Editing Nothing Records (section)

== 1997-99 ==
The late 90s at Nothing Records featured many electronic acts arriving at the label, via licensing deals with UK labels [[Warp (record label)|Warp Records]] and [[Blue Planet (record label)|Blue Planet]].  Nothing continued to sign rock based acts as well, such as [[12 Rounds (band)|12 Rounds]] and [[Rob Halford|Rob Halford's]] [[2wo]] project. They would also release new albums from their highest selling acts, [[Nine Inch Nails]] and [[Marilyn Manson (band)|Marilyn Manson]], as well as another high-profile film soundtrack, ''[[Lost Highway (soundtrack)|Lost Highway]]''.  This period of time would become the most prolific era for the label.

=== ''Lost Highway'' soundtrack ===
In late 1995, filmmaker [[David Lynch]] began production on ''[[Lost Highway (film)|Lost Highway]]''.  The film score was created by long-time Lynch composer [[Angelo Badalamenti]], with additional music provided by [[Barry Adamson]]. Supplementing their compositions, Lynch also sought to use unnerving soundscapes throughout the film and, at the suggestion of a mutual friend, reached out to [[Trent Reznor]] to achieve this.  Over the years, Reznor had publicly praised Lynch's work, particularly the film ''[[Blue Velvet (film)|Blue Velvet]]'' and the TV series ''[[Twin Peaks]]'', the latter of which Reznor claimed to have even delayed [[Nine Inch Nails]] performances, in order to watch the latest episodes.<ref name="Rolling Stone 1997">{{cite web| url = https://www.rollingstone.com/music/news/trent-reznor-death-to-hootie-19970306| title = Trent Reznor: Death To Hootie| author = Gilmore, Mikal| work = Rolling Stone Magazine| date = March 6, 1997| access-date = November 19, 2016}}</ref>

Although Reznor would accept Lynch's offer, he initially found the experience to be a stressful one. "At first it was like the most high-pressure situation ever. He (Lynch) would describe a scene and say, 'Here's what I want. Now, there's a police car chasing Fred down the highway, and I want you to picture this: There's a box, okay? And in this box there's snakes coming out; snakes whizzing past your face. So, what I want is the sound of that – the snakes whizzing out of the box – but it's got to be like impending doom.' And he hadn't brought any footage with him. He says, 'Okay, okay, go ahead. Give me that sound.' He wasn't doing it to intimidate me. At the same time, I had to tell him, 'David, I'm not a film-effects guy, I don't have ad clients and I'm not used to being in this environment. I don't work that way, so respect that and understand that I just need a few moments to be alone, so that I know that when I suck, no one is knowing I'm sucking and then I'll give you the good stuff.'"<ref name="Rolling Stone 1997"/>

Reznor composed two instrumental pieces for the film under his own name, enlisting [[Coil (band)|Coil's]] Peter Christopherson to assist on the songs.  Reznor had lobbied for Coil to take on a greater role in composing music for Lynch's films, but Lynch declined.  Coil member John Balance recalled, "You know, with ''Lost Highway'', Trent literally forced (us) down David Lynch's throat, saying 'Look, please put this Coil stuff on.' You know, he really did help to get us on that soundtrack, but he (Lynch) wasn't interested. He wanted [[David Bowie]], he wanted [[Marilyn Manson (band)|Marilyn Manson]], he wanted whomever he could get. He just said, 'These people are really big. I want this film to be really big.' He didn't give a fuck about the integrity."<ref name="Whitney, Jon">{{cite web| url = http://www.brainwashed.com/coil/writings/jwint.html| title = Jon Whitney Coil Interview - Part One | author = Whitney, Jon| work = Brainwashed| date = May 5, 1997| access-date = November 19, 2016}}</ref>

After completion of the score compositions, David Lynch would ask Reznor to handle the release of the soundtrack, which would also include major rock artists personally selected by Lynch, such as [[David Bowie]], [[Marilyn Manson (band)|Marilyn Manson]], [[The Smashing Pumpkins]] (who recorded an exclusive song for the soundtrack) and [[Rammstein]], as well as a new song from [[Nine Inch Nails]], entitled "The Perfect Drug." The soundtrack was subsequently slated for release on Nothing Records.

[[Marilyn Manson (band)|Marilyn Manson]] also recorded a new song for the soundtrack, "Apple Of Sodom," even filming a music video for it, which went unreleased at the time, though it later found its way onto [[YouTube]]. Band members [[Marilyn Manson]] and [[Twiggy Ramirez]] also filmed cameo appearances in the ''Lost Highway'' film itself. [[Rammstein]], who were largely then-unknown and also major fans of Lynch, had sent him their music from Germany. Lynch, in turn, played Rammstein on set throughout the filming of Lost Highway and selected two of their songs for the soundtrack. A music video for their song "Rammstein" heavily featured clips from the film. [[Nine Inch Nails]] also completed a music video for "The Perfect Drug," directed by [[Mark Romanek]].  Unlike the Rammstein music video, "The Perfect Drug" did not feature any film footage from the film.

The [[Lost Highway (soundtrack)|''Lost Highway'' soundtrack]] was originally planned for release in late 1996 to coincide with the release of the film.  However, the film release was delayed slightly, instead premiering on February 27, 1997. The soundtrack was likewise pushed back, with its official release date set just ahead of the film on February 18, 1997 on Nothing Records.  Behind the momentum of the numerous, major rock acts involved, the soundtrack went on to become a commercial success, reaching No. 7 on the [[Billboard 200|''Billboard'' 200]] and receiving [[List of music recording certifications|Gold certification]] in the United States.

Nine Inch Nails released a single for ''[[The Perfect Drug]]'' on May 13, 1997, featuring remixes from Nothing Records act [[Meat Beat Manifesto]] and another recent addition to the label's roster; [[Luke Vibert|Luke Vibert's]] [[Plug (band)|Plug]] project.  Fellow Nothing Records act Coil was also invited to do a remix.  However, they declined, citing lack of time, due to the recording of their album ''Backwards.''<ref name="auto1">{{cite web| url = http://brainwashed.com/coil/news1997.php| title = Coil - News 1997 | author = unknown| work = Brainwashed| date = 1997| access-date = December 16, 2017}}</ref>

In 2014, David Lynch once again collaborated with Nine Inch Nails, directing their music video for "Came Back Haunted," from the album ''[[Hesitation Marks]]''. On November 7, 2016 the ''Lost Highway'' soundtrack was re-issued as a 180 gram double vinyl by Dutch label Music On Vinyl.

=== Plug ===
In 1995, the prolific, British electronic musician [[Luke Vibert]] debuted a project called [[Plug (band)|Plug]] on seminal UK label [[Rising High Records]], where he had previously released material under the name [[Wagon Christ]]. The Plug material showcased a different side of Vibert's repertoire, foraying into the genres of [[Drum and bass|drum 'n' bass]] and [[Oldschool jungle|jungle]], which were reaching their peak in the British club scene.  Plug began with a series of 12" EPs, each an anagram of Vibert's name; ''Visible Crater Funk'', ''Rebuilt Kev'' and ''Versatile Crib Funk'', the latter of which was moved under Rising High's sub-label, Blue Angel Records.

In 1996, Plug followed up the EPs with a debut full-length through Blue Angel, entitled ''[[Drum 'n' Bass for Papa]]''.  The following year, [[Blue Planet (record label)|Blue Planet Recordings]], a sub-label of [[Silver Planet|Silver Planet Recordings]], reissued the album, along with the single ''[[Me & Mr. Sutton]]''.

In 1997, [[Trent Reznor]] invited Plug to remix the [[Nine Inch Nails]] track ''[[The Perfect Drug]]'', which had been heavily inspired by UK electronic music.  There exists confusion about how Trent had come to know Vibert's work, with Vibert himself stating, "I could never understand how I got it (''The Perfect Drug'' remix) in the first place.  Somehow, Trent heard my stuff and really liked it."<ref>{{cite web| url = http://www.chartattack.com/news/2001/03/13/luke-vibert-wagon-christs-adventures-in-time-travel/| archive-url = https://web.archive.org/web/20161221020928/http://www.chartattack.com/news/2001/03/13/luke-vibert-wagon-christs-adventures-in-time-travel/| url-status = usurped| archive-date = December 21, 2016| title = Luke Vibert: Wagon Christ's Adventures In Time Travel| author = Ziffle, Vincent| work = Chart Attack| date = March 13, 2001| access-date = December 18, 2016}}</ref> He added, "Someone told me that [[Alex Paterson]] from [[The Orb]] played my Plug stuff for Trent and someone else told me that [[Coil (band)|Coil]] played it for him.  All I know is that Nothing got in contact with me for the Nine Inch Nails remix and then expressed interest in releasing ''Drum 'N' Bass For Papa'', so I guess I passed the test."<ref>{{cite web| url = https://books.google.com/books?id=_CoEAAAAMBAJ&pg=PA31| title = Plug: A Man Of Many Names | author = Ashare, Matt| work = CMJ New Music Monthly| date = October 1997| access-date = April 6, 2017}}</ref>  Nothing Records label-mate [[Jack Dangers]] of [[Meat Beat Manifesto]] (who likewise appeared with a remix on [[Nine Inch Nails|Nine Inch Nails']] ''[[The Perfect Drug]]'' single) credited himself as having introduced Vibert's work to Reznor.<ref name="Madden, Dave">{{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 = December 18, 2016}}</ref>  Dangers had been a fan of Vibert's, inviting him to remix Meat Beat Manifesto around the same time, on MBM's ''It's The Music'' single (under the Plug moniker) and the ''Original Fire'' EP (as Luke Vibert).  At the time, Vibert also had a standing offer from UK label [[Ninja Tune]] to re-issue the album.  Vibert ultimately opted to accept Reznor's offer with Nothing Records.

On September 9, 1997, Nothing/Interscope released the double-disc collection, ''Drum 'N' Bass For Papa + Plug EP's 1, 2 & 3'', licensed from Blue Planet Recordings.  The album compiled the Plug full-length alongside tracks from the ''Visible Crater Funk'', ''Rebuilt Kev'' and ''Versatile Crib Funk'' EPs.  However, there were some differences between the US and UK editions.  The tracks "Cut" and "Subtle (In Your Face)" were replaced on the US edition by new mixes; "Cut ('97 Remix)" and "A Subtle Blend," while the track "The Life Of The Mind" was omitted altogether, due to concerns over uncleared samples, which included dialogue from the [[Coen Brothers]] film [[Barton Fink]].  For the second disc of EPs, the songs "Cheesy (Pic 'N' Mix)" from ''Rebuilt Kev'' and "Crib Funk" from ''Versatile Crib Funk'' were omitted, while the track titles for "Tuff Rinse" and "Versatile" were reversed.

The following year in 1998, Vibert would again appear on major labels, returning to his Wagon Christ alias for the ''[[Tally Ho! (album)|Tally Ho!]]'' album, which was released on [[Virgin Records]] in the UK and [[Astralwerks]] in the US.  In the years to follow, Vibert continued to further establish himself as one of the most well-known producers in underground, British electronic music, with releases under a variety of aliases, including Kerrier District, The Ace Of Clubs, Amen Andrews, Spac Hand Luke, Luke Warm and more, for a host of influential electronic labels, including [[Warp (record label)|Warp Records]], [[Rephlex Records]], [[Ninja Tune]], [[Planet Mu]], [[Mo' Wax]] and many more.

Vibert would later state that he was unable to continue the Plug project, stemming from his inability to record songs in the same style, due to changes in his equipment and recording techniques.<ref>{{cite web| url = http://blog.bleep.com/2012/01/09/bleep-interviews-plug-luke-vibert| title = Bleep Interviews Plug (Luke Vibert)| author = unknown| work = Bleep Blog| date = January 9, 2012| access-date = December 18, 2016| url-status = bot: unknown| archive-url = https://web.archive.org/web/20160331233235/http://blog.bleep.com/2012/01/09/bleep-interviews-plug-luke-vibert| archive-date = March 31, 2016}}</ref> Instead, Vibert created the Amen Andrews alias for [[Rephlex Records]], which explored similar territory as Plug, under the revised recording techniques.

