Editing Nothing Records (section)

== 1995-96: Expansion of the label ==
=== Prick ===
1995 was kicked off by the arrival of [[Prick (band)|Prick]], led by [[Trent Reznor|Reznor]]'s longtime friend and collaborator, [[Kevin McMahon (musician)|Kevin McMahon]]. Prior to Nothing Records, the two musicians first crossed paths in the 1980s [[Cleveland, Ohio|Cleveland]] music scene. McMahon, a Cleveland native, had spent much of the 70s and 80s fronting the rock band [[Lucky Pierre (band)|Lucky Pierre]] there, while in 1985, Reznor began performing with another local act called [[Exotic Birds]] . Exotic Birds was led by future Prick drummer [[Andy Kubiszewski]] (and even featured future [[Nine Inch Nails]] member [[Chris Vrenna]] for a short time). By 1988, Reznor had left Exotic Birds and joined Lucky Pierre. His time there would be likewise abbreviated, due to his desire to start his own project. However, he remained on long enough to appear on Lucky Pierre's 1988 ''Communiqué'' 12" EP, performing on the tracks "Communiqué" (an alternate version of which had been released as a 7" single four years prior in 1984, which did not feature Reznor) and "I Need To Get To Know". Lucky Pierre was also being managed at the time by [[John Malm Jr.|John Malm]]. Reznor left the band shortly thereafter and went on to begin work on [[Nine Inch Nails]]' debut album, [[Pretty Hate Machine]], hiring Malm as his manager in the process.

Meanwhile, McMahon also switched gears musically, moving to Los Angeles to begin what would become Prick. Rounding out the initial incarnation of the band was guitarist Chris Schleyer and former [[Exotic Birds]] member Andy Kubiszewski on drums, though the latter would intermittently drop in and out of the fold over the years to come, taking on duties with numerous other bands, including future Nothing Record act [[The<!--not a mistake--> The]]. By 1994, Prick's live band consisted of Kevin McMahon on vocals and guitar, Chris Schleyer on lead guitar, Sebastien Monney on bass, Brian Kehew on keyboards and Sean Furlong on drums, performing for a short time under the name '''Riverhead''' in clubs around Los Angeles.

By this time, Reznor himself had relocated to Los Angeles, where he was soon to begin work on [[The Downward Spiral]]. McMahon and Reznor agreed to spend some time in the studio together, revisiting some of the old Lucky Pierre material and recording new versions of "Communique", "Tough", "Other People" (previously known as "I Need To Get To Know") and "No Fair Fights". The songs were not yet intended for any specific project or label. "We were just doing it to do music," stated McMahon.<ref name="unknown 1995">{{cite web| url = http://www.luckyprick.net/interview.php?band=Prick&interview=74| title = Radio Interview| author = unknown| work = luckyPRICK| date = 1995| access-date = September 2, 2016| archive-date = September 6, 2016| archive-url = https://web.archive.org/web/20160906021701/http://www.luckyprick.net/interview.php?band=Prick&interview=74| url-status = dead}}</ref> Aware of the collaboration's resemblance in sound to Nine Inch Nails, McMahon opted to embrace Trent's contributions, rather than try to avoid common ground.  McMahon stated, "Trent was the other part of the band on the songs that he produced. He and I were the band, so there's going to be some kind of similarity there. I'm certainly not going to ask him to not do what he does best, so that I won't have any indication of any sound like that."<ref name="unknown 1995"/>

McMahon would go on to sign Prick to a contract with [[Interscope Records]]. He began work on a debut album, flying to London to record material with producer Warne Livesey. After completing recording, the album was shelved at Interscope for an extended period, to the degree that Andy Kubiszewski, who was back with the band at this time, performing drums on the album, opted to take an offer to tour with [[Stabbing Westward]].<ref>{{cite web| url = http://www.luckyprick.net/interview.php?band=Exotic+Birds&interview=48| title = luckyPRICK Interview w/Andy Kubiszewski| author = Millenacker, Andy| work = luckyPRICK| date = July 10, 2007| access-date = September 2, 2016| archive-date = February 20, 2016| archive-url = https://web.archive.org/web/20160220133811/http://www.luckyprick.net/interview.php?band=Exotic+Birds&interview=48| url-status = dead}}</ref> McMahon began to feel he wasn't getting what he wanted out of Interscope, at which time he reconnected with Reznor and Malm and Prick was moved under the Nothing Records umbrella.

At least two of the Livesey produced tracks were ultimately cut from the album, although they would later surface of future McMahon projects.  "Attitude" and "Johnny Goes To Paris" appeared on Lucky Pierre's 2004 ''ThinKing'' album, while drummer Andy Kubiszewski stated an early version of "Actress" was also recorded with Livesey during the original album sessions.<ref>{{cite web| url = http://www.luckyprick.net/interview.php?band=Exotic+Birds&interview=48| title = luckyPRICK Interview w/Andy Kubiszewski| author = Millenacker, Todd| work = luckyPRICK| date = July 10, 2007| access-date = September 2, 2016| archive-date = February 20, 2016| archive-url = https://web.archive.org/web/20160220133811/http://www.luckyprick.net/interview.php?band=Exotic+Birds&interview=48| url-status = dead}}</ref> It later appeared on Prick's ''The Wreckard'' album. In lieu of the cut songs, McMahon's recent material with Reznor was added. The album was finally on track for release, with a promo 7" for ''Communique / Crack'' surfacing in 1994, while the full-length, self-titled [[Prick (Prick album)|album]] followed on February 7, 1995. The album was led by the single "Animal", which received moderate airplay on MTV and alternative radio and was featured on the soundtrack to the film [[Showgirls]]. It went on to sell over 66,000 copies.<ref name="Wolf, Carlo">{{cite web| url = http://www.luckyprick.net/interview.php?band=Prick&interview=5| title = Prick Rising| author = Wolf, Carlo| work = Cleveland Scene| date = June 19–25, 2002| access-date = August 31, 2016| archive-date = March 3, 2016| archive-url = https://web.archive.org/web/20160303220529/http://www.luckyprick.net/interview.php?band=Prick&interview=5| url-status = dead}}</ref>

