How Steve Albini Shaped Rock in 13 Albums

Paolo Ragusa and Jonah Krueger
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The post How Steve Albini Shaped Rock in 13 Albums appeared first on Consequence.

Few figures have had as profound of an impact on underground rock as Mr. Steve Albini. Both as a performer and a recording engineer (and producer, though he was less fond of that specific title), Albini, who passed away yesterday, May 8th, at the age of 61, leaves behind a body of work that’s as staggeringly massive as it is insanely impressive. Seriously, he’s almost certainly either played on or recorded one of your favorite records.

As a member of Big Black, Albini helped define the Chicago indie scene with abrasive, drum-machine-backed noise punk; with Rapeman, he made like Ian MacKaye and made the transition from hardcore to post-hardcore look easy; and, finally, with Shellac, he perfected his Albini-esque mix of punk subgenres (noise rock, punk, post-rock, math rock, [insert other fucked up style of guitar music here]).

And yet, as influential as his piercing, metallic guitar tone and ferocious performances were, Albini’s biggest contributions to the world of music arguably came from his work behind the boards. As a recording engineer, he pioneered revolutionary techniques and upheld a unique, strong-willed philosophy that put artists and their creations well ahead of the almighty dollar. Famously, he would refuse to take royalty percentages on the music he worked on, instead opting for a one-time upfront payment. To do otherwise would be “ethically untenable,” he said. Considering some of the records he worked on, Pixies’ Surfer Rosa and Nirvana’s In Utero (!!), it’s a decision that likely left quite a bit of money in the pockets of artists.

With the sheer number of truly incredible records that bear his fingerprints, rounding up the best of Albini’s catalog is a nearly impossible task. We might as well have just linked to the lengthy “discography” section on his Wikipedia page, said ‘here ya go,’ and called it a day. Narrowing it down to any reasonable number inevitably leaves out countless albums that, on any other artist’s list, could have been in the top five. If we had the space, we’d be gushing about his work with Melt-Banana, Poster Children, Don Caballero, Jawbreaker, Oxbow, Brainiac, Bush, Dirty Three, Bedhead, Robert Plant and Jimmy Page, Godspeed You! Black Emperor, Scrawl, Mogwai, High on Fire, Mono, Screaming Females, Ty Segall, Sunn O)))… sorry, what were we doing again?

Oh, yeah, here are 13 of the best albums from Steve Albini. Prepare for a lot of, “Wait, he did THAT too??” — Jonah Krueger

1. Big Black — Atomizer (1986)

Big Black’s magnum opus, Atomizer, flawlessly executes the Chicago noise-punker’s formula. There’s ear-piercing, buzzsaw guitar tones, the relentless beat of their trusty drum machine “Roland,” and Albini’s off-kilter, always aggressive vocals. And yet, beneath it all, lies some genuinely compelling pop songwriting. Had anyone else written and recorded “Passing Complexion” or “Strange Things,” they might have been radio-ready alternative hits. And yet, they’re the work of Albini and Big Black, so the tunes are instead run through a meat grinder and subsequently pissed on — and it rocks so hard. No wonder their following Headache EP came with a sticker stating “Warning! Not as good as Atomizer, so don’t get your hopes up, cheese.” — J. Krueger

2. Big Black — Songs About Fucking (1987)

Big Black’s second full-length album, Songs About Fucking, is obscene in a bizarre, innovative way, with Steve Albini conducting a freak-like fury across 30 minutes of noise rock. With the band’s breakup being imminent, it served as Big Black’s final and most grandiose statement piece, combining new wave and alternative sensibilities (especially on the Kraftwerk cover “The Model”) with a visceral punk ethos. Its’ success both in the underground and above led to some significant opportunities for Albini, including capturing the attention of Robert Plant and Jimmy Page. — Paolo Ragusa

3. Pixies — Surfer Rosa (1988)

Many people have thought they sounded better singing in a bathroom, but few have gone as far as Albini to turn a toilet into a recording studio. In search of a more “roomy” sound, he mic’d Kim Deal in the toilets on Surfer Rosa tracks “Gigantic” and “Where Is My Mind?,” in the process drafting a new blueprint for dreamy lo-fi. He was also the first producer to capture Pixies’ soft-loud dynamics in the studio, establishing the sound that would go on to influence Kurt Cobain half-a-decade before he actually worked with Cobain. — Wren Graves

4. Rapeman — Two Nuns and a Black Mule (1988)

Yeah, the band name is a tad unfortunate. And yet, the ferocious, post-hardcore of projects like Two Nuns and a Pack Mule are rightfully etched into the history of Chicago’s punk scene. Moving away from the always-on aggression of Big Black, Two Nuns and a Pack Mule found Albini playing with dynamics, crafting multi-part songs that hint at the road he’d eventually go down with Shellac. Two Nuns and a Pack Mule is less appreciated than Big Black or Shellac’s most recognizable albums, likely in part due to the fact it’s not on streaming services, but Albini-heads and fans of ’90s punk rock would be remiss to skip out on this in-you-face gem. — J. Krueger

5. The Breeders — Pod (1990)

The Breeders’ debut album wasn’t just a favorite of Kurt Cobain – it was the extension of a legacy that Steve Albini helped foster when he worked with Pixies on Surfer Rosa. Led by the incomparable Kim Deal, The Breeders helped shape the sound of alternative rock. Though Last Splash is often considered their most influential, Pod captured the band with nothing to lose, and with Albini at the helm, they struck a dreamy, riveting nerve. Albini’s insistence on stripping down their sound helped elevate songs like “Doe,” the slyly weird “Fortunately Gone,” and the stirring “Iris.” — P Ragusa