However, a wealth of unreleased Plug material still existed, which would slowly find its way out in subsequent years.  In 2006, Todd Osborn and Tadd Mullinix's Detroit-based label Rewind Records released Plug's ''[[Here It Comes (Plug EP)|Here It Comes EP]]'', which collected several unreleased tracks from the 90s Plug archives.  In early 2011, Luke Vibert would go back to Ninja Tune, the label which nearly released the Plug material in 1997, to inform them that he found some long-lost, never before heard DATs of Plug material, dated from 1995 - 1998.  Receptive to the material, Ninja Tune released it as the second, full-length Plug album, ''[[Back On Time (Plug album)|Back On Time]]'', on January 9, 2012.  To date, it stands as the final release under the Plug moniker.

Due to his propensity to produce under a myriad of monikers and labels, combined with his limited recording window as Plug, Vibert's involvement with Nothing Records did not extend beyond ''Drum 'N' Bass For Papa'', aside from two of the album's tracks featuring on the 1998 Nothing Records compilation, ''Nothing Changes''.  Vibert remains a well-known producer in electronic music, regularly releasing new material across a variety of electronic sub-genres.

=== 2wo ===
[[2wo]] (alternately written as '''Two''') was the brainchild of heavy metal idol [[Rob Halford]] and guitarist [[John 5 (guitarist)|John Lowery]] (better known as John 5).  After spending nearly 20 years garnering mainstream success as frontman for [[heavy metal music|heavy metal]] icons [[Judas Priest]], having recorded 12 studio albums and selling nearly 50 million albums,<ref>{{cite web|url=https://www.wearesonylegacy.com/news/judas-priest-story-original-metal-gods |title=Story Original Judas Priest  |access-date=11 January 2017}}</ref> Halford announced to the band on July 4, 1991 that he would be leaving.  However, he wouldn't officially depart from the band until May 1992, due to contractual obligations.  That same year, Halford would launch a new heavy metal band, [[Fight (band)|Fight]].  Fight would release two albums and an EP, before disbanding in autumn of 1995, when they were dropped by their label, [[Epic Records]], due to sales falling below expectations.

Throughout the early 1990s, John Lowery had been working as a guitarist around Los Angeles, where he met producer [[Bob Marlette]].  Marlette would produce an EP for Lowery's short-lived band, [[Red Square Black]], entitled ''Square''.  The duo also helped write and record much of [[David Lee Roth]]'s ''[[DLR Band]]'' album.  The blueprint for 2wo began in October 1995, when Halford first met Lowery.  Halford recalled, "I was at the Foundation Forum a few years back and a journalist friend of mine told me about John Lowery, the guitar player.  John and I got in touch.  We spent a few days together in Los Angeles and we started to just sit around with some guitars and write."<ref>{{cite web| url = http://www.nyrock.com/interviews/halford_int.htm| title = Interview With Rob Halford Of Two| author = Scott, Roger| work = NY Rock| date = March 1998| access-date = March 17, 2017| url-status = dead| archive-url = https://web.archive.org/web/20120309065906/http://www.nyrock.com/interviews/halford_int.htm| archive-date = March 9, 2012}}</ref>  Lowery then introduced Halford to producer Bob Marlette and the trio commenced work on some demo songs, which would become the foundation of 2wo.  "I created 'Two' because I wanted to re-capture that tangible rush I experienced when I first launched my career," Halford explained.<ref>{{cite web| url = http://www.two-online.com/bio.htm| title = Voyeurs Biography| author = unknown| work = Two Online| date = 1998| access-date = March 17, 2017| url-status = bot: unknown| archive-url = https://web.archive.org/web/19981202024838/http://www.two-online.com/bio.htm| archive-date = December 2, 1998}}</ref>  After a few months, the trio had pieced together a cassette demo, which Halford was playing for friends and colleagues.

While the project was still without a name, in February 1996, a chance encounter in New Orleans would lead the band onto Nothing Records.  While visiting for Mardi Gras, Halford made an impromptu visit to Nothing Studios, where he met Trent Reznor.  Halford recalled, "I was in New Orleans at Mardi Gras, where I go every year, and was partying with some friends and they pointed out where Trent's studio was.  One of my friends said, 'Why don't you go knock on the door and say hi?'  I never do that kind of thing.  For whatever reason, I got out of the car and walked across the street and banged on the door. [[Dave Ogilvie|Rave Ogilvie]] opened the door and welcomed me in.  We'd never met before, but he was just a really nice, cool guy and he showed me around the studio.  A little while later Trent showed up and we'd never met before either.  We just sat there and talked about this that and the other.  He knew I had some demos with me and asked to listen to the music.  He listened to it and asked me if I'd leave the cassette, which I did, and that was that really.  We hung out together for a couple of more days, because he was in some of the parades and so forth.  But then I just went back to Phoenix and didn't hear anything from him for the longest time."<ref name="unknown 1998">{{cite web| url = http://www.chaoscontrol.com/rob-halford/| title = Rob Halford Of Judas Priest Talks About His Late '90s Project 2wo | author = unknown| work = Chaos Control| date = 1998| access-date = March 17, 2017}}</ref>

Trent would listen to the songs from Halford's demo and go on to conceive a deeper vision for the work, as well as offer it a home at Nothing Records.  Halford explained, "Suddenly he calls me up and first of all offers me a record deal, which was great because I was looking for one. And then secondly, he gave me then his vision, his ideas of where he could see this music going."<ref name="unknown 1998"/>  After the band accepted Reznor's offer, additional work commenced on the album, which was already in near finished form by that time, with the band and Dave Olgivie recording in Vancouver, Canada, while Trent did additional work from Nothing Studios, with parts sent back and forth.  Halford stated, "Trent came in pretty much when the whole first sessions of the songs had been completed.  They were well past the demo stage.  We had practically mixed it down to where we felt we had something we were almost ready to release.  What Trent did was basically strip it all down and re-build it.  Essentially the songs are all there intact, but in terms of every aspect of the sound, drums, bass, guitars, vocals.  All of that was totally re-developed.  All the accessories, all the electronic sounds, samples, all of those came from Reznor and Reznor's people."<ref name="unknown 1998"/>  Reznor received an executive producer credit for his work on the album.

By September 1997, recording was completed on the album, now titled ''[[Voyeurs (album)|Voyeurs]]''.  With the added collaboration of Reznor and Olgivie, the songs took on more of an electronic [[industrial metal]] sound.  The band initially announced their name as '''Gimp'''.  After discovering another band was already using the name, they quickly changed their name to 2wo.  ''Voyeurs'' was announced for release on March 10, 1998.  One month prior to the release of the album, Halford would gain headlines after confirming his homosexuality to [[MTV]].  ''Voyeurs'' was led by the single "I Am A Pig," which filmed a music video, shot by gay porn director [[Chi Chi Larue]].  The music video featured various porn stars and depicted non-explicit scenes of S&M.  While not banned, the music video received sparse airplay, due to its mature subject matter.  2wo also signed to [[East West Records]] for European distribution of ''Voyeurs''.  A Japanese edition of the album on DML would include one bonus track, entitled "In My Head."  Rob Halford's website would later publish two additional unreleased tracks from the ''Voyeurs'' sessions as MP3s; "Shout" and "Scream."

Upon the release of ''Voyeurs'', the band launched a tour in support of the album, though several dates were later cancelled.  The live band consisted of Halford, Lowery, Sid Riggs, Ray Riendeau and former [[Nine Inch Nails]] keyboardist [[James Woolley]].  The album received a polarizing response, as many Halford fans did not enjoy 2wo's industrial sound, favoring his more traditional heavy metal sound.  However, other fans embraced his diversity.  ''Voyeurs'' went on to sell 47,000 copies,<ref>{{cite news|work=[[Blabbermouth.net]]|url=http://www.blabbermouth.net/news/metal-hard-rock-album-sales-in-the-us-as-reported-by-soundscan/|title=Metal/Hard Rock Album Sales In The Us As Reported By Sound Scan|date=April 30, 2002}}</ref> which was considered a commercial disappointment.  When asked about his experiences with Nothing, Halford stated:

{{blockquote|I wasn't completely aware of the Nothing roster and the philosophy of Nothing Records.  But as I began the relationship and looked around, and found out what it was setting out to do, I was just thrilled to be a part of it.  It's a label that works very much on artistic purity, it's not one that takes and steers the artists in various ways of making the hit record.  They just look at you for what your worth is in terms of the music that you present to them.  They seem to become involved based on what they hear coming out of the speakers, not what you look like, what you're image is.  It's just what's coming out of the speakers.  If they can relate to that, then you can be a part of the Nothing organization.  It's a very respective and eclectic bunch of people that Trent has put together.  He's the man responsible for the signing on his label.<ref name="unknown 1998"/>}}

A second single from ''Voyeurs'', "Deep In The Ground," was considered for commercial release on East West Records in Europe, but plans were later scrapped.  Upon completing their tour, Halford went back into the studio with Bob Marlette, recording demos for what was intended to be a follow-up album.  One demo from these sessions, "Silent Screams," was published on the 2wo website.  However, member John Lowery would soon depart from 2wo, in favor of taking lead guitar duties for Nothing Records label-mates [[Marilyn Manson (band)|Marilyn Manson]].  Ultimately Halford's plans for a sophomore album were scrapped, in favor of returning to his heavy metal roots, with a new project simply titled [[Halford (band)|Halford]].  The debut Halford album, ''[[Resurrection (Halford album)|Resurrection]]'', features the final, studio version of "Silent Screams," as well as two other tracks from the original 2wo sessions; "Slow Down" and "Drive," both of which were co-written with Bob Marlette.  The break-up of 2wo likewise marked the end of the band's time of Nothing Records, with ''Voyeurs'' remaining their only commercial release on the label.

In 2003, Rob Halford reunited with [[Judas Priest]], where he continues to front the band to wide acclaim.  After Lowery's tenure with Marilyn Manson ended in 2004, he continued to perform under the name John 5.  In addition to releasing solo material, he has served as guitarist for [[Rob Zombie]] since 2005.  In the years since, both Halford and much of his fanbase have adopted a warmer disposition in regards to the 2wo material.  Halford acknowledged a demand for a reissue of ''Voyeurs'', stating "Everyone's asking me about 2wo.  The reason that we really haven't gone there yet is because we're trying to figure out all of the business side of that scenario.  When I separated from [[Sanctuary Records|Sanctuary]] in London, they gave me the opportunity to buy back all of my Halford solo material.  You know, obviously the recordings and the photos and the videos and everything else.  So we did a really sweet deal there and then [[Sony BMG]] have been really cool about me gaining access to all of the Fight material, because that was originally on Epic.  The 2wo project was with Trent Reznor's label, Nothing Records, through [[Interscope Records|Interscope]].  And I wasn't really sure there would be that much demand for it, but the fact is that everybody keeps asking me about it and I'm really pleased about that.  'Cause, to some extent, I think that it was overlooked, because it wasn't metal as people know me for, but it was a fantastic collaboration with Trent and what I would like for people to hear are the original recordings that Trent first listened to.  And then when he became involved with Dave "Rave" Ogilvie from [[Skinny Puppy]] in Vancouver, the three of us put our heads together and created that final CD.  So I think that it would be great if everybody had an opportunity to listen to the original songs, because they are a lot tougher, you know, they're a lot edgier.  They've got more of a rock/metal vibe going to them."<ref>{{cite web| url = http://www.chartattack.com/news/2007/07/17/rob-halford-wants-to-release-2wo-material-he-did-with-trent-reznor/| archive-url = https://web.archive.org/web/20170318173202/http://www.chartattack.com/news/2007/07/17/rob-halford-wants-to-release-2wo-material-he-did-with-trent-reznor/| url-status = usurped| archive-date = March 18, 2017| title = Rob Halford Wants To Release 2wo Material He Did With Trent Reznor| author = unknown| work = Chart Attack| date = July 17, 2007| access-date = March 17, 2017}}</ref>  Several of these original versions were in fact published on Rob Halford's website in the early 2000s, under the name ''The Pre-Reznor Mixes'' ("I Am A Pig," "Water's Leaking," "Leave Me Alone," "Deep In The Ground" and "Bed Of Rust").  They continue to circulate on the Internet amongst fans, but to date, neither the pre-Reznor mixes, nor the ''Voyeurs'' album, have been reissued.