Prick toured the album, supporting such acts as [[Ned's Atomic Dustbin]], [[Lords Of Acid]] and [[My Life With The Thrill Kill Kult]]. [[Garrett Hammond]] replaced Andy Kubiszewski on drums, while frequent Nine Inch Nails collaborator [[Dave Ogilvie]] was hired for live programming. Prick was then invited to their largest showcase yet, as openers for [[Nine Inch Nails]]' and [[David Bowie]]'s 1995 co-headlining [[Outside Tour]]. In 1996, McMahon played guitar with Nine Inch Nails for three shows on "Nights of Nothing" showcase, which included two Prick songs ("Animal" and "Tough") as part of NIN's set.<ref>{{cite web| title=1996-09-08 {{!}} Masquerade {{!}} Atlanta, Georgia, United States | url = http://www.nintourhistory.com/concert.php?concertid=380| work = NIN Tour History| access-date = August 31, 2016}}</ref>

As the promotional cycle for Prick's debut album winded down, McMahon began to feel discomfort with the increased spotlight, stating "I'm not comfortable with the fame thing, even just walking out after a show and having somebody recognize me or anything like that, because I kind of just am there on stage when I'm on stage or in the studio. That's sort of when I do whatever I do. The other times I'm just kind of looking around like everybody else. I don't want to have to be anything that somebody expects me to be. I just think that once that starts, it's the beginning of deterioration of the person."<ref>{{cite web| url = http://www.luckyprick.net/interview.php?band=Prick&interview=2| title = DigitalNoise Interview| author = Azroth| work = Digital Noise| date = 2002| access-date = September 2, 2016| archive-date = September 11, 2016| archive-url = https://web.archive.org/web/20160911162053/http://www.luckyprick.net/interview.php?band=Prick&interview=2| url-status = dead}}</ref> Differences were also mounting with Nothing/Interscope, due in part to McMahon feeling they were putting a greater emphasis on their expanding roster, while diminishing their focus on Prick. McMahon recalled:

<blockquote>Interscope was a young enough company where they were saying, "We have only 12 artists, and it's not like we're going to be throwing out 15 a month and see what sticks. We're going to try to pay attention to you. As time passed, the record came out, they signed more and more people, and all of a sudden, the idea of me doing a record every year or every 18 months turned into, "Well, there's no commercial radio hit here anymore, you need to do a commercial radio kind of thing."<ref name="Wolf, Carlo"/></blockquote>

In spite of the growing differences, McMahon set about plans of recording a follow-up, double-album of Prick material for Nothing, under the working title of ''Numb''.<ref name="Cherry, Robert">{{cite web| url = http://www.luckyprick.net/interview.php?band=Prick&interview=8| title = Regrouping In Cleveland: Prick's McMahon Finds Refuge in Cleveland| author = Cherry, Robert| work = Cleveland Plain Dealer| date = December 22, 2002| access-date = August 31, 2016| archive-date = September 11, 2016| archive-url = https://web.archive.org/web/20160911174457/http://www.luckyprick.net/interview.php?band=Prick&interview=8| url-status = dead}}</ref> However, Nothing management pulled the plug at the last minute, requesting McMahon do additional work on the album to make it more radio friendly. McMahon stated, "The day before I was supposed to begin recording the second album, the label decided they didn't want to do it. They wanted more radio-friendly songs. And since I don't listen to the radio, I didn't know what they were talking about. I can't write songs that someone wants me to write."<ref name="Cherry, Robert"/>

With the two parties at an impasse, Prick would quietly part ways with the Nothing Records. In spite of this, McMahon left in good standing with both Reznor and Malm. "There was never any real blowout with Trent," McMahon stated.<ref name="Cherry, Robert"/> John Malm expressed his admiration for McMahon as well, but noted, "I think that he didn't take well to the major label situation."<ref>{{cite web| url = http://www.luckyprick.net/interview.php?band=Exotic+Birds&interview=48| title = luckyPRICK Interview w/John Malm, Jr.| author = Millenacker, Todd| work = luckyPRICK| date = March 7, 2008| access-date = September 2, 2016| archive-date = February 20, 2016| archive-url = https://web.archive.org/web/20160220133811/http://www.luckyprick.net/interview.php?band=Exotic+Birds&interview=48| url-status = dead}}</ref>

In the subsequent years, McMahon quietly recorded on and off, while attempting to reacquire publishing rights to his new material. After successfully doing so in 1999, McMahon surfaced online with an MP3 of a new track, "Wetcat," in late 2000. Two more tracks, "I Know It's Gonna Hurt" and "Cloud", followed in 2001 (the latter ultimately surfacing on Lucky Pierre's ''ThinKing'' album). Opting not to shop his material to new labels, McMahon instead chose to self-release. In 2002, Prick finally announced their sophomore album, ''[[The Wreckard]]'', to be released online via McMahon's own Lucky Pierre Music. The album featured two tracks produced by Warne Livesey, "Into My Arms" and "Tomorrow", both of which were recorded in 1997, as well as "Wetcat" and "I Know It's Gonna Hurt." McMahon assembled a live band to support the album, consisting of Greg Zydyk on guitar, (Lucky Pierre bandmate) Tom Lash on bass and Andy Kubiszewski once again on drums. They performed a small run of regional shows around the Midwest and Eastern US, from late 2002 into 2003.

In 2004, McMahon returned to Lucky Pierre, with the album ''ThinKing'', which included the two tracks originally cut from Prick's 1995 debut, as well as the track "Cloud", which had surfaced three years prior as an MP3. ''ThinKing'' marked Lucky Pierre's first full-length album ever, nearly 30 years after their formation.

