's infrastructure for promotion and global reach, marking a departure from more restrictive independent label dynamics. The label's early operations were tied to Reznor's publishing entity, Leaving Hope Music, which handled song rights and further insulated creative processes from external pressures. Distribution initially relied on TVT Records for Nine Inch Nails' debut album Pretty Hate Machine (1989), but a contentious feud led to a 1991 joint venture between TVT and Interscope (then affiliated with Atlantic Records), allowing Reznor to transition releases to the Nothing imprint. Under this agreement, TVT retained a financial interest in NIN's earnings, while Interscope assumed primary distribution responsibilities, broadening market access and providing substantial advances for recording and marketing. This partnership, formalized in 1994 for subsequent NIN albums like The Downward Spiral, preserved Reznor's autonomy by minimizing direct interference in artistic choices. The revenue model emphasized diversified income streams beyond traditional album sales, including licensing for film soundtracks and merchandise tie-ins, with Nothing Records earning a percentage from these ventures. Notable examples include the Natural Born Killers soundtrack (), co-produced by Reznor and released through Nothing/Interscope, which generated significant royalties and underscored the label's role in multimedia projects. Interscope's long-term exclusivity deal through 2007 supplied upfront funding for artist development and infrastructure, such as Nothing Studios, enabling sustained output without immediate profitability pressures, though Reznor later described the arrangement as an "ultimately failed experiment" due to internal challenges.

History

1992–1994: Inception and Core Releases

Nothing Records launched its catalog in 1992 with the release of ' Broken EP on September 22, produced by and , marking the label's debut as a joint venture with TVT and . The EP featured six original tracks emphasizing aggression, including the Grammy-winning "Wish," and achieved commercial success by peaking at number seven on the 200. Later that year, on December 7, Nothing Records issued the companion remix EP Fixed, which included deconstructed versions of Broken material by artists such as and J.G. Thirlwell, further establishing the label's focus on experimental sounds. In 1994, Nothing Records released Nine Inch Nails' second studio album The Downward Spiral on March 8, a concept record exploring themes of self-destruction that debuted at number two on the and has since been certified quadruple platinum. The album was primarily recorded at in and completed at the newly established Nothing Studios in New Orleans, with additional sessions at the in . That same year, the label contributed to the Natural Born Killers soundtrack, released on August 23 by and produced by Reznor, which incorporated three tracks—"Burn," an extended version of ' "," and "A Warm Place"—alongside collaborations with other artists. Nothing Records expanded its roster with its first external signing, , whose debut album was released on July 19, 1994, and co-produced by Reznor at his New Orleans studio. The album blended with elements and peaked at number three on the Heatseekers chart, signaling the label's initial emphasis on provocative acts. Early signings also included the British band , whose album Dos Dedos Mis Amigos received a U.S. release through Nothing Records on September 19, 1994, featuring tracks like "Ich Bin Ein Auslander" that aligned with the label's aggressive sonic palette. Additionally, the experimental project Mondo Vanilli recorded the album IOU Babe for Nothing Records in 1994, produced by Jonathan Burnside and Scrappi DuChamp, though it remained unreleased due to contractual issues, representing one of the label's limited-output ventures during this period.

1995–1996: Roster Expansion

In 1995, Nothing Records expanded its roster by releasing the self-titled debut album from Prick, an band fronted by Cleveland native Kevin McMahon, highlighting the label's support for local talent from the region's burgeoning music scene. The album, produced in part by , blended glam-influenced with elements, marking an early step in diversifying beyond ' core sound. The label continued its growth with signings emphasizing experimental industrial aesthetics, including Trust Obey, whose album Hands of Ash was recorded for Nothing but ultimately released via Fifth Colvmn Records in 1996 after the band was dropped. Similarly, , the project of Raymond Watts, delivered its Nothing Records debut Sinsation on September 17, 1996, featuring abrasive, synth-driven industrial tracks that pushed the genre's boundaries with glam and noise influences. Electronic influences emerged prominently with Meat Beat Manifesto's double album Subliminal Sandwich, released on June 4, 1996, which incorporated , , and industrial experimentation under ' direction. This period culminated in the label's biggest breakthrough: Marilyn Manson's , produced by Reznor at Nothing Studios and released on October 8, 1996, which debuted at No. 3 on the and sold over two million copies in the United States alone, propelling the label into mainstream visibility. By late 1996, Nothing Records had built its roster to over 10 acts, including core industrial and emerging electronic artists, bolstered by ' distribution and enhanced marketing efforts amid the label's rising commercial momentum.