=== 12 Rounds ===
[[12 Rounds (band)|12 Rounds]] is a British rock band formed by [[Atticus Ross]], Claudia Sarne and Adam Holden, after being introduced by mutual friends at a carnival.  The trio first began collaborating musically on the 1995 [[Bomb The Bass]] album, ''[[Clear (Bomb the Bass album)|Clear]]''.  Through their time in the studio together, they decided to form their own band, originally named '''12 Rounds With Jesus'''.  After appearing with a demo of their song "Holed" for a cassette compilation for [[NME|NME Magazine]], entitled ''Past Forward'', the band was offered a deal with [[Polydor Records]].  The band then shorted their name to 12 Rounds and brought on drummer Andy Crisp.

The band's first release came in 1995, in the form of their self-titled ''12 Rounds E.P.'' (also known as the ''Something's Burning E.P.'').  The E.P. featured four tracks from their debut album, ''Jitter Juice'', while the 12" version also featured an additional remix of "Something's Burning," entitled "Something Dub."  The band followed with the album ''Jitter Juice'' in 1996.  The ''Personally E.P.'' arrived later that year, which featured two album tracks and two exclusive songs; "Happy Hour" and "Feel My Beard."  12 Rounds would also release a double single from the album; ''Business / Pleasant Smell''.  Music videos were filmed for three tracks from the album; "Holed," "Business" and "Personally," the latter of which was helmed by acclaimed director [[Chris Cunningham]].  The track "Something's Burning" was also featured on the soundtrack to the film [[All Over Me (film)|All Over Me]].

12 Rounds toured the UK in support of ''Jitter Juice'', opening for [[Sneaker Pimps]].  The band also played the UK festival circuit.  Despite their touring and support from a major label, the band failed to attain much commercial success in their native country and received no international distribution, therefore remaining largely unknown outside of the UK.  The band were ultimately dropped from Polydor and member Adam Holden parted ways with the band.  Claudia Sarne recalled, "We were the antithesis of everything [[Britpop]] represents.  So we didn't go down a treat here in England when our first record came out.  Our first album was rather punk and raw and in the environment of Britpop and [[trip hop]], it really didn't stand a chance."<ref name="Ashare, Matt">{{cite web| url = https://books.google.com/books?id=_CoEAAAAMBAJ&q=%2212+rounds%22+cmj&pg=PA32| title = 12 Rounds: Second Shot | author = Ashare, Matt| work = CMJ New Music Monthly| date = October 1997| access-date = April 6, 2017}}</ref>

During the summer of 1997, the band recorded an album's worth of material in their basement studio, with Atticus's brother [[Leopold Ross]] splitting guitar duties with keyboardist / guitarist Mark De Lane Lea, as well as Stanley Adler on cello. [[Trent Reznor]] would hear this material and offer them a deal with Nothing Records.  However, 12 Rounds was courted by numerous other labels as well.  Claudia stated, "We were shocked by the influx of offers, but Nothing was so right for us because it's so artist-led.  It's really the difference between feeling like a handmade Bristol and being on a Ford conveyor belt."<ref name="Ashare, Matt"/> Their sophomore album, ''My Big Hero,'' featured eight new tracks, alongside two songs from ''Jitter Juice''; "Something's Burning" and "Pleasant Smell" (though both would have minor differences from their original versions).  ''Pleasant Smell'' was released as a single on Nothing ahead of the album on June 9, 1998, featuring remixes from Trent Reznor, [[Charlie Clouser]] and Keith Hillebrandt of [[Nine Inch Nails]], as well as Nothing Records label-mate [[Clint Mansell]].  A music video was also released for "Pleasant Smell."  The single was followed by the release of ''My Big Hero'' on July 14, 1998.  The band then went on their first tours of the United States, with Kirk Hellie joining the band to take over guitar duties.  They took opening slots for [[VAST]] and Nothing Records label-mates [[Marilyn Manson (band)|Marilyn Manson]], as part of the first leg of their [[Mechanical Animals]] tour.

After touring ''My Big Hero,'' the band began work on a third album, produced by Ben Hiller.  After completing initial recording in England, Claudia and Atticus moved to Los Angeles in 2000 and began to do further production work on the album with Trent Reznor and former Nine Inch Nails drummer [[Jerome Dillon]].  During this time, however, Nothing Records was beginning to face an uncertain future as a record label.  Nothing's parent label, [[Interscope Records|Interscope]], was moved under new management as part of the [[Vivendi]] / [[Universal Music Group|Universal]] merger.  12 Rounds found themselves lost in the shuffle of these corporate mergers.  The band completed the album, but to date it has never been released.  Meanwhile, the band remained under contract with Nothing, unable to release the music elsewhere at that time.

However, in 2002, signs of an album release did briefly arise, when artwork for a promo EP surfaced, entitled ''Select New Recordings 2002''.  The promo featured four tracks; "Dead Man," "Conspiracy," "Ring Pull" and "Could U Be," while the artwork featured reused designs from ''My Big Hero''.  Claudia Sarne stated on the 12 Rounds website that the band sent fifteen tracks for mastering from the third album, twelve of which would compose the final tracklist.  Though a title for the third album was never revealed, the final track list was later published on the 12 Rounds website; 1. High Times, 2. Conspiracy, 3. Could U Be, 4. Big Love, 5. Ring Pull, 6. Still Water, 7. Xocet, 8. Sioux '86, 9. Chicane, 10. Bits & Pieces, 11. Dead Man, 12. Shine On.

Two additional tracks mentioned by Claudia as part of these sessions, but not included on the album, were "Everything I Want (Drown)" and "Another Day With My Friend."  The latter would be released in 2000 on the soundtrack to the [[Tom Tykwer]] film [[The Princess and the Warrior]], under the name "Just Another Day."  Despite being a 12 Rounds-penned track, the song was credited to composers Pale 3 (a band which included director Tom Tykwer), "featuring" 12 Rounds.  The song "Dead Man" also briefly appeared in the 2007 film [[Rise: Blood Hunter]].  Another track from the band's time on Nothing, "Freddy's Dead," was recorded for a proposed Nothing Records compilation, but the project never materialized.  The track has never been officially released, however a live version recorded in 1998 can be found on the internet.

With 12 Rounds stuck in limbo, due to the eventual collapse of Nothing Records, the band began working on outside projects.  Atticus Ross began recording on the [[Tapeworm (band)|Tapeworm]] project, alongside Reznor, [[Danny Lohner]], [[Charlie Clouser]] and [[Maynard James Keenan]], alongside a host of guest collaborators.  Photos surfaced on the short-lived Tapeworm website, showing Atticus in the studio with the band.  However, the Tapeworm material would likewise never see the light of day.

In 2004, Atticus joined his brother [[Leopold Ross]] in forming the noise rock band [[Error (band)|Error]], though it would be short-lived, with a one-off E.P. being released on [[Epitaph Records]].  Atticus also made contributions to another of Leopold's rock bands, [[Nojahoda]], although that project would also be short-lived.  Atticus began to deepen his musical collaboration with Trent Reznor, beginning with the Nine Inch Nails album ''[[With Teeth]]'' in 2005.  Meanwhile, Claudia Sarne would collaborate with Nothing label-mate Clint Mansell, to provide vocals to the main theme to the film [[The Hole (2001 film)|The Hole]] in 2001.  She later joined former Nine Inch Nails member [[Jerome Dillon]]'s band [[nearLY]] in 2006.  After the completion nearLY's debut album ''Reminder,'' the band played a handful of select live performances.  These performances were recorded as a live CD/DVD, entitled ''Reminder Live'', which was self-released by the band.  It included a performance of "Chicane," one of the songs from 12 Rounds' unreleased third album.  After the release of ''Reminder Live'', Claudia announced her departure from nearLY, with the band as a whole quietly dissolving shortly after.

In 2005, Claudia and Atticus were married.  Atticus continued to emerge as an in-demand producer and programmer, working with the likes of [[Barry Adamson]], [[Coheed And Cambria]], [[Pink (singer)|Pink]], [[Bad Religion]], [[Korn]], [[Saul Williams]] and more.  Claudia and Atticus also continued to collaborate musically, shifting their focus to the film world.  The couple began composing music for the cable television drama ''[[Touching Evil (U.S. TV series)|Touching Evil]]'', which was produced by the [[Hughes Brothers]].  Allen Hughes subsequently invited Atticus to compose music for his segment of the film ''[[New York, I Love You]]'' in 2008, followed by his feature film ''[[The Book of Eli]]'' in 2010.

That same year, Trent Reznor and Atticus Ross composed their first collaborative film score together, for the [[David Fincher]] film ''[[The Social Network]]'', for which the pair won the [[Academy Award]] for [[Academy Award for Best Original Score|Best Original Score]].  The duo has gone on to recorded numerous additional film scores together to critical acclaim, including ''[[The Girl with the Dragon Tattoo (2011 film)|The Girl with the Dragon Tattoo]]'', for which the pair won the [[Grammy Award for Best Score Soundtrack for Visual Media]], ''[[Gone Girl (film)|Gone Girl]]'', ''[[Before the Flood (film)|Before The Flood]]'', ''[[Patriots Day (film)|Patriots Day]]'', the [[Ken Burns]] documentary ''[[Vietnam (film)|Vietnam]]'' and more.  Atticus likewise garnered acclaim as a solo film composer, composing scores to [[Love & Mercy (film)|Love & Mercy]], ''[[Blackhat (film)|Blackhat]]'', ''[[Triple 9]]'', the TV series ''[[Outcast (TV series)|Outcast]]'' and more, all of which featured contributions from Claudia Sarne as well.  The 2013 Allen Hughes film ''[[Broken City (film)|Broken City]]'' was a particularly noteworthy 12 Rounds reunion of sorts, featuring contributions from the entire current line-up of Atticus Ross, Claudia Sarne, Leopold Ross and Kirk Hellie.

Outside of their film compositions, Atticus continued his close musical partnership with Trent Reznor, recording on the Nine Inch Nails albums ''[[Year Zero (album)|Year Zero]]'', ''[[Ghosts I–IV]]'', ''[[The Slip (album)|The Slip]]'' and ''[[Hesitation Marks]]''. In 2010, Ross was announced as a member of [[How to Destroy Angels (band)|How to Destroy Angels]], a project with Trent Reznor and his wife [[Mariqueen Maandig|Mariqueen Mandig-Reznor]].  The band derived their name from a song by fellow Nothing Records act [[Coil (band)|Coil]]. They released a [[How to Destroy Angels (How to Destroy Angels EP)|self-titled EP]] in 2010, followed by ''[[An Omen EP]]'' in 2012 and finally a full-length album, ''[[Welcome Oblivion]]'' in 2013. The band also did a small tour in support of the album. In 2016, after over a decade of musical partnership with Trent Reznor, Atticus Ross was announced as an official member of Nine Inch Nails, with the arrival of the ''[[Not the Actual Events]]'' EP.