After another period of silence, in 2009, McMahon returned with his largest wave of material to date. In addition to reissues of ''The Wreckard'' and ''ThinKing'', both featuring upgraded packaging, Prick's first live album was released, ''Boston Live'', as well as a self-titled compilation of the bulk of Lucky Pierre's back-catalog. Two additional McMahon projects also saw release at this time. '''Fear Of Blue''' was a more electronic-based project, recorded in 1990 by Kevin McMahon and Ray DiLeo, while '''( sic )''', a rock-based project, featured McMahon, Andy Kebiszewski, Greg Zydyk and Mark Gamiere. Released as an EP, ( sic )'s ''Standard Idiom Communiqué'' included the track "Runaway Brain," which had also previously surfaced online as an MP3.

In early 2010, the Lucky Pierre Music website closed down, with a message stating, "Hello Friends / Fans, While LPM is expanding its content of new and vintage music and merch available to you at our store, and as we work to develop the best ways and means of reaching any and all those interested, we have decided to close the site for an indefinite amount of time to facilitate this effort." To date, Prick has not publicly surfaced since.  However, in 2017, Interscope Records released Prick's 1995 self-titled debut on vinyl for the first time.

=== Trust Obey ===
By 1995, [[Trust Obey]] completed their first album for Nothing Records, ''Hands Of Ash'', though it would never see release though the label.  Trust Obey is [[John Bergin]], an illustrator, designer, writer, filmmaker and musician. Originally a Pennsylvania native, Bergin had been "drawing and painting for as long as I can remember."<ref name="sonic-boom.com">{{cite web| url = http://www.sonic-boom.com/interview/john.bergin.interview.html| title = John Bergin of Trust Obey & C17H19NO3| author = unknown| work = Sonic Boom| date = October 16, 1996| access-date = September 3, 2016}}</ref> By 1984, while attending the University of the Arts in Philadelphia (from 1984 - 1988), Bergin began experimenting in music, citing such acts as [[Swans (band)|Swans]] and future Nothing Records act [[Einstürzende Neubauten]] as influences. Trust Obey was founded in 1988 in [[Kansas City, Missouri]], beginning as a one-man project with a series of self-released cassettes; ''Fucking The Wound'' (1989), ''Rip Saw'' (1989), ''Locust'' (1990), ''The Veil'' (1990), ''Room 101'' (1991) and ''Exit Wound'' (1991). In 1993, Bergin added guitarist Brett Smith as a permanent member of the band, in order to accommodate live performances.

By 1994, Bergin had become heavily immersed in the graphic design and comic book worlds and Trust Obey was commissioned to compose music to accompany [[James O'Barr]]'s graphic novel, [[The Crow]]. Timed to coincide with the release of the [[Alex Proyas]] directed [[The Crow (1994 film)|motion picture]] starring [[Brandon Lee]], the graphic novel was released in a special hardcover edition on [[Kitchen Sink Press]] and Graphitti Design and included Trust Obey's companion CD album, ''Fear And Bullets''. At this time, [[James O'Barr|O'Barr]] even claimed to have joined on as a member of Trust Obey,<ref name="Gooze, Rob M">{{cite web| url = http://wc.arizona.edu/papers/old-wildcats/spring94/MAY4,1994/14_1_m.html| archive-url = https://web.archive.org/web/20160915191218/http://wc.arizona.edu/papers/old-wildcats/spring94/MAY4,1994/14_1_m.html| url-status = dead| archive-date = September 15, 2016| title = James O'Barr Interview| author = Gooze, Rob M.| work = Arizona Daily Wildcat| date = May 4, 1994| access-date = September 3, 2016}}</ref> however, his only credited appearance on any Trust Obey release would be contributing some lyrics to the song "The Crow" on the ''Fear And Bullets'' album.

Trent Reznor would also have involvement with The Crow franchise, on the motion picture side of things, delivering a [[Nine Inch Nails]] cover of [[Joy Division]]'s "Dead Souls" for the [[The Crow (soundtrack)|hit soundtrack]]. Reznor would hear the ''Fear And Bullets'' album and offer Trust Obey a five-album contract with Nothing Records, making them one of the earliest acts signed to the label.<ref name="Gooze, Rob M"/> In an interview on the bootleg Nine Inch Nails disc, ''Disturbed'', Reznor discussed singing Trust Obey, noting that the band was "not a great commercial potential."

Working on the [[The Crow (score)|film score]] to The Crow were composer [[Graeme Revell]] and [[Lustmord|Brian "Lustmord" Williams]] (as a "musical sound designer"), both of whom went on to become friends with John Bergin through their mutual association with the franchise (Bergin went on to design art for releases with both Revell and Lustmord). Nothing Records expressed interest in signing composer Graeme Revell to release his [[The Crow (score)|score]] to The Crow film, which would be paired with a reissue of Trust Obey's ''Fear And Bullets'' graphic novel compositions and released together as a double album. However, Brian Lustmord expressed reservations about such a partnership. Bergin explained:

<blockquote>"Nothing Records was interested in releasing my Trust Obey Crow soundtrack and Graeme (Revell)'s Crow film score as a double CD. At the time Graeme didn't have a label for this work, so he was into the idea. Back then Brian (Lustmord) had first said to me "oh ... Nothing records ... Nine Inch Nails ... I'll say no more." He wasn't too excited about the notion of associating with Trent's label. He was right. The whole idea of the double CD fell apart."<ref name="sonic-boom.com"/></blockquote>

With plans for the Graeme Revell/Trust Obey joint release scrapped, Revell's score was ultimately released instead on the [[Varèse Sarabande]] soundtrack label, while Trust Obey entered the studio in the spring of 1995 to begin recording an album of new material for Nothing Records. The resulting album, ''Hands Of Ash'', was delivered to the label, where it was met with apprehension. The album remained shelved for an extended period, before Bergin became frustrated with the situation and the parties agreed to part ways in February 1996, with Bergin retaining the rights to the ''Hands Of Ash'' album.

In the wake of Trust Obey's departure from Nothing Records, Brian McNelis of [[Lakeshore Entertainment]] would put Bergin in touch with Jared Louche of the industrial rock band [[Chemlab]]. Bergin met with Louche in Chicago, while he was recording Chemlab's ''[[East Side Militia]]'' album. Louche at the time was serving as general manager for [[Fifth Colvmn Records]] and requested Bergin send him some material for release consideration.

