One of modern music's most prolific and celebrated technical and creative talents has died, leaving behind a legacy that includes some of the most influential albums of the past 35 years.
Albini's list of credits is impossibly long and impressive. His work with artists like Nirvana , Pixies , PJ Harvey and Ty Segall, as well as his own bands like Shellac and Big Black, have resulted in some of the most influential records of all time.His no-nonsense, anti-capitalist attitude towards the music industry has made him a beacon for musicians who want to enjoy a career making art without becoming too entangled with the machinations of the music industry.
"The band did ultimately get everything that they wanted. They were responsible for picking the songs, the songs that were remixed were remixed at their behest and under their supervision. The mastering was done under their control. "There's no chance that I will ever record another big band," he said. "That Nirvana record has effectively ruined my career in that regard. The major record companies are absolutely through dealing with me.
Jimmy Page and Robert Plant's Walking Into Clarksdale is not their best work, nor is it Albini's, but its testament to the engineer's reputation that these titans of rock'n'roll chose him when they decided they wanted to make a straightforward, stripped back rock record."He got it all sounding really good in the shortest space of time. Without any pain at all.
Surfer Rosa was certified proof you didn't need a fancy studio or effects to craft a classic. Kim Deal's vocals for 'Gigantic' and 'Where Is My Mind?' — two of indie rock's most enduring anthems — were recorded in a cement-lined bathroom.Holed up at Boston's Q-Division studio, Surfer Rosa was recorded in just 10 days.
In a 1994 issue of fanzine Forced Exposure, he dismissed Surfer Rosa as "a patchwork pinch-loaf from a band who at their top dollar best are blandly entertaining college rock"."I'm ashamed of the way I treated . They didn't deserve that," Albini told Life of the Record. "I have found that records don't get better if you work on them longer. They get better if you work on them with more attention," Albini said.
His work with this band no doubt helped Albini link up with bands of a similar ilk, with everyone from The Mark Of Cain to Fugazi to Mclusky choosing to enlist Albini to help them make records with a similar menace. Like much of the music Albini made as a musician, 1000 Hurts is both proficient and primal. While the sinewy three-piece lock in together with apparent ease, the noise they make is constantly tense and often abrasive.
"Steve recognised the creative struggle. 'Don't forget what you came in here to do'. album's existence as it is, is down to his advice in a fragile moment of doubt. I think of this advice most times I am in the studio. A gentleman and pleasure to work with.
Albini even got to try out a few new microphone techniques "as a means of capturing all the subtleties of the instrument. It worked out pretty well, I was pleased.""It was a joy working on that record," Albini said. "She's a terrific player, she sings like an angel, everything about it was great." "He would alternate between that and writing on his food blog. I don't even know if he remembers what our album sounds like.""When I first started making records I would sit in front of the console concentrating on the music every second. I found out the hard way that I tended to fiddle with things unnecessarily and records ended up sounding tweaked and weird.
Steve Albini Cause Of Death Steve Albini Albums Steve Albini Dead Steve Albini Produced Albums Steve Albini Band How Did Steve Albini Die Steve Albini Nirvana Steve Albini Pixies Pixies Nirvana PJ Harvey Joanna Newsom Robert Plant Shellac Jimmy Page
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