After finally reacquiring the rights to their unreleased third album, in 2009, 12 Rounds released two tracks from the album, "Xecot" and "Shine On," as digital downloads on their website, followed by a third track, "Sioux 86," in 2010.  Trent Reznor was credited with additional recording for the track "Shine On."  In 2014, the members of 12 Rounds reunited for a performance at the [[Grammy Museum at L.A. Live|Grammy Museum]] in Los Angeles, California, as part of a Q&A event with Atticus Ross and [[Elvis Mitchell]] for the [[Los Angeles Film Festival]].  It marked the first ever live performance by the current line-up of the band, featuring Atticus Ross, Claudia Sarne, Leopold Ross and Kirk Hellie, as well as the first performance of any kind by the band in over a decade.  While not officially billed as a 12 Rounds show, the band played a short set of assorted material from their film scores, before closing their set with a performance of the song "Chicane" from their unreleased third album.

12 Rounds was one of the few acts to remain with Nothing Records until the demise of the label, with their third album becoming one of the most oft-requested, unreleased works of the Nothing Records era.  Atticus has stated the album will likely one day be released in digital format, but has described it a slow process, due to his full-time commitments to Nine Inch Nails and film composing.  While 12 Rounds has never officially disbanded, the members continue to primarily focus their musical collaborations on film compositions, mostly refraining from crediting themselves under their band name.

=== Meat Beat Manifesto (Actual Sounds + Voices era) ===
After completing touring in support of ''[[Subliminal Sandwich]]'', Meat Beat Manifesto would release a follow-up compilation, entitled ''Original Fire,'' on May 20, 1997.  ''Original Fire'' compiled new songs, remixes and updated versions of classic tracks from the band and became a North American exclusive of Nothing Records. [[PIAS Recordings|Play It Again Sam]] opted against releasing it in Europe, due in part to the fact that some of the tracks had been previously released by them on earlier, European singles from the band, such as 1996's "It's the Music" single, which featured a remix from Nothing Records act [[Plug (band)|Plug]].  Amongst the remix artists on ''Original Fire'', fellow Nothing Records labelmate [[Luke Vibert]] appeared once again, this time under his own name, as well as [[The Orb]].  The band would release a music video for the song "Helter Skelter '97" in support of ''Original Fire'', which was directed by band member Ben Stokes.  Stokes also directed the band's music videos for "Edge of No Control," "Asbestos Lead Asbestos" and "Fromage," as well as directing an early video for Nothing Records label-mates [[Nine Inch Nails]], for their song "Down In It" (in addition to editing their "Head Like a Hole" music video).  "Helter Skelter '97" would also be pressed as a promo single CD by Nothing Records for radio airplay.  Nothing would also release most of the tracks from ''Original Fire'' on vinyl, under the name of the "Radio Babylon" promo-only, LP single.  The 2xLP version featured an exclusive, bonus remix from Luke Vibert.

The band then set about recording their next studio album, ''[[Actual Sounds + Voices]]''.  The album was led by the single "Acid Again," which was released on July 7, 1998 and also received European release via Play It Again Sam.  ''Actual Sounds + Voices'' followed on August 28, 1998 on Nothing Records, with a European release through Play It Again Sam.  Nothing even released a double LP version of the album on vinyl.  ''Actual Sounds + Voices'' featured a more prominent use of jazz, while still maintaining the group's signature sound.  One remix from the "Acid Again" single, as well as the "Book of Shadows" track from ''Actual Sounds + Voices'' also appeared on the Nothing Records compilation ''Nothing Changes'', which was included with a 1998 issue of [[XLR8R|XLR8R Magazine]].

A second single from the album, "Prime Audio Soup," would go on to become a hit for the band, due in part to being featured in the successful action film [[The Matrix]], as well as appearing on the film's [[The Matrix: Music from the Motion Picture|soundtrack]], which also included Nothing Records label-mates [[Marilyn Manson (band)|Marilyn Manson]].  "Prime Audio Soup" was also released as a CD single in Europe on Play It Again Sam.  The single featured remixes by [[Boards of Canada]], [[The Herbaliser]] and Biomuse.  While Nothing Records did press promo copies of the single, it was never commercially released by the label in the US.

Meat Beat Manifesto is one of the few acts to have seemingly left the label on good terms.  As late as 1997, Jack Dangers commented that "I really appreciate [[Trent Reznor|Trent's]] willingness to put his money where his mouth is.  Not many people have had the guts to do this.  Everyone should know that Nothing have been incredibly supportive and they never try to manipulate my music.  What I give them, they release ... no pressure.  I have artistic freedom and support from a label that truly has their shit together.<ref>{{cite web| url = http://www.brainwashed.com/mbm/news1997.php| title = Meat Beat Manifesto: News - 1997| author = Whitney, Jon| work = Brainwashed| date = July 1997| access-date = September 16, 2017}}</ref> However, the band's departure from the label would amount to nothing more than their contract expiring.  All of the band's releases on Nothing Records were licensed via Play It Again Sam.  In 1999, the band's contract with PIAS expired, which in turn ended their licensing arrangement with Nothing Records.<ref>{{cite web| url = http://www.brainwashed.com/mbm/news2000.php| title = Meat Beat Manifesto: News - 2000 | author = Whitney, Jon| work = Brainwashed| date = July 1997| access-date = September 16, 2017}}</ref>

In the wake of their departure from Play It Again Sam, [[Jack Dangers]] would found his own label, [[Tino Corp.]], alongside frequent MBM members/collaborators Ben Stokes and Mike Powell.  There, Meat Beat Manifesto would release the ''Eccentric Objects'' EP on vinyl in 2000, as well as ''[[Storm The Studio RMXS]]'' in 2003, featuring remixes by [[DJ Spooky]], [[Antipop Consortium]], [[Jonah Sharp]], [[Merzbow]] and more.

However, in 2002, when it came time to release their next studio album, ''[[RUOK? (album)|RUOK?]]'', the band opted to release it through Run Recordings, a division of [[Lakeshore Records]].  The label would also reissue their ''Storm The Studio'' and ''Armed Audio Warfare'' albums in 2003.  That same year, the band released ''[[... In Dub]]'', a dub remix album of tracks from ''RUOK?''.  The band also released their first DVD, '' ... In Dub 5.1 Surround'' in 2004.

For their next album, ''[[At the Center]]'', the band would take a departure in sound, recording a full blown jazz album.  A collaboration between Dangers and several jazz musicians, the album was released on [[Thirsty Ear]] in 2005, as part of their [[Blue Series]].  Thirsty Ear would also release the album's companion EP, ''[[Off-Centre (EP)|Off-Centre]]''.  The band would release their second DVD, ''Travelogue Live '05'', in 2006.

In 2007, the band would self-release ''[[Archive Things 1982-88 / Purged]]'', a collection of early recordings.  This was followed by their next studio album, ''[[Autoimmune (album)|Autoimmune]]'', in 2008.  The album would see a U.S. release via [[Metropolis Records]], with a UK release via [[Planet Mu]].  Each version of the album had a slightly different tracklist from one another, as well as different artwork.

In 2010, the band released their next studio album, ''[[Answers Come in Dreams]]''.  The album's name is derived from a pair of remixes Jack Dangers did for Nothing Records label-mates [[Coil (band)|Coil]] in 1991, for their E.P. ''[[The Snow (song)|The Snow]]''.  The album was once again released in the U.S. on Metropolis Records, while the UK release was handled by the Hydrogen Dukebox label.

Meat Beat Manifesto's time on Nothing Records was, by all accounts, a positive experience for the band, with their departure primarily due to logistical reasons.  In the years since, Dangers has spent his time bouncing from label to label, as well as self-releasing quite a bit of the band's material.
Since the release of ''Answers Come in Dreams'', the band has kept something of a low profile.  However, they have not been entirely dormant, self-releasing a couple of EPs and playing select live dates.  Rumors persist of a new album being in the works, though to date, nothing has been announced.

=== Marilyn Manson (Mechanical Animals era) ===
After the success of ''[[Antichrist Superstar]]'', [[Marilyn Manson (band)|Marilyn Manson]] entered the studio with much mainstream attention to record their third full-length album, ''[[Mechanical Animals]]''.  Unlike their first two albums, ''Mechanical Animals'' would not be shepherded by [[Trent Reznor]], who had shifted his focus back to [[Nine Inch Nails]].  Instead, the band enlisted [[Michael Beinhorn]] as principal producer, co-producing the record with [[Marilyn Manson]], with [[Sean Beavan]] providing additional production duties.  During this time, the band would also relocate from Fort Lauderdate, Florida, to Los Angeles, California, where recording commenced on the album.

Inspired heavily by [[David Bowie]]'s ''[[Diamond Dogs]]'' album, ''Mechanical Animals'' shifted away from the [[industrial metal|industrial rock]] style of the band's earlier work, instead emulating a 1970s [[glam rock]] sound, epitomized by artists of that decade such as [[David Bowie|Bowie]], [[Queen (band)|Queen]] and [[T. Rex (band)|T. Rex]].  Conceptually, the album delved into Manson's own struggles with fame and alienation.  Manson described the album as being about "someone who feels like they're in a place where they're not accepted or don't belong. It's more from that perspective. It's much more vulnerable music that I'm making on this new album. Both sonically and lyrically, it's about the depression of alienation, rather than the aggressiveness of it.  It's about the emptiness."<ref>{{cite web |url=http://www.vh1.com/news/articles/3456/19980303/index.jhtml |title=Marilyn Manson Endorses Net Censorship |work=VH1 |date=1998-03-03 |access-date=2011-06-02}}{{dead link|date=November 2023|bot=medic}}{{cbignore|bot=medic}}</ref>  The album was a [[rock opera]] and [[concept album]], continuing an overarching story concept, which began with ''Antichrist Superstar'', while the events of ''Mechanical Animals'' precede it.

''Mechanical Animals'' was released on September 14, 1998 on Nothing / [[Interscope Records]]. The cover art depicted an androgynous [[Marilyn Manson|Manson]], naked with breasts, six fingers and airbrushed genitalia, which stirred up more controversy for the band.  One month before the album's release, the three largest retailers in the United States at the time&mdash;[[Kmart (United States)|K-Mart]], [[Wal-Mart]] and [[Target Corporation|Target]]&mdash;refused to stock the album, citing the cover artwork and its [[Parental Advisory|Parental Advisory sticker]].  In spite of this, the album debuted at number one on the [[Billboard 200|''Billboard'' 200]], with first-week sales of 223,000 units,<ref name="MMshowshedope">{{cite magazine |last=Boehlert |first=Eric |url=https://www.rollingstone.com/music/news/marilyn-manson-shows-hes-dope-19980924 |title=Marilyn Manson Shows He's Dope |magazine=Rolling Stone |date=September 24, 1998 |access-date=June 4, 2011}}</ref> making it the first Marilyn Manson album to top the charts.  The album was led by the single "[[The Dope Show]]", which received heavy video and radio airplay and would go on to become the band's most commercially successful song.  The music video was inspired by [[Alejandro Jodorowsky]]'s film ''[[The Holy Mountain (1973 film)|The Holy Mountain]]'', as well as the [[David Bowie]] starring film ''[[The Man Who Fell to Earth (film)|The Man Who Fell to Earth]].''