1997–1999: Diversification and Peak Output

In 1997, Nothing Records expanded its scope by venturing into soundtrack production with the release of the Lost Highway original motion picture soundtrack, curated by for David Lynch's film of the same name. The compilation featured contributions from Nothing's core artists, including ' "" and Marilyn Manson's covers of "Apple of Sodom" and "I Put a Spell on You," alongside tracks from , , and . Released on February 18, 1997, the album blended , electronic, and ambient elements, achieving commercial success by peaking at number 7 on the chart and earning gold in the United States. Building on this diversification, the label continued to support its growing roster with releases that pushed beyond industrial rock into electronic and experimental territories. In 1998, 2wo—featuring Rob Halford of Judas Priest—debuted with the album Voyeurs, a fusion of industrial metal and electronic influences produced under Nothing's banner. Similarly, 12 Rounds released their album My Big Hero on July 14, 1998, showcasing Claudia Sarne and Atticus Ross's trip-hop and alternative rock hybrid, refined through collaborations with Reznor. That same year, Meat Beat Manifesto followed up prior Nothing output with Actual Sounds + Voices on June 30, 1998, an ambitious double album incorporating breakbeat, hip-hop rhythms, and jazz elements, produced by Jack Dangers. These projects highlighted the label's commitment to genre-blending acts amid its roster expansion from the mid-1990s. The period also marked the culmination of high-profile productions from Nothing's flagship artists. Marilyn Manson's , released on September 15, 1998, was a sprawling exploring and industrial themes, co-produced by Manson, Reznor, and ; it debuted at number 1 on the , selling over 223,000 copies in its first week. Nine Inch Nails followed with the double album on September 21, 1999, a massive two-year production overseen by Reznor that delved into ambient, orchestral, and rock experimentation across 23 tracks. Debuting at number 1 on the with over 218,000 first-week sales, solidified Nothing's reputation for ambitious, large-scale releases. Parallel to these efforts, Nothing Records broadened its electronic roster by signing and releasing works from influential and artists, signaling a shift toward Warp Records-style innovation. In 1998, the label issued U.S. editions of Autechre's LP5, a 12-track abstract electronic album by Sean Booth and Rob Brown, emphasizing glitchy rhythms and algorithmic compositions. Squarepusher's Music Is Rotted One Note, released in the U.S. that year, featured Tom Jenkinson's virtuosic basslines layered over , while Plaid's Not for Threes—by Ed Handley and Andy Turner—delivered intricate, melodic on October 6, 1998. Einstürzende Neubauten's received its American release in 1998 via Nothing, blending post-industrial percussion with song structures from and . The Bowling Green's debut One Pound Note, issued in 1998, added eclectic with influences from Micko Westmoreland. These signings diversified Nothing's catalog into and experimental , attracting a broader audience beyond . This era represented Nothing Records' commercial zenith, with multiple chart-topping albums driving international tours and heightened visibility. The success of Mechanical Animals and The Fragile fueled Manson's Mechanical Animals Tour and NIN's Fragile Tour, both spanning North America, Europe, and Asia, drawing massive crowds and promoting Nothing's diverse output. These efforts underscored the label's peak productivity, blending high-stakes productions with genre expansion to achieve widespread impact.

2000–2007: Final Projects and Closure

In the early 2000s, Nothing Records continued to issue select projects amid a contracting roster, with one notable late addition being the rock band , whose NakedSelf was released in 2000 as catalog number 490 510-2. This signing represented a diversification effort into , though it marked one of the label's final major artist acquisitions before internal challenges intensified. Concurrently, core acts like delivered Holy Wood (In the Shadow of the Valley of Death) in 2000 and in 2003, while released the live And All That Could Have Been in 2002, maintaining the imprint's focus during a period of reduced activity. The label's operations were severely disrupted in 2004 following a high-profile filed by against his longtime manager and co-founder John Malm Jr., alleging fraud and breaches of fiduciary duty in their management agreement. The dispute, which centered on Malm's 20% commission on Reznor's gross earnings rather than net, led to Nothing Records becoming largely defunct as Reznor severed ties with Malm and shifted away from label management. Output dwindled thereafter, with no new artist signings and sporadic releases tied to existing commitments, reflecting the broader fallout from the legal battle and Reznor's growing disillusionment with the major label system. By 2007, Nothing Records had effectively ceased functioning as an active imprint, culminating in Reznor's public announcement on of his departure from parent company after fulfilling contractual obligations with Nine Inch Nails' Year Zero album and the concert film , the latter bearing the Nothing logo as its final release. Administrative wind-down followed, with the label's remaining catalog—including key titles from and —transitioning to management under , Interscope's parent entity. Reznor subsequently redirected his efforts toward independent ventures, founding The Null Corporation in 2008 to handle future output free from major label constraints.