6. The Jesus Lizard — Goat (1992)

Steve Albini loved The Jesus Lizard. You can tell both in the way he talked about the band in interviews and in the way he was able to translate their raw, throbbing energy to tape. From the shrieking guitar tones to the heart-bursting bass to frontman David Yow’s mad ramblings, Albini presented The Jesus Lizard as they are — fuckin’ bananas. Not to mention that Goat showcases some of the best drum recordings of Albini’s career. Put together, it’s a record that’s as Albini as they come, and he didn’t even play on the damn thing! (Also, ’90s post-hardcore nerds should look up the story behind “Mouth Breather.” Trust me…) — J. Krueger

7. PJ Harvey — Rid of Me (1993)

In the 1990s, the roaring voice of PJ Harvey was like none other in music, and working with Albini on her third studio album truly unleashed the singer/songwriter’s potential. “He’s the only person I know that can record a drum kit and it sounds like you’re standing in front of a drum kit,” she told MTV in 1993. Not everyone loved Rid of Me (Elvis Costello once said it “sounds like shit”) but thanks to that raw guitar sound — and those drums — the album packs a memorable punch. — Liz Shannon Miller

8. Nirvana — In Utero (1993)

As the story goes, Steve Albini’s contributions to Nirvana’s extremely anticipated Nevermind follow-up were minimized during the aftermath of their recording process – several tracks, including hits “Heart-Shaped Box” and “All Apologies,” were remixed before release. It may have pissed Albini off to high hell, but his work shaping Nirvana’s abrasive sound — and stripping it to its essence and live-band purity — in the most high-pressure moment of their career has become one of his crowning achievements in the rock genre. Songs like “Scentless Apprentice” sound like monoliths, Albini and the band meeting in the middle for something visceral and intriguing. — P. Ragusa

9. Shellac — 1000 Hurts (2000)

At Action Park might have “Crow,” Dude Incredible might have “Dude Incredible,” but 1000 Hurts has perhaps the most Steve Albini-ish Steve Albini song of all time — motherfuckin’ “Prayer to God.” Beyond that vitriolic piece of revenge punk, the rest of 1000 Hurts is Shellac at their best, from the jagged, mathy grooves (“Squirrel Song,” “Canaveral”) to the aggressive post-hardcore anthems (“Ghosts,” “Shoe Song,” “Watch Song”) to the irreverent silliness (“New Number Order”). It’s a lean, mean, post-rockin’ machine that, as far as Shellac goes, also serves as one of the band’s more accessible releases. You know, relatively speaking… — J. Krueger

10. Low — Things We Lost in the Fire (2001)

The Low and Steve Albini connection spans far beyond just their respective midwest origins. They both were in service of unfettered beauty, of letting a kind of divine majesty bubble up like lava during the recording process. Albini notoriously stays out of the songwriting arena, but you can’t help but feel his presence in the room as the atmosphere thickens on Things We Lost in the Fire, as slow sounds turn moving, devastating. With both Mimi Parker and Albini gone now, this album’s stunning, entrancing aura is a reminder of time’s arrow, and the way they both made the broken sound so, so beautiful. — P. Ragusa

11. Songs: Ohia — The Magnolia Electric Co. (2003)

Magnolia Electric Co., the first of many collaborations between Albini and underground alt-country hero Jason Molina, marked a noticeable shift in style for Molina’s Songs: Ohia project. Compared to the slow, depressive songs that embraced open space found on efforts like Didn’t It Rain and Ghost Tropic, Magnolia Electric Co. was full-bodied and lively. Albini’s hand undeniably helped realize Molina’s new direction. Recorded live with Molina’s touring band, the record is a perfect, if less punky, example of Albini’s recording philosophy — doing everything in his power to capture the authentic energy of the live band rather than chasing some platonic, faux-perfect idea of what the song ‘should be.’ — J. Krueger

12. Joanna Newsom — Ys (2006)

Joanna Newsom is not the first artist that comes to mind when thinking of Steve Albini, which made their 2006 collaboration a miracle. Joanna Newsom and her multi-instrumentalist approach to elaborate chamber folk also may have been a challenge for Albini, who was usually capturing punk bands with two instruments in a visceral, prophetic way. Still, at that point in his career, he wasn’t done taking risks – the expressive, enchanting work that Newsom did on Ys is impressive on her own accord, and was undoubtedly made more great by Albini’s studied contributions. — P. Ragusa

13. Cloud Nothings — Attack on Memory (2012)

By 2012, Albini had certainly demonstrated his indifference to genre; he went with what moved him. But Cloud Nothings’ second album just happened to live in Albini’s sweet spot – scorching punk, sweet and sour arrangements, a minimalist feel, and a sense that you’re in the room with them while they’re recording these songs. That last trait is signature Albini, and though the band’s sound was heavily inspired by groups Albini had previously worked with, they charted their own fuzzy, psychedelic path on Attack on Memory. Whether he knew it or not – whether he cared or not – Albini was continuing to shape rock and roll for future generations. — P. Ragusa

How Steve Albini Shaped Rock in 13 Albums
Paolo Ragusa and Jonah Krueger

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