The band launched a series of tours to promote the album, the first being the [[Mechanical Animals Tour]].  Prior to the tour, guitarist Zim Zum opted to part ways with the band, leaving under amicable terms in order to pursue outside projects.  He was replaced by Nothing Records label-mate John Lowery, who was fresh off his run with [[Rob Halford]]'s [[2wo]] project.  After joining Marilyn Manson, Lowery assumed the stage name of [[John 5 (guitarist)|John 5]].  The U.S. leg of the tour featured Nothing Records label-mates [[12 Rounds (band)|12 Rounds]] performing as openers.  The band then announced a co-headlining tour with [[Hole (band)|Hole]], called the [[Beautiful Monsters Tour]].  The tour would be ill-fated, however, due to conflicts between Manson and Hole singer [[Courtney Love]].  This led to Hole departing the tour after just nine dates.<ref>{{cite web|url=http://www.mtv.com/news/articles/1430069/courtney-talks-about-holemanson-tour.jhtml |archive-url=https://web.archive.org/web/20110629194429/http://www.mtv.com/news/articles/1430069/courtney-talks-about-holemanson-tour.jhtml |url-status=dead |archive-date=June 29, 2011 |title=Courtney Talks About Hole/Manson Tour |work=MTV News |date=1999-01-07 |access-date=2011-03-07}}</ref>  Manson subsequently enlisted [[Jack Off Jill]] and [[Nashville Pussy]] to take over select opening slots.<ref>{{cite news |url=http://www.mtv.com/news/1430051/manson-resumes-tour-without-hole-taps-nashville-pussy-and-jack-off-jill-for-upcoming-dates/ |archive-url=https://web.archive.org/web/20150502105232/http://www.mtv.com/news/1430051/manson-resumes-tour-without-hole-taps-nashville-pussy-and-jack-off-jill-for-upcoming-dates/ |url-status=dead |archive-date=May 2, 2015 |title=Manson Resumes Tour Without Hole, Taps Nashville Pussy And Jack Off Jill For Upcoming Dates |author=MTV News Staff |work=[[MTV]] |publisher=[[Viacom (2005–present)|Viacom]] |date=March 22, 1999 |access-date=April 27, 2016}}</ref> [[Monster Magnet]], who were already opening for Manson, assumed Hole's place on the tour's playbill, with the tour being renamed the [[Rock Is Dead Tour]].  The final four dates of the tour were canceled out of respect for the victims of the [[Columbine High School massacre]], which brought Manson arguably the greatest controversy of his career, as the media mistakenly accused him of influencing the shooters.<ref name="Manson cancels rest of US tour">{{cite news |url=http://news.bbc.co.uk/2/hi/entertainment/331363.stm |title=Manson cancels rest of US tour |work=[[BBC News]] |publisher=[[BBC]] |date=April 29, 1999 |access-date=April 27, 2016}}</ref>

The second single from the album, "[[I Don't Like the Drugs (But the Drugs Like Me)]]", was another video and radio hit for the band.  The third single, "[[Rock Is Dead (Marilyn Manson song)|Rock Is Dead]]", was featured in the [[The Matrix: Music from the Motion Picture|accompanying soundtrack]] of the film ''[[The Matrix]]'', with the song being played during the film's end credits.  The final single from the album was "[[Coma White]]."

While ''Mechanical Animals'' did garner critical acclaim, it was initially met with disappointment by longtime fans, who disliked the more mainstream sound, as well as the band's departure in style from their darker, more aggressive material.  In time though, some fans adopted a warmer disposition to the material.  In the wake of the album, tensions also mounted between Marilyn Manson and Trent Reznor, with both sides increasingly criticizing one other in the press.  Reznor described Manson as willing to cross anyone in order to succeed,<ref>{{cite magazine |url=https://www.rollingstone.com/music/news/trent-reznor-says-marilyn-manson-has-become-a-dopey-clown-20090602 |title=Trent Reznor Says Marilyn Manson Has "Become A Dopey Clown" |author=Kreps, Daniel |magazine=[[Rolling Stone]] |publisher=[[Jann Wenner|Wenner Media]] |date=June 2, 2009 |access-date=May 13, 2016}}</ref> while Manson accused Reznor of destroying masters and mixes to many of the band's early, Reznor-produced songs.  The two sides appeared to reconcile for a short time after ''Mechanical Animals'', when Manson appeared in Nine Inch Nails' [[Starfuckers, Inc.]] music video and made a surprise appearance at Nine Inch Nails' concert on May 9, 2000 at [[Madison Square Garden]] in New York City, performing with the band during "Starfuckers, Inc.," followed by a performance of "The Beautiful People."  The reconciliation was short-lived, however, with both sides resuming their verbal barbs at one another through the press and their websites.  In more recent years, however, tensions seem to have subsided between the two.  In 2011, Reznor described Manson as "a talented person," adding "we've had our problems, but I wear suits ... I'm an adult now."<ref>{{cite web| url = http://antiquiet.com/music/2011/01/trent-reznor-new-york-times-interview/| title = Trent Reznor Opens The Floodgates | author = Scoczynski, Fernando| work = Antiquiet| date = January 7, 2011| access-date = April 12, 2017}}</ref>  The following year, Manson expressed similar feelings, adding, "I don't have any bad feelings towards him (Reznor).  I really don't.  He helped put me out into the world and I went my way and whatever happened happened.  I don't think there is tension."<ref>{{cite web| url = http://archive.azcentral.com/thingstodo/music/articles/20120925interview-marilyn-manson-phoenix-trent-reznor-zombie-more.html| title = Marilyn Manson Talks Twiggy, Trent, Zombie | author = Louvau, Jim| work = AZ Central| date = September 25, 2012| access-date = April 12, 2017}}</ref>

''Mechanical Animals'' was certified platinum by the [[Recording Industry Association of America]] (RIAA) on February 25, 1999 and had sold over 1,409,000 copies in the United States.<ref>{{cite web |last=Grein |first=Paul |url=http://new.music.yahoo.com/blogs/chart_watch/68870/chart-watch-extra-swift-joins-an-elite-club |title=Chart Watch Extra: Swift Joins An Elite Club |publisher=Yahoo! Music |date=November 3, 2010 |archive-url=https://web.archive.org/web/20101107194009/http://new.music.yahoo.com/blogs/chart_watch/68870/chart-watch-extra-swift-joins-an-elite-club |archive-date=November 7, 2010 |access-date=October 18, 2016}}</ref>  It remains one of the highest selling albums to date for both the band and Nothing Records.  The album was followed by the home video ''[[God Is in the TV]]'', which chronicled the band's tours in support of the album, as well as compiling all of their music videos to date.  It was released on November 2, 1999 on [[VHS]].  A live album from the tour, ''[[The Last Tour on Earth]]'', followed shortly thereafter on November 16, 1999.  The live album ended with a studio outtake from ''Antichrist Superstar'', entitled "[[Astonishing Panorama of the Endtimes]]."  A [[claymation]] music video for the song was released as a single, depicting Manson as part of the [[Celebrity Deathmatch]] television show.

=== Einstürzende Neubauten ===
[[Einstürzende Neubauten]] (sometimes written as '''EN''', translated into English as '''Collapsing New Buildings''') is an [[Avant-garde music|avant-garde]], [[Experimental music|experimental]] group formed in [[West Berlin]], Germany in 1980, by members [[Blixa Bargeld]], [[N.U. Unruh]] and [[Alexander Hacke]].  The band established a following due to their innovative instrumentation, particularly at their live shows, which, in addition to traditional instruments, featured custom instruments built from scrap metal, found objects and power tools.  Vocalist Blixa Bargeld also brought added attention by concurrently serving as long-time guitarist and backing vocalist for [[Nick Cave and the Bad Seeds]] from 1983 to 2003.

Over the course of the 1980s, the band would rise through the ranks of many established labels, such as [[Some Bizzare Records]] and [[Rough Trade Records]], where they released albums such as ''[[Kollaps]]'', ''[[Zeichnungen des Patienten O. T.]]'' (English translation: ''Drawings of Patient O.T.''), the best of / rarities compilation ''[[Strategies Against Architecture 80-83]]'' and ''[[Halber Mensch]]'' (English translation: ''Half Man'').  Fellow, future Nothing Records label-mate Raymond Watts of [[Pig (band)|Pig]] would also frequently serve as an engineer for the band throughout the 1980s, both in the studio and at live shows.  The band capped off the 80s with the albums ''[[Fünf auf der nach oben offenen Richterskala]]'' (English translation: ''Five on the Open-Ended Richter Scale'') and ''[[Haus der Lüge]]'' (English translation: ''House of the Lie''), both of which proved to be commercial successes in the U.S.  The band's rise through the 1980s paved the way for a deal with [[Mute Records]] in the 1990s, beginning with ''[[Tabula Rasa (Einstürzende Neubauten album)|Tabula Rasa]]'' in 1992.  The album marked a change in sound for the band, shifting into softer, less abrasive songwriting and featuring expanded use of electronics.  The band would also release a sequel compilation, ''[[Strategies Against Architecture II]]'', during this time.

The recording of their next album, ''[[Ende Neu]]'' (English translation: ''Ending New''), would prove to be a difficult one, due to the departure of long-time members [[Mark Chung (musician)|Mark Chung]], who left at the outset of recording in 1994, as well as [[F.M. Einheit]], who contributed much to the music and sound of the band and left a short time later in 1995, amidst recording of the album.  Blixa Bargeld questioned if the band would continue, stating "There was suddenly only three of us left, which makes it a bit tough."<ref name="Epstein, Daniel Robert">{{cite web| url = https://www.suicidegirls.com/girls/erin/blog/2678932/einsturzende-neubauten/| title = Einstürzende Neubauten | author = Epstein, Daniel Robert| work = Suicide Girls| date = March 16, 2004| access-date = April 12, 2017}}</ref>  The band continued on, however, bringing on [[Jochen Arbeit]] and [[Rudolph Moser]] as permanent members, alongside [[Ash Wednesday (musician)|Ash Wednesday]] on keyboards for live concerts.  ''Ende Neu'' was completed and released on Mute Records in 1996, with the song "Stella Marris," a duet between Bargeld and Hacke's then-wife, singer [[Meret Becker]], garnering particular acclaim.  The band supported the album with a world tour.

[[Trent Reznor]] had been a long-time fan of the band, openly citing his admiration for their music.  Blixa Bargeld recalled meeting him at some Einstürzende Neubauten shows, stating, "Trent Reznor used to come backstage at (our) 80s concerts."<ref name="Epstein, Daniel Robert"/>  In 1997, Reznor successfully arranged to bring the band aboard Nothing Records.  The band, which held the copyright to their album, liked the appeal of additional major label support, as well as Reznor's enthusiasm for their body of work and agreed to a licensing deal with Nothing Records.  Bargeld recalled, "Trent Reznor is so kind to contract the band, (which) he always admired."<ref>{{cite web| url = https://seelebrenntarchive.wordpress.com/2010/09/12/einsturzende-neubauten-zillo-april-2001/| title = Einstürzende Neubauten, Zillo, 2001 | author = Borchard, Kristen| work = Zillo| date = 2001| access-date = April 12, 2017}}</ref>

The road for Einstürzende Neubauten's release on Nothing Records would prove to be a long one, however, with repeated delays pushing the Stateside release of ''Ende Neu'' back until late 1998.  The album was finally released in the U.S. on October 20, 1998, featuring a bonus track, "Bili Ruben."  A music video for "Stella Maris" accompanied the album, which received minor airplay on [[MTV]].  Nothing also financed a U.S. tour for the band that autumn, which became expensive, due in part to bringing along all of the band's custom instrumentation from Germany.  The tour lost an estimated $40,000 for the label, according to Bargeld.<ref>{{cite web| url = http://articles.mcall.com/1999-01-01/features/3244795_1_einsturzende-neubauten-blixa-bargeld-release-in-five-years| archive-url = https://web.archive.org/web/20170413072231/http://articles.mcall.com/1999-01-01/features/3244795_1_einsturzende-neubauten-blixa-bargeld-release-in-five-years| url-status = dead| archive-date = April 13, 2017| title = Einsturzende Neubauten Works Industriously Towards New 'Ende' | author = Cromelin, Richard| work = The Morning Call| date = January 1, 1999| access-date = April 12, 2017}}</ref>

In Europe, the band released the companion album ''Ende Neu Remixes'' on Mute Records in 1997, which featured ''Ende Neu'' tracks remixed by artists such as [[Barry Adamson]], [[Pan Sonic]] and Darkus (a.k.a. [[Mark Rutherford (composer)|Mark Rutherford]]).  Darkus' remix tracks, alongside others not included on ''Ende Neu Remixes'', were made available separately in the same year on ''The NNNAAAMMM Remixes By Darkus''.  Neither of these releases were picked up for licensing by Nothing Records.