Roster

Industrial and Rock Acts

Nothing Records' industrial and rock roster was anchored by Nine Inch Nails, the flagship act founded and led by Trent Reznor, whose innovative production defined the label's sonic identity. The band's EP Broken (1992) marked the label's inaugural release, followed by the seminal full-length The Downward Spiral (1994) and the double album The Fragile (1999), distributed through Nothing in collaboration with Interscope Records (and TVT Records for early releases). Reznor's hands-on role as producer and creative force not only shaped these works but also extended to mentoring other artists, establishing Nothing as a hub for aggressive, experimental industrial rock. Marilyn Manson emerged as the label's primary commercial powerhouse, signing in 1993 after Reznor's endorsement and delivering breakthrough albums that propelled into the mainstream. Their debut (1994) introduced provocative aesthetics, while (1996) and (1998)—both produced with Reznor's involvement—achieved significant chart success and cultural impact. Manson's tenure drove substantial revenue for Nothing until their acrimonious split in 2001, amid escalating personal and professional tensions. Supporting these cornerstone acts were several raw, genre-pushing projects that exemplified Nothing's commitment to rock's fringes. Local outfit Prick, fronted by Kevin McMahon, released their self-titled debut album in 1995, delivering abrasive tracks like "Animal" that highlighted distorted guitars and confrontational vocals without genre reinvention. Similarly, UK-based brought a sample-heavy edge with Dos Dedos Mis Amigos (1994 U.S. release), fusing beats and energy during tours alongside . , the gothic- vehicle of Raymond Watts (formerly of ), issued Sinsation in 1996, blending theatrical vocals with dense electronic textures in a style that echoed the label's darker ethos. Shorter-lived signings further diversified the roster's alternative rock leanings. 12 Rounds, led by Atticus Ross and Claudia Sarne, produced the album My Big Hero (1998) and singles like "Pleasant Smell," incorporating trip-hop influences and atmospheric production before disbanding. Likewise, 2wo—a collaboration between Judas Priest's Rob Halford and Marilyn Manson guitarist John 5—debuted with Voyeurs (1998), an industrial-metal effort produced by Dave Ogilvie that explored voyeuristic themes but garnered mixed reception and ended abruptly. Collectively, these acts amplified industrial rock's influence in the , bridging underground aggression with commercial viability and fostering cross-pollination through shared tours and productions. However, the Reznor-Manson partnership soured dramatically in the early 2000s, culminating in Reznor's public disavowal of Manson as a "dopey clown" amid rumors of betrayal and substance-fueled disputes, which underscored the label's volatile interpersonal dynamics.