[[Fifth Colvmn Records]] would opt to pick up Hands Of Ash, as well as another project of Bergin's, {{Proper name|C17H19NO3}} (the source of name being the chemical formula for [[morphine]]), for the ''Terra Damnata'' album.  ''Hands Of Ash'' was released on August 2, 1996 on Fifth Colvmn Records, bearing a sticker on the CD jewel case, featuring Reznor's "Not a great commercial potential" quotation on the cover. The album's liner notes also included mention of Reznor and Nothing Records in the credits, stating, "Thanks to Trent and Nothing for something."

Bergin would go on to form numerous other music projects, such as Orifice, Blackmouth, Tertium Non Data, Lolo and Camouflaged Abominations. He also performed as a member of Paved In Skin and had a short stint as a member of the industrial rock supergroup [[Pigface]]. Pigface was led by musician [[Martin Atkins]], who also ran [[Invisible Records]]. On October 28, 1999, Invisible Records reissued Trust Obey's ''Fear And Bullets'' album, with reworked versions of the original graphic novel tracks, as well as one song being added ("A Murder Of Crows") and one song removed ("Don't Look"). In 2001, Invisible also released {{Proper name|C17H19NO3}}'s ''Terra Null'' double album (the second disc of which was a reissue of the ''Terra Damnata'' album).

Bergin is currently the art director at [[Lakeshore Records]], where he has been involved in creating the artwork for hundreds of releases. He has also created numerous comic book series, including ''Ashes'', ''Golgothika'' and ''Wednesday''. For his graphic novel work, Bergin was nominated for the [[Harvey Award]] for Best New Talent in 1991.<ref>[http://users.rcn.com/aardy/comics/awards/harvey91.shtml] {{webarchive|url=https://web.archive.org/web/20060506135616/http://users.rcn.com/aardy/comics/awards/harvey91.shtml|date=May 6, 2006}}</ref> Through the 1990s, Bergin created short comics and illustrated titles for Heavy Metal Magazine, Marvel, DC and Dark Horse Comics. In the mid-90s, Bergin collaborated with [[James O'Barr]], working as creative talent for [[Tundra Publishing|Tundra]], where in addition to ''The Crow'', they produced ''Bone Saw'', ''IO'' and ''From Inside''.  In 2008, Bergin directed an animated feature-length film adaptation of ''From Inside'', which won numerous awards and screened at over 50 international film festivals, including SITGES (Best Animated Feature), Fantasia Film Festival (Jury Prize), Utopiales (Grand Prix) and Future Film Festival of Italy. ''From Inside'' was released on home video in October 2014.

In 2015, Trust Obey reissued ''Hands Of Ash'' digitally, via Bergin's own Stompbox13 label. Missing from the release was the final track, "Larvatus," though it was included as a bonus track on Stompbox13's [[Bandcamp]] edition, as well as the previously unreleased song "Malice Buried," which serves as part two of the song "Hands Of Malice." Bergin continues to use Stompbox13 as the primary outlet for his musical output.

=== Meat Beat Manifesto (Subliminal Sandwich era) ===
[[Meat Beat Manifesto]] would have many encounters with [[Trent Reznor]] in the years leading up to their arrival on Nothing Records. However, the partnership was born out of a dark period for the group, due to difficulties with their European label, [[PIAS Recordings|Play It Again Sam]]. Meat Beat Manifesto, originally the duo of [[Jack Dangers]] and Johnny Stephens, struggled to find any labels willing to support them in the UK throughout their formative years in the late 1980s. This prompted the band to accept an unfavorable deal with Belgian label [[PIAS Recordings|Play It Again Sam]]. Jack Dangers recalled, "I couldn't get a label to sign me in the UK, and that's why I ended up in a disastrous contract with Belgian label PIAS (Play It Again Sam)."<ref name="Lowrey, Nick">{{cite web| url = http://thequietus.com/articles/05135-jack-dangers-interview-meat-beat-manifesto| title = "An Amazing Drug Like Quietus": Jack Dangers of Meat Beat Manifesto Interviewed| author = Lowrey, Nick| work = The Quietus| date = October 21, 2010| access-date = September 10, 2016}}</ref> In spite of this, the deal sparked interest from many labels in the US. Venerable imprints such as [[Wax Trax|Wax Trax! Records]] and [[Mute Records]] would license the band's early material in the United States, such as ''[[Storm the Studio]]'', ''[[Armed Audio Warfare]]'', ''[[99% (Meat Beat Manifesto album)|99%]]'' and ''[[Satyricon (Meat Beat Manifesto album)|Satyricon]]'', which gave MBM an increased Stateside following. Dangers reflected, "I remember going to see [[Mute Records]] in 1988 and they weren't interested in the slightest in what I was doing. Two years later they were running all over the world to sign me for the American end of the deal because PIAS only had me signed for Europe. It's funny how two years prior they wouldn't even listen to my records."<ref name="Lowrey, Nick"/>

Their early work would capture the attention of [[Trent Reznor]], leading to an invitation in 1990 for Meat Beat Manifesto to perform as openers during [[Nine Inch Nails|Nine Inch Nails']] ''Hate '90'' tour (a tour which also included a guest appearance from one of the earliest incarnations of [[Marilyn Manson (band)|Marilyn Manson]], who performed as local openers when the tour ran through Florida).  Meat Beat Manifesto were also invited to remix Nine Inch Nails, first on the [[Closer To God]] remix disc in 1994, followed by [[The Perfect Drug]] in 1997 (the former also featured Nothing Records act [[Coil (band)|Coil]], while the latter also featured Nothing act [[Luke Vibert|Plug]]).