Einstürzende Neubauten then set about recording their next album, ''[[Silence Is Sexy]]''.  By this point, much like fellow Nothing Records act [[12 Rounds (band)|12 Rounds]], the band found themselves victim to the same corporate shake-up.  Nothing Records' parent company, [[Interscope Records]], was merged with [[Geffen Records]] and [[A&M Records]], after Interscope's owners, [[Seagram]], purchased the other labels.  By early 1999, shortly after the release of ''Ende Neu'', Interscope Records began operating under the umbrella of Interscope Geffen A&M Records.  The new ownership began actively looking to cut costs and made it clear they did not have any further interest in releasing Einstürzende Neubauten's material, with Bargeld stating, "Seagrams acquired them (Nothing / Interscope).  We gave them the (''Silence Is Sexy'') album and (Nothing Records) said that Seagrams decided not to release the record.  I asked if that was a joke.  We make a record deal, then they don't release it, so we left them."  With Nothing licensing the music directly from the band, Einstürzende Neubauten were able to immediately depart from the situation.  The band decided to instead allow Mute Records to handle both the European and American releases of ''Silence Is Sexy'', with the album being released in 2000.

''[[Strategies Against Architecture III]]'' followed soon after in 2001 and the band fulfilled their contract with Mute Records.  Beginning in 2002, the band began recording a new album, without support from a major label, relying instead upon fan support in an experiment on their website, offering exclusive audio in exchange for paid membership.  An exclusive ''[[Supporter Album No.&nbsp;1]]'' and the ''[[Airplane Miniatures]]'' E.P. were made available to supporters in 2003.  The band would follow this template for years to come, releasing a myriad of exclusive titles to their fans.  The band released the album ''[[Perpetuum Mobile (album)|Perpetuum Mobile]]'' in 2004, once again returning to Mute, in part to help facilitate a world tour.  ''[[Alles wieder offen]]'' (English translation: ''All Open Again'') followed in 2007, which was self-released on the band's own Potomak label.  In 2014, the band returned to a major label for the release of ''[[Lament (Einstürzende Neubauten album)|Lament]]'' on [[BMG Records]].

Einstürzende Neubauten's time on Nothing Records would be brief, with ''Ende Neu'' standing as their sole release on the label.  In 2009, ''Ende Neu'' was reissued as a remastered CD, with an expanded booklet, on Neubauten's own Potomak label.  The band continues strong to this day, having garnered much critical and commercial success.  They are considered to be one of the pioneers of [[industrial music]], despite their own apathy to such accreditation.  The band continues their formula of releasing major albums on labels, supplemented by a wealth of self-released material direct to fans.

=== Autechre ===
[[Autechre]] arrived at Nothing via a licensing deal with their UK label, [[Warp (record label)|Warp Records]], as part of a package which also included Warp acts [[Squarepusher]] and [[Plaid (band)|Plaid]] being picked up by the label.  Autechre is the duo of Rob Brown and Sean Booth of [[Greater Manchester]], [[England]].  Their sound was considered pioneering within the electronic music scene, with their early work rooted in [[techno]], [[house music|house]], [[electro music|electro]] and [[hip hop music|hip hop]], while their later efforts ventured into more experimental soundscapes.  At the time, Warp was emerging as one of the premier labels for electronic music, with many of their acts being licensed to esteemed labels in the US, such as [[Sire Records|Sire]] ([[Aphex Twin]], [[Jimi Tenor]]), [[Matador Records|Matador]] ([[Red Snapper (band)|Red Snapper]], [[Two Lone Swordsmen]]) and [[Wax Trax|Wax Trax!]] ([[Nightmares On Wax]], [[Autechre]]).  These licensing deals, in addition to Warp's highly acclaimed [[Artificial Intelligence (series)|Artificial Intelligence]] series, in which Autechre participated, would help cement both Warp Records and their rosters' global presence and influence. Nothing Records became the next in this revered line of labels to collaborate with Warp, after Nothing label-mate [[Jack Dangers]] of [[Meat Beat Manifesto]] claimed to have introduced many of the Warp acts' music to [[Trent Reznor]].<ref name="Madden, Dave"/>

Prior to their arrival at Nothing, much of Autechre's back-catalog had seen release through [[Wax Trax|Wax Trax!]] / [[TVT Records|TVT]], in a similar licensing deal with Warp, which saw the US release of their EP, ''Basscad.EP'', as well as their albums ''[[Incunabula (album)|Incunabula]]'', ''[[Amber (Autechre album)|Amber]]'' and ''[[Tri Repetae|Tri Repetae++]]'', the latter of which was packaged as a double-disc set to include their ''Anvil Vapre'' and ''Garbage'' EPs. After the licensing deal with Wax Trax! lapsed, Autechre released their ''[[Chiastic Slide]]'' album, which did not receive US release at the time.

By 1998, Autechre had completed their fifth album, ''[[LP5]]''.  Upon being picked up by Nothing Records, Autechre's Sean Brown commented on the advantages of being on a major label, stating "It's really interesting working with him (Trent Reznor). It's a learning exercise as much as anything.  I don't know what's going to happen with it (being on Nothing Records).  It's a long time going and it's like after that, whatever, if someone comes along and offers you a ridiculous amount of money.  It's much more than we needed, but it's like it's turned out really useful, because we've managed to get everything going."<ref>{{cite web| url = http://www.autechre.info/press/famzine-99.html| title = Autechre Interview Famzine 1999| author = Warren, Tamera| work = Famzine| date = 1999| access-date = January 7, 2017| archive-date = October 24, 2015| archive-url = https://web.archive.org/web/20151024141913/http://www.autechre.info/press/famzine-99.html| url-status = dead}}</ref>

''[[LP5]]'' was released on October 26, 1998 on Nothing Records in the US, with the label releasing [[Plaid (band)|Plaid's]] ''Not For Threes'' and [[Squarepusher|Squarepusher's]] ''Big Loada'' the same day.  Two tracks from the album, "Vose In" and "Corc," also appeared on the Nothing Records compilation ''Nothing Changes'', which was included with a 1998 issue of [[XLR8R|XLR8R Magazine]].  Autechre would continue to be licensed by Nothing Records until 2000, with Nothing working in tandem with Warp to release nearly all of the duo's new material in the US during this period.  In 1999, Nothing released Autechre's ''Peel Session'' (a live recording from [[John Peel|John Peel's]] legendary radio show - a second session of which was released by Warp in 2000) and ''EP7''.  The Warp CD edition of ''EP7'' included a hidden track 00, which could be heard by starting track one of the CD, then rewinding backwards. Manufacturing issues prevented the hidden track 00 from inclusion on the Nothing Records edition.  Also in 1999, Autechre released the ''SplitRmx12'' promo-only 12", which featured an Autechre cover of [[Neu!]].  While ''SplitRmx12'' never received any official release through Nothing Records, Warp pressed 3,000 copies, with 500 assigned to the UK.  A portion were assigned to the US, for which Nothing Records assisted in North American distribution to US record stores, on behalf of Warp.

Autechre's time at Nothing Records would conclude when Warp Records established their own US distribution, though a deal with [[Caroline Distribution]] (which has since ended), effectively ending all of Warp's licensing to Nothing.  Autechre's licensing through [[Wax Trax|Wax Trax!]] and Nothing Records helped establish a US following for the act and by the time they began receiving direct US release via Warp, the duo had risen in stature to being one of the premier acts in electronic music.  All three of their Nothing Records releases were eventually reissued in the US under the Warp umbrella, after the Nothing deal ended.  Autechre remain going strong to this day, where they continue to call Warp Records their home, having released numerous albums to critical acclaim in the years to follow, such as ''[[Confield]]'', ''[[Draft 7.30]]'', ''[[Untilted]]'', ''[[Quaristice]]'', ''[[Oversteps (album)|Oversteps]]'', ''[[Exai (album)|Exai]]'' and ''[[elseq 1–5]]''.

=== Squarepusher ===
[[Squarepusher]], much like label-mates [[Autechre]] and [[Plaid (band)|Plaid]], came aboard Nothing via a licensing deal with [[Warp (record label)|Warp]].  Squarepusher is Tom Jenkinson of [[Chelmsford]], Essex, [[England]].  After learning bass guitar and playing in local bands in his youth, Tom began taking an interest in [[techno]] and [[house music]] in the early 1990s.  Amongst his influences were [[Aphex Twin]] and future Nothing Records label-mate [[Luke Vibert]], particularly with his work as [[Plug (band)|Plug]].  Jenkinson said of Plug's track "Military Jazz," "This track came on and, amongst the road noise and chatter, I heard what I thought was some sort of hip-hop track being played by a band.  As the track progressed, I became more intrigued, as it sounded like they were trying to play as if it had been programmed.  Then the Amen [break] came in, and I was floored; it sounded like a drummer playing breakbeats, and made me totally rethink my ideas of programming breaks."<ref>{{cite web| url = http://www.xlr8r.com/features/2012/05/high-five-squarepusher/| title = Hi-Five: Squarepusher | author = Fallon, Patrick| work = XLR8R| date = May 16, 2012| access-date = February 24, 2017}}</ref>

Jenkinson's first recordings came out under his own name, with the ''Stereotype E.P.'' on the Nothings Clear label in 1994, which was financed by Jenkinson himself, alongside his friend Hardy Finn, the latter of whom would go on to found the [[Spymania]] label.  The EP did not receive the level of attention Jenkinson had hoped for, but it did catch the ear of Grant Wilson-Claridge of [[Rephlex Records]], who contacted Tom to express his compliments.

Jenkinson went on to record a few more releases under his own name, including the ''Crot E.P.'' and ''[[Bubble and Squeak (EP)|Bubble And Squeak E.P.]]'', as well as a split with Dunderhead, called ''Dragon Disc 2''.  In 1995, Tom began releasing music under the name Squarepusher, first appearing with the ''[[Conumber E:P]]'', then following with ''[[Alroy Road Tracks]]'' under the name '''Duke Of Harringay''', both on Finn's [[Spymania]] label.  By 1996, Squarepusher had line up material for release at [[Rephlex Records]], which was operated by Grant Wilson-Claridge and Richard D. James, a.k.a. [[Aphex Twin]].  Squarepusher released the ''[[Squarepusher Plays...]]'' 12" for Rephlex, followed by his debut album, ''[[Feed Me Weird Things]]'' (Jenkinson later released an album and E.P. under the name '''Chaos A.D.''' for Rephlex in 1998).

Shortly after the release of ''Feed Me Weird Things'', Squarepusher released his first music for [[Warp (record label)|Warp Records]] in the form of the ''[[Port Rhombus (EP)|Port Rhombus EP]]'' in 1996.  Jenkinson signed a multi-album deal with Warp and the label would become his long-time and primary home.  The ''[[Vic Acid]]'' EP was released in 1997, followed by his sophomore full-length, ''[[Hard Normal Daddy]]''.  Later that year, Warp and Sypmania would co-release ''[[Burningn'n Tree]]'', which compiled the ''Conumber E:P'' and ''Alroy Road Tracks'', alongsing three previously unreleased tracks.