Electronic and Experimental Acts

Nothing Records ventured into electronic and experimental music by signing acts that blended industrial influences with IDM, glitch, and drum and bass, diversifying its roster beyond rock-oriented sounds. These signings, often in collaboration with UK label Warp Records, introduced niche electronic subgenres to the label's catalog during the late 1990s, though many artists had brief associations due to the specialized appeal of their work. Meat Beat Manifesto, led by Jack Dangers, bridged industrial and electronica on Nothing with the double album Subliminal Sandwich in 1996, featuring layered samples, hip-hop rhythms, and experimental percussion that expanded the label's sonic palette. The group followed with Actual Sounds + Voices in 1998, incorporating acoustic elements and entrancing vocal samples over bass-heavy beats, marking a major-label debut that highlighted Nothing's interest in boundary-pushing electronica. Autechre's late-1990s releases on Nothing/Warp introduced and to the roster, with the LP5 in 1998 delivering abstract, fractal-like electronic compositions that balanced and noise. Their EP EP7, released in 1999, pushed further into experimental territory with dense, textural soundscapes, emphasizing the duo's innovative approach to digital manipulation. Squarepusher, the alias of Tom Jenkinson, contributed drum and bass-infused works licensed through , including the 1998 album Music Is Rotted One Note, which shifted from abrasive rhythms to complex, jazz-tinged electronic structures. Earlier, the EP Big Loada (1996) and Budakhan Mindphone (1999) showcased frenetic basslines and breakbeats, underscoring Nothing's brief foray into electronic scenes. Plaid, comprising Ed Handley and Andy Turner, released Not For Threes in 1998, a collection of intricate tracks blending melodic synths with abstract rhythms that reflected their Productions roots. Their 1999 album Rest Proof Clockwork continued this experimental vein, featuring clockwork-like percussion and ambient textures, further illustrating Nothing's support for cerebral electronic acts. Einstürzende Neubauten's avant-garde industrial experiments appeared on Nothing via the 1998 album Ende Neu, which softened their signature scrap-metal percussion with melodic elements and primal rhythms, providing a limited but influential output from the German pioneers. Trust Obey, led by John Bergin, had limited Nothing output despite an early signing; their planned album Hands Of Ash (1996) was ultimately released elsewhere due to commercial concerns, representing an unrealized experimental industrial project. Coil, the experimental duo of and , was signed to Nothing in the mid-1990s; their planned album Backwards, recorded partly at Nothing Studios, was ultimately released independently in 2001 due to label changes. Plug, Luke Vibert's drum and bass alias, delivered Drum 'n' Bass for Papa in 1997, compiling fast-paced breakbeats and remixes from prior EPs, which highlighted Nothing's embrace of energetic electronic subgenres. The Bowling Green's one-off release One Pound Note (1998) emphasized drum and bass influences with eclectic, film-score-like electronics from Micko Westmoreland, encapsulating the label's exploratory electronic phase. These acts, while not achieving the commercial longevity of Nothing's rock signings, played a key role in broadening the label's scope into experimental , often through partnerships that exposed U.S. audiences to and beyond.

Nothing Studios

Establishment and Relocation

Nothing Studios was established in 1995 in New Orleans, Louisiana, at 4500 Magazine Street in the Garden District, a former funeral home that provided an inspiring and isolated creative environment for Trent Reznor's work. Owned by Nothing Records Inc., the facility remained under Reznor's primary control, serving as the primary production hub for Nothing Records and enabling a more immersive production process. The studio was not seriously damaged by in 2005 and continued in use until around 2005, coinciding with the wind-down of Nothing Records activities following its dissolution in late 2004.

Productions and Legacy

Nothing Studios served as the primary recording space for several landmark albums on the Nothing Records roster, leveraging its custom-built analog infrastructure to capture dense, layered soundscapes. Marilyn Manson's (1996) was recorded there, with producing the sessions amid the studio's fortified environment, which included a 56-input Amek Mozart console equipped with modules and two A800 Mk3 multitrack tape machines for warm, tactile analog capture. Similarly, Nine Inch Nails' (1999) was fully recorded and mixed at the facility, where Reznor treated the space itself as an extension of his instrumentation, routing guitars and synths through the room's acoustics to achieve immersive, fractured textures central to the album's emotional depth. The studio also facilitated soundtrack productions that blended industrial aggression with cinematic tension. Reznor assembled and oversaw the Lost Highway soundtrack (1997) at Nothing Studios, incorporating contributions from artists like David Bowie and Rammstein alongside original NIN material, with mixing emphasizing the facility's analog chain to heighten the film's surreal dread. This work exemplified the studio's role in bridging music and film, building on Reznor's earlier curation of the Natural Born Killers soundtrack (1994), though primary assembly for the latter predated the New Orleans location. Experimental electronic acts further demonstrated the studio's versatility beyond rock. Coil conducted sessions for their album Backwards (eventually released as in 2005) at Nothing Studios in 1996, completing tracks amid the space's isolated setup, which allowed for unconventional sound manipulation using the analog gear to explore drone and noise elements. These sessions highlighted the facility's capacity for abstract production, contrasting the high-intensity rock recordings while sharing Reznor's commitment to sonic experimentation. The studio profoundly shaped music's aesthetic through Reznor's isolation-driven techniques, where he often worked solo for extended periods, layering distorted guitars, modular synths, and tape manipulations to evoke psychological fragmentation—a hallmark heard in 's sprawling arrangements. This approach influenced subsequent and productions by prioritizing raw analog warmth over digital sterility, setting a template for immersive, auteur-led . Following the studio's closure around 2005 and Nothing Records' dissolution in 2004, much of the equipment—including vintage consoles and tape machines—was relocated to Reznor's personal setup, enabling continuity in his independent work with and film scores.