In 1993, Dangers relocated from [[England]] to [[San Francisco, California]] and began work on a follow-up to 1992's ''Satyricon''. By this time, Dangers had become the sole, constant member of the band and recording of the subsequent album, ''[[Subliminal Sandwich]]'', would mark a dark time in his life, due in part to the death of his father, as well as increasing tension with his label, PIAS. Dangers stated, "''Subliminal Sandwich'' was done while I was in the middle of trying to get out of my label deal, which is always a bad thing, so I just made the best of a terrible thing and did a double album. I was just waiting to get out of that miserable, boring, heard-it-all-before stuff."<ref>{{cite web| url = http://www.audiohead.net/interviews/jackdangers/index2.html| title = Jack Dangers: Meat Beat Manifesto Returns| author = Jorgi, Stephanie| work = Audiohead| date = 2002| access-date = September 10, 2016}}</ref>

Throughout the recording of ''Subliminal Sandwich'', the band faced uncertainty regarding their Stateside distribution. [[Mute Records]] was in the process of downsizing, while their licensing contract with Play It Again Sam was likewise nearing its conclusion. A US 12" single for ''Nuclear Bomb'' from the ''Subliminal Sandwich'' sessions made it as far as the test pressing stage at Mute in late 1995, before plans for a commercial release were scrapped.

MBM's North American licensing via Mute soon lapsed and the band found themselves without U.S. distribution, paving the way for Nothing Records to begin licensing their work in the United States in 1996. ''Subliminal Sandwich'' was released as a double album on June 4, 1996 on Nothing Records. The album was led by a cover of the [[World Domination Enterprises]] song "Asbestos Lead Asbestos," which was released as commercial single in Europe on PIAS and as a promo only CD/12" single on Nothing in the US. A video for the song also received minor US airplay on MTV. Additionally, a single for ''Transmission'' was released in Europe on PIAS, though it was not picked up for US release by Nothing.

Meat Beat Manifesto would support ''Subliminal Sandwich'' with extensive touring across the United States and Europe, featuring a line-up of Jack Dangers, John Wilson on guitar, Lynn Farmer on drums and Mike Powell on samples and keys. In 1996, the band took part in the "Nights Of Nothing" label showcase, which featured label-mates [[Marilyn Manson (band)|Marilyn Manson]] and [[Nine Inch Nails]], with the latter's line-up including [[Clint Mansell]] of [[Pop Will Eat Itself]] and [[Kevin McMahon (musician)|Kevin McMahon]] from [[Prick (band)|Prick]].

The band would go on to become one of the more prolific acts on Nothing, releasing many additional titles in the years to follow, as well as helping reshape the sound of the label. However, Dangers and Reznor maintained a mostly professional relationship throughout their tenure, with Dangers stating, "I was never really hanging out with Trent. I don't know if that was the perception."<ref>{{cite web| url = http://www.slugmag.com/music-features/meat-beat-manifesto-an-unexpected-rhythm/| title = Meat Beat Manifesto: An Unexpected Rhythm| author = Madden, Dave| work = Slug Magazine| date = November 11, 2010| access-date = September 10, 2016}}</ref> Despite the fact the band was only ever licensed via Belgian label PIAS, Meat Beat Manifesto's relationship with Nothing Records was considered a positive one, with Dangers describing Nothing Records at the time as "the best label we've ever been a part of."<ref>{{Cite episode |title=120 Minutes of Nothing |series= 120 Minutes|network= Viacom|station= MTV|date= 1996}}</ref>

=== Pig ===
In 1994, [[Nine Inch Nails]] invited [[Pig (band)|Pig]] to open a series of shows in London during the European leg of their [[Self Destruct Tour]]. By this time, Raymond Watts, founder of Pig, had firmly established himself in the industrial scene as a founding member of [[KMFDM]] (though he would come and go from the band's line-up, opting to focus on Pig), as well as a collaborator with such acts as [[Psychic TV]], [[Foetus (band)|Foetus]] and future Nothing Records act [[Einstürzende Neubauten]]. Pig's earliest work had seen release via the seminal [[Wax Trax! Records]]. However, much of his output, which included ''[[A Poke in the Eye ... With a Sharp Stick (PIG album)|A Poke in the Eye ... With a Sharp Stick!]]'', ''[[Praise the Lard]]'', ''[[A Stroll in the Pork]]'' and ''[[The Swining]]'', was scattered across numerous labels around the world and often proved difficult to find. Much of his output by the mid-90s had become released exclusively in Japan, where Watts had garnered a respectable fanbase.

Reznor was familiar with most of Watts' scattered body of work and during their encounters Europe, Watts gave Reznor a copy of his latest album, ''[[Sinsation]]'', which was released in 1995 on Japanese label [[Victor Entertainment]]. When Watts came to the United States to work with KMFDM on their [[Nihil]] album and tour, the band would meet up with Reznor in New Orleans (where then-KMFDM member [[En Esch]] was living at the time). Soon after, Trent would suggest to release Pig in the US on Nothing Records. Watts explained, "I met Trent very briefly in London and the next time he was back he asked me and my band (Pig) to open up for quite a few of their (Nine Inch Nails) European shows. He was aware that there had been sporadic Pig releases on different labels, because I moved about a bit. He was obviously aware of the ''Sinsation'' album, because I'd given him a copy of it somewhere along the line and then last year, when I was out with KMFDM, we met again and it was just a little bit after that that it was suggested that it might be possible to work together with regard to getting it out on Nothing."<ref>{{cite web| url = http://www.raymondwatts.com/interviews/chaoscontrol2.html| title = Chaos Control 1996| author = unknown| work = Chaos Control| date = 1996| access-date = October 2, 2016}}</ref>