Also in 1997, the ''[[Big Loada]]'' EP was released on Warp.  By 1998, the Nothing deal had come into place and Squarepusher would receive his first licensing into the United States, after Nothing label-mate [[Jack Dangers]] of [[Meat Beat Manifesto]] claimed to have introduced his music to [[Trent Reznor]].<ref name="Madden, Dave"/>  Nothing decided to revisit the ''Big Loada'' EP and expand it into album length, adding on all tracks from the ''Port Rhombus EP'' and two tracks ("Lone Ravers (Live In Chelmsford Mix)" and "The Barn (303 Kebab Mix)") from ''Vic Acid''.  The song "Come On My Selector" was also moved up to open the album, with a music video for the track directed by [[Chris Cunningham]], which was included as a file on the Nothing edition, as an enhanced CD.  Two tracks from ''Big Loada'', "Tequila Fish" and "Massif (Stay Strong)," also featured on the Nothing Records compilation ''Nothing Changes'', which was included with a 1998 issue of [[XLR8R|XLR8R Magazine]].

Nothing did not pick up ''Hard Normal Daddy'' for release, but did pick up most of Squarepusher's output through the remainder of the 1990s.  ''[[Music Is Rotted One Note]]'' was released on October 13, 1998, the same day as Nothing version of ''Big Loada''.  The mini album ''[[Budakhan Mindphone]]'' followed on March 1, 1999.  The ''[[Maximum Priest E.P.]]'' was released July 19, 1999, which featured remixes from Nothing Records label-mates [[Autechre]] and [[Luke Vibert]] (under the name [[Wagon Christ]]).  The final Squarepusher album to see release on Nothing Records was ''[[Selection Sixteen]]'' on November 8, 1999.  Aside from ''Big Loada'', all of the Squarepusher releases on Nothing Records were essentially identical to the Warp editions.

Squarepusher's tenure at Nothing Records concluded when Warp Records established their own US distribution, though a deal with [[Caroline Distribution]] (which later expired), effectively ending all of Warp's licensing to Nothing.  Squarepusher's licensing through Nothing Records served Jenkinson well in helping to establish his US following.  By the time he began receiving direct US release via Warp, Squarepusher had become known as one of the most innovative acts in electronic music.  All five of his Nothing Records releases were eventually reissued in the US under the Warp umbrella after the Nothing deal ended, though the album-length version of ''Big Loada'' remains unique to Nothing Records, with Warp opting to keep the releases in their original, EP formats.  Squarepusher continues to push new boundaries to this day, where he still calls Warp Records his home, having released numerous albums to critical acclaim in the years to follow, such as ''[[Go Plastic]]'', ''[[Do You Know Squarepusher]]'', ''[[Ultravisitor]]'', ''[[Hello Everything]]'', ''[[Just a Souvenir|Just A Souvenir]]'', ''[[Solo Electric Bass 1]]'', ''[[Ufabulum]]'' and ''[[Damogen Furies]]''.  Also in recent years, Jenkinson has launched a live band, Shobaleader One, which releases both original material and reinterpered versions of Squarepusher classics.  They have released two albums to date; ''[[Shobaleader One: d'Demonstrator|d'Demonstrator]]'' and ''Elektrac''.

=== Plaid ===
[[Plaid (band)|Plaid]], alongside label-mates [[Autechre]] and [[Squarepusher]], was part of a trio of [[Warp (record label)|Warp]] acts picked up for licensing in the United States after their label struck a deal with Nothing Records.  Plaid is the British duo of Ed Handley and Andy Turner.  Both began as founding members of the electronic group [[Black Dog Productions|The Black Dog]], alongside Ken Downie.  Handley and Turner would appear on numerous albums with The Black Dog during the early 1990s, which received critical acclaim, including ''[[Bytes (album)|Bytes]]'', ''[[Temple of Transparent Balls]]'', ''[[Parallel (Black Dog album)|Parallel]]'' and ''[[Spanners (album)|Spanners]]''.  In 1991, Handley and Turner released ''[[Mbuki Mvuki]]'', their debut under the name of Plaid.  The album was self-released on their Black Dog Productions imprint.  They followed up in 1994 with a collaboration with Mind Over Rhythm, entitled ''Mind Over Rhythm Meets The Men From Plaid On The Planet Luv'' on Rumble Records.

After five years recording with The Black Dog, Handley and Turner opted to pursue recording as Plaid full-time in 1995, while Downie continued The Black Dog as a separate venture.  Plaid released the ''Android'' EP that same year for the Clear label, before signing with [[Warp (record label)|Warp Records]], which had previously worked with them, during their time with The Black Dog.  Plaid released their debut album for Warp in 1997, entitled ''[[Not for Threes]]''.  The album was preceded by the single ''Undoneson''.  ''Not For Threes'' featured a notable guest appearance on the track "Lilith" from [[Björk]], with whom the duo had collaborated many times over the years, providing remixing and songwriting duties for her on multiple occasions.

In 1998, Plaid was picked up for licensing on Nothing Records in the United States, after Nothing label-mate [[Jack Dangers]] of [[Meat Beat Manifesto]] claimed to have introduced the Warp acts to [[Trent Reznor]].<ref name="Madden, Dave"/>  Nothing released the US edition of ''Not For Threes'' on October 13, 1998.  The Nothing version removed the track "OI" off the album, while adding on "Undoneson" and "Spudink" from the ''Undoneson'' single.  "Undoneson" and an exclusive remix, "Abla Eedio (Freemix)," also appeared on the Nothing Records compilation ''Nothing Changes'', which was included with a 1998 issue of [[XLR8R|XLR8R Magazine]].

In 1999, Plaid released ''Peel Session'', a live recording from [[John Peel|John Peel's]] legendary radio show.  Nothing released the ''Peel Session'' in the US on April 20, 1999, which featured no audio alterations from the Warp edition.  Plaid followed up with a sophomore album, ''[[Rest Proof Clockwork]]'', the same year.  The album featured a hidden track called "Face Me," featuring [[Alison Goldfrapp]].  The Nothing Records edition was released on June 21, 1999, featuring an identical track list to the Warp edition, including the hidden track.  Plaid also announced the ''Booc'' EP in the late 1990s, but it suffered repeated delays, before finally surfacing on Warp in 2000.  It was not picked up for US release by Nothing Records.

''Rest-Proof Clockwork'' would be Plaid's final release on Nothing Records, as Warp Records established their own US distribution in the early 2000s, via a deal with [[Caroline Distribution]] (which later expired), effectively ending all of Warp's licensing to Nothing.  Warp would later reissue all three of Plaid's Nothing-released titles in the US.  Plaid would go on to become known as one of Warp's most critically acclaimed and tenured acts, earning a dedicated, worldwide fanbase within the electronic scene.  Plaid went on to release several more albums, including ''[[Trainer (album)|Trainer]]'' (a compilation of early Plaid work, including the complete ''[[Mbuki Mvuki]]'' album), ''[[Double Figure]]'', ''[[Spokes (album)|Spokes]]'', ''[[Parts in the Post|Plaid Remixes (Parts in the Post)]]'' (a compilation of Plaid remixes), ''[[Greedy Baby]]'' (an audio-visual collaboration with [[Bob Jaroc]]), ''[[Scintilli]]'', ''[[Reachy Prints]]'' and ''[[The Digging Remedy]]''.  Plaid also recorded soundtracks for the films ''[[Tekkonkinkreet]]'' (which included a Plaid remix album, ''Tekkonkinkreet Remix Tekkinkonkreet''), ''[[Heaven's Door (2009 film)|Heaven's Door]]'' and the interactive short film ''The Carp And The Seagull''.

=== The Bowling Green ===
[[Micko Westmoreland]] was born in 1971 in Leeds, England and had an ear for music from a very young age, learning guitar, keyboards and bass. Throughout his youth, Westmoreland would dabble in traditional instrumentation, until 1990, when his decks and records were stolen. Using insurance money received as a result of the theft, Micko decided to purchase an Atari and synth and began his first experimentations in electronic music.  While still developing his sound, during his time in college, Westmoreland collaborated with musician [[Brian Eno]] and a host of other young artists on the "Self Storage" exhibition at Wembley.

By the mid-1990s, Micko had honed his skills as an electronic producer and began recording as The Bowling Green; the name being derived from the [[bowling green|venue]] on which the sport of [[bowls]] is played. The sound of The Bowling Green crossed many styles of electronica, incorporating a distinct sense of retro and nostalgia.  Micko's earliest music to reach public ears would be for his brother, [[Wash West]]moreland, who began as a gay porn director, though he would later transition into an acclaimed independent filmmaker. Micko provided the music to many of his brother's gay porn films, often credited under the name The Bowling Green, including ''Naked Highway'', ''Technical Exctasy'', ''Animus'' and ''The Seven Deadly Sins: Gluttony''.

The first track from The Bowling Green to see commercial release was on [[Rising High Records|Rising High Records']] ''Further Self Evident Truths'' compilation, with the track "Imparticular" included on ''Volume 3'' of the series (alongside future Nothing Records label-mate [[Plug (band)|Plug]]).  Around this time, Micko approached numerous labels and several responded with offers. Ultimately, he decided on [[Blue Planet Recordings]], a sub-label of [[Silver Planet Recordings]], on the basis that Blue Planet promised Micko some studio time. Micko recalled, "So they lent me their studio and I used to go in there on Sundays and work for 23 hours and finish the mixes at about 8 in the morning, which is quite hellish really.<ref>{{cite web| url = http://www.nothingisnext.com/bands/bg/media/int1.asp| title = An Interview With The Bowling Green's Micko Westmoreland| author = Miller, Walt| work = FAQT| date = 1997| access-date = December 23, 2016| url-status = bot: unknown| archive-url = https://web.archive.org/web/20030529113808/http://www.nothingisnext.com/bands/bg/media/int1.asp| archive-date = May 29, 2003}}</ref>  The results of his studio time would be The Bowling Green's debut ''Mingle EP'' 12" in 1996. This was followed by the ''Chaise Longue EP'' in 1997, which featured a remix from Blue Planet and future Nothing Records label-mate [[Plug (band)|Plug]].

The music would catch the attention of [[Trent Reznor]] and Nothing Records, which had just licensed [[Luke Vibert|Luke Vibert's]] [[Plug (band)|Plug]] project from the Blue Planet label.  Nothing Records offered to license The Bowling Green from Blue Planet and Micko joined the label in November 1997. The Bowling Green would release ''The Receptionist E.P.'' on Blue Planet in 1998, as well as appear on compilations for electronic labels Law & Auder, Dot and [[Shadow Records]].  Micko also began working on a debut album, opting to record in a home studio, appropriately named The Spare Room, in Ladbroke Grove, West London.  The resulting album, ''One Pound Note'', was released in the UK on Blue Planet Recordings in June 1998.  Shortly after the release, Micko appeared alongside [[Si Begg]] on the [[John Peel]] Sessions.

In October 1998, Micko gained further attention for an acting role in filmmaker [[Todd Haynes|Todd Haynes']] [[glam rock]] drama ''[[Velvet Goldmine]]'', starring alongside [[Ewan McGregor]], [[Christian Bale]], [[Jonathan Rhys Meyers]], [[Toni Collette]] and [[Eddie Izzard]]. Micko played the mysterious Jack Fairy, who was loosely inspired by musicians [[Brian Eno]] and [[Marc Bolan]].  The role came about by chance for Micko, as [[Todd Haynes]] had been taking residence in the home of Micko's brother, [[Wash West]]moreland, while shooting his film ''[[Safe (1995 film)|Safe]]''.<ref>{{cite web| url = http://mrs_fairy.tripod.com/bgstuff/mickobio.html| title = Nothing Records Press Release| author = unknown| work = Nothing Records| date = 1999| access-date = December 23, 2016| url-status = dead| archive-url = https://web.archive.org/web/20161224094523/http://mrs_fairy.tripod.com/bgstuff/mickobio.html| archive-date = December 24, 2016}}</ref>  Todd had met Micko though his brother and felt there would be a place for him somewhere in his new film, ''[[Velvet Goldmine]]''.  Initially auditioning for a minor part, Micko was instead cast in the pivotal role of Jack Fairy.