Legal Issues

Artist Conflicts and Fallout

One of the most prominent conflicts at Nothing Records involved founder and signee , whose collaboration soured amid creative differences during the production of Manson's mid-1990s albums, including physical altercations and disputes over artistic direction. Tensions escalated with the 1998 release of Manson's autobiography The Long Hard Road Out of Hell, which included disputed anecdotes about Reznor, further straining their professional relationship. By 2000, after a brief onstage during a performance in , the feud reignited irreversibly, leading to Manson distancing himself from Nothing's inner circle while transitioning to direct oversight under . In the late 1990s, financial and promotional disputes arose with other acts, as Nothing Records grappled with budgetary constraints. Bands like Prick and 12 Rounds faced rejection of follow-up material for release; Prick's second album The Wreckard was declined by Nothing and Interscope due to creative and commercial concerns, forcing its independent online distribution in 2002. Similarly, 12 Rounds recorded a third album and an EP slated for 2002 release, but internal label issues prevented their issuance, contributing to the band's indefinite hiatus. These decisions highlighted frustrations over limited promotion and royalty potential amid the label's shrinking resources. Reznor publicly addressed the Manson rift again in February 2021, issuing a statement denouncing him amid resurfaced abuse allegations from multiple women, including former partner . Reznor emphasized that he had severed ties nearly 25 years earlier, described Manson as a "dopey " with malicious intent, and expressed personal awareness of his abusive behavior from their time working together. The label's heavy reliance on Interscope for funding and distribution exacerbated these conflicts, as major-label priorities increasingly constrained artist autonomy after 1999. Initially structured as a to safeguard Reznor's creative independence from Interscope executives, Nothing's operational deficits in the late amplified tensions, resulting in stalled projects and reduced support for roster acts.

2023 Sexual Abuse Lawsuit

On January 30, 2023, a civil lawsuit was filed in Nassau County Supreme Court, New York, by an anonymous plaintiff identified as Jane Doe—who later publicly identified herself as Bianca Allaine Kyne in July 2024—alleging childhood and adult sexual abuse, sexual battery, assault, and molestation by Brian Warner, known professionally as Marilyn Manson. The suit was brought under New York's Adult Survivors Act, which temporarily revived expired statutes of limitations for certain sexual offense claims, allowing the plaintiff to pursue allegations stemming from incidents beginning in 1995 when she was 16 years old. Defendants included Warner, his label Marilyn Manson Records, Inc., Nothing Records, and Interscope Records. The details an initial on September 15, 1995, aboard Manson's tour bus following an all-ages , where the alleges Warner forced vaginal penetration and copulation after luring her with promises of a record deal. A second incident occurred on December 9, 1995, involving forced kissing, biting, oral copulation, and penetration, accompanied by threats to kill the and her family if she resisted or disclosed the . Further claims describe and molestation continuing into 1999, when the was 19, including drugging her with hallucinogens and forcing participation in group sexual acts during a four-week period in March and April, with specific assaults on April 7 in , and April 11 in . These acts allegedly violated New York Penal Law Article 130, encompassing , criminal sexual acts, and forcible touching. Nothing Records and Interscope are accused of enabling and encouraging the abuse by promoting Warner's image as a pedophile and violent figure since his debut album , which was marketed to minors through all-ages tours and fan clubs that facilitated access to young fans. The labels allegedly had knowledge of Warner's predatory behavior, including a arrest for violating an adult entertainment code during a tour, for which they paid bail to ensure promotional activities continued uninterrupted, yet failed to intervene while profiting from his success. Specific incidents of drugging, , and are said to have occurred during label-supported tours and recording sessions in the mid-1990s, with the defendants prioritizing financial gains over the safety of victims. As of November 2025, the lawsuit remains ongoing, with procedural developments including a third amended complaint in April 2025 and a motion to dismiss in May 2025, and no reported or . It marks the first legal to directly implicate the defunct Nothing Records in the broader wave of abuse allegations against Manson that began surfacing publicly in 2021. The case seeks compensatory and for emotional distress, medical expenses, and lost earnings resulting from the alleged trauma.

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