Watts accepted a deal to license ''[[Sinsation]]'' to Nothing Records, where it was released on September 17, 1996. However, the album received only minor promotional support from Nothing/Interscope. One such instance of insufficient promotion involved a music video for the band's single, ''Paniac''. The video, which had already been shot and received airplay in Japan, was delivered to [[MTV]] for airplay in the States. However, the video featured heavy use of fire, which was a sensitive issue for the network at the time, due to controversy over the [[Beavis and Butt-Head]] show, which had been accused of provoking a child to light fire to his home.<ref>{{cite news|url=https://query.nytimes.com/gst/fullpage.html?res=9F0CE2DF143EF933A25753C1A965958260 |title=Cartoon On Mtv Blamed For Fire |newspaper=New York Times |date=1993-10-10 |access-date=2010-10-29}}</ref> The network requested the video be edited in order to receive airplay, which would have cost only a minor amount for [[Interscope Records|Interscope]]. In spite of this, they declined to finance the edit. Watts stated, "We had a really good video for ''Painiac'', the one with the flames and shit and MTV didn't want to show it unless we edited it. It would have cost $2,000 to edit it and Interscope, in their infinite wisdom, thought that it wasn't worth the investment. I think they wanted a couple of things taken out. And Interscope was running things for Nothing. It was really nice that Nothing wanted to put out our records, but they're busy dealing with this shit (focusing on the larger acts), and we had everyday Interscope people dealing with our shit."<ref>{{cite web| url = http://www.raymondwatts.com/interviews/raisingcain.html| title = Raising Cain 1997| author = Alexx| work = Raising Cain| date = 1997| access-date = October 2, 2016}}</ref>  A single for ''[[Painiac]]'' was also released in Japan in 1995 on [[Victor Entertainment]], which was not licensed for release by Nothing Records.

While Pig had an open-ended agreement with Nothing, which included the possibility of more Pig material being licensed to the label,<ref name="Tina">{{cite web| url = http://www.raymondwatts.com/interviews/tina2.html| title = Free Press Interview| author = Tina| work = Free Press| date = November 13, 1997| access-date = October 2, 2016}}</ref> Watts began to feel that, in spite of being shepherded by a major label, Nothing was in fact a very small operation and was only able to focus most of their energy on their largest acts. Watts stated, "they were too busy with other artists and I expected a little bit more feedback from a label on which I was signed."<ref>{{cite web| url = http://www.sonic-boom.com/interview/pig.interview.html| title = Sonic Boom Interview| author = Jester| work = Sonic Boom| date = May 15, 1997| access-date = October 2, 2016}}</ref> Despite having a follow-up album, entitled ''[[Wrecked (album)|Wrecked]]'', already completed by the time Nothing released ''Sinsation'' in the United States, Watts felt the label showed minimal interest in it, explaining:

<blockquote>Trent had known about Pig for a long time and basically thought that it might be a good idea to raise the profile. And it seemed to be something that might be a good gesture, because we didn't get releases here and it raised the profile. But in fact, they were a small label, and they've got very big artists to work with, like [[Marilyn Manson (band)|Manson]], which became a huge, huge act. They've got big artists to deal with. And being kind of small and obscure and stuff, we felt mutually that they had gotten the ball rolling for Pig in the States here and there was this other album (''Wrecked'') to release and this tour (with KMFDM) came up, and we mutually agreed that maybe other people could be more pro-active in the Pig situation. So we just went, "Well we did this one, that's great, thanks a lot, these people (at Wax Trax!) can probably put more into it.<ref name="Tina"/></blockquote>

Pig left Nothing Records in 1997 under amicable terms, returning to [[Wax Trax! Records]] to release ''[[Wrecked (album)|Wrecked]]'' in the United States (which had likewise been licensed from Japanese label [[Victor Entertainment]], who first released the album in 1996). Pig followed this with a national tour of the US, opening for KMFDM in late 1997. In the wake of the Wax Trax! label folding, Pig went on to release numerous albums via [[Metropolis Records]] in the US, such as ''[[Genuine American Monster]]'', ''[[Pigmata]]'' and ''[[The Gospel (Pig album)|The Gospel]]''.

=== Marilyn Manson (Antichrist Superstar era) ===
Winding down promotion on their debut album, ''[[Portrait of an American Family]]'', [[Marilyn Manson (band)|Marilyn Manson]] initially planned a remix single for the track "[[Dope Hat]]."  However, various contributions by engineer and [[Skinny Puppy]] producer [[Dave Ogilvie]] and [[Nine Inch Nails]] then-live keyboardist [[Charlie Clouser]], combined with new material by the band, resulted in an eclectic and unusual combination and it was decided to expand the release into an EP. Leading up to it in Spring of 1995, Marilyn Manson took an opening slot with the band [[Danzig (band)|Danzig]]. The tour was rife with drug binges and unusual backstage escapades, many of which were the genesis for ideas which became the ''[[Smells Like Children]]'' EP.

The band was once again produced by [[Trent Reznor]]. ''Smells Like Children'' was full of recordings from backstage on the Danzig tour, as well as samples from the films ''[[Willy Wonka & the Chocolate Factory]]'' and ''[[Chitty Chitty Bang Bang]]'' (the EP derives its title in reference to the latter), as well as distorted clips of the band's appearance on ''[[The Phil Donahue Show]]''.  An early version of the EP, which had not cleared the rights for its audio samples, was mistakenly pressed by Nothing/Interscope and distributed as a promo release. Upon realizing their mistaken, unauthorized film samples, as well as other sound bites considered too extreme, Interscope insisted the EP's track listing be revised for public release. The final, commercial release removed the original opening track, "Abuse, Part 1 (There is Pain Involved)," featuring the voices of Manson and Danzig/[[Pantera]] tour bus driver Tony F. Wiggins, as they attempted to calm down a masochistic girl,<ref name="TLHROHp191-192">{{cite book |last1= Manson |first1= Marilyn |last2=Strauss |first2= Neil |title= The Long Hard Road Out of Hell |url= https://archive.org/details/longhardroadouto00mans |url-access= registration |quote= The Long Hard Road Out of Hell. |date=February 14, 1998 |publisher=[[HarperCollins]] division [[ReganBooks]] |location=New York |isbn=0-06-039258-4 }}</ref> and "Abuse, Part 2 (Confessions)," featuring an interview with a teenage girl who confesses to molesting her seven-year-old male cousin.<ref name="TLHROHp191-192"/> These tracks were replaced by "The Hands of Small Children" and "May Cause Discoloration of the Urine or Feces," respectively. Speaking about the promo edition, Manson stated in his autobiography:

<blockquote>The only solace was that through some unfortunate error someone at the record pressing plant made several thousand copies of our original version of the album, thinking it was the new one. Without even listening to them, [[Interscope Records|the record company]] sent them out as promotional copies to radio stations and journalists before realizing their mistake. Now, they are available to anyone who wants to hear them on the [[Internet]]. Though someone at the label actually accused me of plotting it, I wish I was that resourceful. God, however irrelevant he may be to me, works in mysterious ways.<ref name="TLHROHp191-192"/></blockquote>

The final EP did still feature some backstage debauchery from the Danzig tour, for which Interscope demanded written affidavits from the participants in the sound bites, certifying their consent to be recorded.<ref name="TLHROHp191-192"/> However, most notable on the EP was the band's [[cover version]] of [[Eurythmics]]' 1983 hit "[[Sweet Dreams (Are Made of This)]]", which was released as a single, despite Manson claiming Nothing Records was resistant to doing so.<ref>{{harvnb|Manson|Strauss|1998|pp=104–105}}</ref> Despite this, the song became a major hit on radio and [[MTV]], eventually being nominated at the [[MTV Video Music Award#1996|MTV Video Music Awards]] for [[MTV Video Music Award for Best Rock Video|Best Rock Video]] and helping launch the band into mainstream success. ''Smells Like Children'' was certified [[Music recording sales certification|Platinum]] by the [[Recording Industry Association of America]] (RIAA).<ref name="RIAA">{{cite web |url=http://riaa.com/goldandplatinumdata.php?resultpage=1&table=SEARCH_RESULTS&action=&title=Smells%20Like%20Children&artist=Marilyn%20Manson&format=&debutLP=&category=&sex=&releaseDate=&requestNo=&type=&level=&label=&company=&certificationDate=&awardDescription=&catalogNo=&aSex=&rec_id=&charField=&gold=&platinum=&multiPlat=&level2=&certDate=&album=&id=&after=&before=&startMonth=1&endMonth=1&startYear=1958&endYear=2010&sort=Artist&perPage=25 |title=RIAA Database Search for Marilyn Manson |publisher=Recording Industry Association of America |access-date=2008-08-14 |url-status=dead |archive-url=https://web.archive.org/web/20150924151606/http://www.riaa.com/goldandplatinumdata.php?resultpage=1 |archive-date=2015-09-24 }}</ref>

Marilyn Manson's success in the wake of their hit single "Sweet Dreams (Are Made of This)" helped garner much anticipation for their follow-up, sophomore album, ''[[Antichrist Superstar]]''. [[Trent Reznor]] once again came on board as producer, while Manson, [[Sean Beavan]] and [[Dave Ogilvie]] shared co-production duties. Members of both Marilyn Manson and Nine Inch Nails also participated in production duties.<ref name="LoudwireAC">{{cite web |url=http://loudwire.com/marilyn-manson-antichrist-superstar-album-anniversary/ |title=19 Years Ago: Marilyn Manson Makes Creative Leap With 'Antichrist Superstar' |author=Childers, Chad |work=[[Loudwire]] |publisher=[[Townsquare Media]] |date=October 8, 2015 |access-date=March 31, 2016}}</ref> The album was recorded at Reznor's Nothing Studios in [[New Orleans]].  The process of making the album was long and difficult, involving experiments in [[sleep deprivation]] and near-constant drug use, in an effort to create a violent and hostile environment suited to the album's content.<ref name="MTVAntichrist">{{cite web |url=http://www.mtv.com/news/508213/recording-antichrist-superstar-a-trying-experience-for-manson/ |archive-url=https://web.archive.org/web/20160610103331/http://www.mtv.com/news/508213/recording-antichrist-superstar-a-trying-experience-for-manson/ |url-status=dead |archive-date=June 10, 2016 |title=Recording Antichrist Superstar A "Trying Experience" For Manson |author=Jackson, Alex |work=[[MTV]] |publisher=[[Viacom (2005–present)|Viacom]] |date=September 10, 1996 |access-date=March 31, 2016}}</ref> During this time, antagonism between band members was high, which caused the departure of guitarist and co-founding member Daisy Berkowitz, with Twiggy Ramirez performing much of the album's guitar work as a result.<ref name="MTVAntichrist" />

''[[Antichrist Superstar]]'', a [[rock opera]] [[concept album]]<ref>{{cite web |url=https://medium.com/@ryan_harkness/12-musical-projects-trent-reznor-was-behind-b1ebeb452964#.2vc1umwlh |title=12 Musical Projects Trent Reznor Was Behind |author=Harkness, Ryan |work=[[Medium (website)|Medium]] |date=December 4, 2016 |access-date=June 26, 2016 |archive-date=August 5, 2016 |archive-url=https://web.archive.org/web/20160805110828/https://medium.com/@ryan_harkness/12-musical-projects-trent-reznor-was-behind-b1ebeb452964#.2vc1umwlh |url-status=dead }}</ref> was released on October 8, 1996.<ref name="LoudwireAC" /> It was led by the single [[The Beautiful People (Marilyn Manson song)|The Beautiful People]], which became a major hit on the alternative rock charts, being awarded gold record certification by the [[International Federation of the Phonographic Industry]] (IFPI), reaching number twenty-six on the US ''[[Billboard (magazine)|Billboard]]'' and number eighteen in the UK. The music channel [[VH1]] named it number twenty-eight of their ''40 Greatest Metal Songs''. ''Antichrist Superstar'' debuted at number three on the [[Billboard 200|''Billboard'' 200]]<ref name="satanhelper">{{cite magazine |url=http://www.time.com/time/magazine/article/0,9171,985963-1,00.html |archive-url=https://web.archive.org/web/20110629025838/http://www.time.com/time/magazine/article/0,9171,985963-1,00.html |url-status=dead |archive-date=June 29, 2011 |title=Music: Satan's Little Helpers |author=Thigpen, David E. |magazine=[[Time (magazine)|Time]] |publisher=[[Time Inc.]] |date=February 24, 1997 |access-date=March 31, 2016 |url-access=subscription }}</ref> with first-week sales of 132,000 copies.<ref name="MansonGolden">{{cite magazine |url=https://www.rollingstone.com/music/news/manson-golden-at-number-one-20030521 |title=Manson Golden at Number One |author=Dansby, Andrew |magazine=[[Rolling Stone]] |publisher=[[Jann Wenner|Wenner Media]] |date=May 21, 2003 |access-date=March 31, 2016}}</ref> Manson also appeared on the cover of ''[[Rolling Stone]]'', who awarded the band their "Best New Artist" accolade in 1997.<ref name="satanhelper" /> The year long "[[Dead to the World Tour]]" followed, which was the band's longest and largest tour yet.