The first appearance of The Bowling Green on Nothing Records came with two tracks from ''One Pound Note'' being featured on the label sampler ''Nothing Changes'', which was included with an issue of XLR8R Magazine in 1998.  Nothing Records then released ''One Pound Note'' in the United States on January 19, 1999. The album contained numerous samples, including dialogue from the 1973 cult horror film, [[The Wicker Man (1973 film)|The Wicker Man]].  The album's samples were left intact for the U.S. release, with the exception of the song "Gentleman Reverse," which was cut from the U.S. edition, due to sample clearance issues.

The Bowling Green's run on Nothing Records was limited to the release of ''One Pound Note'', as the Blue Planet label went on hiatus shortly thereafter (before eventually going defunct altogether after a brief return from 2004 to 2005).  This left The Bowling Green in need of a new UK label and subsequently ended their licensing deal to Nothing Records. In 2002, The Bowling Green signed with Spiky Records in the UK, which released his sophomore album, ''Fabrications''. The album marked a shift in sound for Micko, with many tracks more focused on songwriting. In addition, Spiky released three 12-inch singles around the ''Fabrications'' album; ''Pre-Fabrications Vol. One'', ''Pre-Fabrications Vol. Two'' and ''Tigons And Liger'', featuring remixes from [[Mike Paradinas|μ-ziq]] and [[Si Begg|Si Begg's]] Buckfunk 3000 project.

After the release of ''Fabrications'', Micko opted to no longer record as The Bowling Green.  In 2001, he recorded music for his brother [[Wash West|Wash Westmoreland's]] film ''[[The Fluffer]]'', as well as his 2006 film ''[[Quinceañera (film)|Quinceañera]]''.  The latter won both the Audience Award and the Grand Jury Prize at the [[2006 Sundance Film Festival]].  In 2009, Micko Westmoreland released his first solo album under his own name, entitled ''Wax & Wayne'', on [[Terry Edwards|Terry Edwards']] Sartorial Records.  The album marked a significant change in sound for Westmoreland, leaving electronic music behind, in favor of a British indie rock sound.  In 2010, however, Micko released an electronic project known as Wooden Spaceship in the U.S. on I, Absentee.  The ''Wooden Spaceship'' material, which amounted to a one-off, self-titled EP, hearkened back to the electronic nostalgia and wonky beats of his electronic roots and represented a bridge between The Bowling Green and his later, eponymous solo material.

In 2015, Micko launched his own label, Landline Records, which released his sophomore album under his own name, entitled ''Yours Etc Abc''. Micko also digitally reissued The Bowling Green albums ''One Pound Note'' and ''Fabrications'' on Landline Records in 2016. The same year, Micko digitally released a collection of both The Bowling Green and Micko Westmoreland remixes, simply titled ''Remixes'' and featuring tracks from the old The Bowling Green 12"s, which included remixes by [[Luke Vibert]], [[Mike Paradinas]] and [[Si Begg]], amongst others.  In 2017, Landline Records digitally reissued the ''Wooden Spaceship'' EP.  Micko continues to use Landline Records as his primary musical outlet.

=== Nine Inch Nails (The Fragile era) ===
Five years after the highly successful release of ''[[The Downward Spiral]]'', Nine Inch Nails delivered their third album, ''[[The Fragile (Nine Inch Nails album)|The Fragile]]'', in 1999.  In the time between albums, Reznor had busied himself with numerous other projects for Nothing, such as [[Marilyn Manson (band)|Marilyn Manson]]'s ''[[Antichrist Superstar]]'' album, the ''[[Lost Highway (film)|Lost Highway]]'' [[Lost Highway (soundtrack)|soundtrack]] and [[Rob Halford]]'s [[2wo]] project.  Prior to recording the album, longtime drummer [[Chris Vrenna]] would part ways from the band, going on to launch his own project, [[Tweaker (band)|Tweaker]]. [[Bill Rieflin]] and [[Jerome Dillon]] would take over drumming duties for the album, with the latter becoming the full-time, replacement drummer for the band, until 2005.  ''The Fragile'' was produced by [[Trent Reznor]] and [[Alan Moulder]] at Nothing Studios in New Orleans.

The project developed into a major undertaking, becoming a double album.  Canadian rock producer [[Bob Ezrin]] was consulted on the album's final track listing, in an effort to assemble the songs into a cohesive presentation.  Unlike the gritty angst of ''The Downward Spiral'', ''The Fragile'' relied more of melody, ambient noise and atmospheric soundscapes.  Thematically, it is a concept album dealing with Reznor's personal issues at that time, which included depression, anger and drug abuse.

This first single from the album, "[[The Day the World Went Away]]", was released in North America on July 20, 1999.  A music video was shot for the song, but went unreleased at the time (although parts eventually surfaced on 2002's ''[[And All That Could Have Been]]'' DVD).  A television commercial for the album then aired on the [[1999 MTV Video Music Awards]], with Nine Inch Nails also performing the album's title song, "The Fragile," live on the show.  ''The Fragile'' was released on CD, vinyl and cassette on September 21, 1999 and debuted at number 1 on the [[Billboard 200|''Billboard'' 200]] with sales of 228,000 units, making it the first Nine Inch Nails album to top the charts.<ref name="Sparkle">{{cite magazine |last=Whitmire |first=Margo |url=http://www.billboard.com/articles/news/62958/nins-teeth-sparkle-at-no-1 |title=NIN's 'Teeth' Sparkle At No. 1 |magazine=[[Billboard (magazine)|Billboard]] |date=May 11, 2005 |access-date=January 2, 2017}}</ref>  Each edition of the album featured minor variations in the track listing.  The vinyl edition, pressed on 3 LPs, featured two tracks not available on the CD version; "10 Miles High" and "The New Flesh."  The intros and outros of each sides are also different from the CD, particularly the song "Ripe," which does not have the "(with Decay)" section.  The cassette edition features an extended version of the song "Please," entitled "Please (+ Appendage)."

"[[We're in This Together (Nine Inch Nails song)|We're in This Together]]" was released as a three part CD single in Europe on December 14, 1999.  The discs featured the bonus tracks from the vinyl, a [[Porter Ricks]] remix and an extended mix of "The Perfect Drug."  A music video was also shot and released for the song.  The third single from the album, "[[Into the Void (Nine Inch Nails song)|Into the Void]]," was released on CD in Australia on May 9, 2000, featuring no exclusive content.  Another music video was shot and released for the song.

The band embarked on a worldwide [[Fragility Tour|tour]] in support of the album, with the first leg, entitled "Fragility 1.0," taking place in Europe, with [[Atari Teenage Riot]] performing as openers. [[Interscope Records]] reportedly refused to fund the promotional tour, following ''The Fragile's'' lukewarm sales, which had dropped sharply after its first week of release.  Reznor instead committed to fund the entire tour himself, which quickly sold out.  He concluded that "the reality is, I'm broke at the end of the tour", but also added, "I will never present a show that isn't fantastic."<ref>{{cite news | title = Rock's outlook bleak, but this Nail won't bend | last = Soeder | first = John | newspaper = [[Cleveland.com]] | date = April 9, 2000}}</ref>  A television special, entitled "Fragility 1.0," aired as a 30-minute special on [[MTV]] on December 21, 1999, showcasing the first leg of the tour.

The North American leg of the tour, entitled "Fragility 2.0" followed, with [[A Perfect Circle]] serving as guest openers. [[Rolling Stone]] magazine named Fragility the best tour of 2000.<ref>{{cite news | url = http://media.www.westerncourier.com/media/storage/paper650/news/2002/02/01/TheEdge/Nin-It.Wasnt.All.It.Could.Have.Been-443708.shtml | archive-url = https://archive.today/20110718032029/http://media.www.westerncourier.com/media/storage/paper650/news/2002/02/01/TheEdge/Nin-It.Wasnt.All.It.Could.Have.Been-443708.shtml | url-status = dead | archive-date = July 18, 2011 | title = NIN: It wasn't all it could have been | first = Ryan | last = Heinz | work = [[The Western Courier]] | date = 2002-02-01 | access-date = 2008-02-19 }}</ref>  A music video was shot for "[[Starfuckers, Inc.]]," with the song renamed "Starsuckers, Inc." to accommodate mainstream airplay.  The music video features Reznor mocking rock stars such as [[Courtney Love]], [[Billy Corgan]], [[Marilyn Manson]] and even Reznor himself.  Reznor and Manson had been exchanging verbal barbs in the press during this time, so the video marked a brief reconciliation with the pair, with Manson appearing in and co-directing the video.  Manson also made a surprise appearance at Nine Inch Nails' concert on May 9, 2000 at [[Madison Square Garden]] in New York City, performing with the band during "Starfuckers, Inc.," followed by a performance of Manson's "The Beautiful People."

A remix album for ''The Fragile'', entitled ''[[Things Falling Apart]]'', was released on November 21, 2000.  The album featured remixes from members of the band, as well as [[Adrian Sherwood]], [[Dave Ogilvie]] and [[Telefon Tel Aviv]].  The release also includes a cover of the [[Gary Numan]] song "Metal."  Nine Inch Nails also released a new song, entitled "Deep," on the soundtrack to the film [[Lara Croft: Tomb Raider]] in 2001.  The band shot a music video to accompany the song, which did not feature any footage from the film.

Nine Inch Nails released their first live album, ''[[And All That Could Have Been]]'', on CD, DVD and VHS on January 22, 2002.  The CD included a bonus disc of softer renditions of older songs, as well as new material, entitled ''[[And All That Could Have Been#Still|Still]]''.  Some tracks from ''Still'' evolved from rejected themes originally written for [[Mark Romanek]]'s 2002 film ''[[One Hour Photo]]''.<ref>{{cite web | archive-date = 2006-01-06 | archive-url = https://web.archive.org/web/20060106205140/http://www.nin.com/access/5_07_04/index.php | url = http://www.nin.com/access/5_07_04/index.php | title = Access | author = [[Trent Reznor]] | publisher = nin.com | date = 2004-05-07 | access-date = 2008-02-19}}</ref>  The DVD featured live footage shot on the "Fragility 2.0" leg of the tour.  The DVD also featured a performance of "The Day The World Went Away" as a hidden, bonus feature, which was intercut with clips of the song's unreleased music video.  Marilyn Manson's guest performance with Nine Inch Nails at Madison Square Garden was also included as a hidden feature.

''The Fragile'' was certified double platinum by the [[Recording Industry Association of America]] (RIAA) on January 4, 2000, denoting shipments of two million copies in the United States.<ref name="Sparkle"/>  The album received a mostly favorable critical reception and has gone on to be considered a favorite amongst fans of the band.  In 2017, Nine Inch Nails released a vinyl reissue of the album, as well as ''The Fragile: Deviations 1''; a 4-LP set assembled by Reznor and [[Atticus Ross]], featuring instrumentals and alternate takes, alongside numerous rare and unreleased tracks from the era.

At the conclusion of ''The Fragile'' era, Trent admitted himself into rehab and began to sober up, putting Nine Inch Nails on hiatus.<ref name="The nine lives of Trent Reznor">{{cite news|last1=Beaumont|first1=Mark|title=The nine lives of Trent Reznor|url=https://www.theguardian.com/music/2013/aug/08/the-nine-lives-of-trent-reznor|newspaper=The Guardian|access-date=19 March 2017}}</ref>  It was during this time of recovery that Reznor would begin looking into the finances of Nine Inch Nails, which would lead to a lawsuit against his then-manager and Nothing Records president, [[John Malm, Jr.]]  Their falling out would become one of the major catalysts in the eventual demise of the label.