Meanwhile, the band was also reaching new heights of controversy, finding themselves the target of [[United States congressional hearing|congressional hearings]], led by Senator [[Joe Lieberman|Joseph Lieberman]], to determine the effects, if any, of violent lyrics on young listeners.<ref name="BlamingShock">{{cite web |url=https://www.motherjones.com/politics/1997/11/blaming-shock-rockers |title=Blaming the Shock Rockers: Now that Frank Zappa's dead, who will stick up for Marilyn Manson? |author=Kretkowski, Paul D. |work=[[Mother Jones (magazine)|Mother Jones]] |publisher=Foundation For National Progress |date=November 11, 1997 |access-date=March 31, 2016}}</ref> Lieberman would famously go on to refer to Marilyn Manson as "perhaps the sickest group ever promoted by a mainstream record company."<ref name="Strauss">{{cite news |url=https://www.nytimes.com/1997/05/17/arts/a-bogey-band-to-scare-parents-with.html |title=A Bogey Band to Scare Parents With |author=[[Neil Strauss]] |work=[[The New York Times]] |date=May 17, 1997 |access-date=March 31, 2016}}</ref> Nearly every performance of their ''Dead to the World'' tour was picketed by religious organizations.<ref name="TravelingControversy">{{cite web |url=https://partners.nytimes.com/library/cyber/mirapaul/042497mirapaul.html |title=The Traveling Controversy That Is Marilyn Manson |author=Mirapaul, Matthew |work=[[The New York Times]] |date=April 24, 1997 |access-date=March 31, 2016}}</ref>

The band, however, embraced the controversy and catapulted themselves into one of the top rock acts of the late 1990s.  ''Antichrist Superstar'' has sold over 7 million copies worldwide,<ref name="OC">{{cite news|url=http://blogs.ocweekly.com/heardmentality/2011/10/marilyn_mansons_antichrist_sup.php|title=Marilyn Manson's 'Antichrist Superstar' Turns 15 as 'Born Villain' Readies for Release|first=Gabriel|last=San Roman|date=2011-10-07|newspaper=[[OC Weekly]]|access-date=2011-12-08|archive-url=https://web.archive.org/web/20111027023246/http://blogs.ocweekly.com/heardmentality/2011/10/marilyn_mansons_antichrist_sup.php|archive-date=2011-10-27|url-status=dead}}</ref> with 1.9 million of those sold in the United States alone.<ref name="reuters">{{cite news|url=https://www.reuters.com/article/idUSTRE6A71DA20101108|title=Marilyn Manson: Antichrist indie star|work=[[Reuters]]|access-date=January 18, 2011}}</ref> It spawned two commercial singles and music videos ("[[The Beautiful People (Marilyn Manson song)|The Beautiful People]]" and "[[Tourniquet (Marilyn Manson song)|Tourniquet]]") and an additional three music videos; "[[Cryptorchid (song)|Cryptorchid]]", "[[Man That You Fear]]" and the title track, "[[Antichrist Superstar (song)|Antichrist Superstar]]".  The latter was screened at the 1997 [[San Francisco Film Festival]], depicting Manson on a podium, bearing a lightning bolt symbol and, in one scene, tearing apart the Bible and dumping it on the public. [[Interscope Records]] refused to release the "Antichrist Superstar" music video for airplay.  However, in 2010, the unedited video was leaked on [[YouTube]].

The band followed the album with the ''[[Remix & Repent]]'' EP on November 25, 1997, as well as the ''[[Dead to the World]]'' VHS video on February 10, 1998, which documented their controversial tour. Three previously unreleased songs from the band were also included on high-profile soundtracks to motion pictures. "[[Long Hard Road Out of Hell]]" appeared on the [[Spawn (1997 film)#Soundtrack|soundtrack]] to [[Todd McFarlane]]'s ''[[Spawn (1997 film)|Spawn]]'',<ref>{{cite news |url=http://www.mtv.com/news/1431778/marilyn-manson-sneaker-pimps-very-confused-individuals/ |archive-url=https://web.archive.org/web/20160610110057/http://www.mtv.com/news/1431778/marilyn-manson-sneaker-pimps-very-confused-individuals/ |url-status=dead |archive-date=June 10, 2016 |title=Marilyn Manson: Sneaker Pimps "Very Confused Individuals" |author=MTV News Staff |work=[[MTV]] |publisher=[[Viacom (2005–present)|Viacom]] |date=September 16, 1997 |access-date=April 19, 2016}}</ref> "[[Apple of Sodom (song)|Apple of Sodom]]" on the [[Lost Highway (soundtrack)|soundtrack]] to [[David Lynch]]'s ''[[Lost Highway (film)|Lost Highway]]'' (also released on Nothing Records) and "The Suck for Your Solution" featured on the [[Howard Stern videography and discography#Private Parts: The Album|soundtrack]] to the [[Howard Stern]] biopic ''[[Private Parts (1997 film)|Private Parts]]''.<ref name="Spin">{{cite web |url=http://www.spin.com/2014/07/running-with-the-devil-marilyn-manson-spin-cover-story-february-1998/ |title=Running With the Devil, by Marilyn Manson |work=[[Spin (magazine)|Spin]] |publisher=[[SpinMedia]] |date=February 1998 |access-date=April 19, 2016}}</ref> ''Antichrist Superstar'' remains a milestone in the band's career. In the years since its release, it has been heralded by numerous publications as a modern classic and essential listening.