Steve Albini, Who revolutionized rock music
I still remember vividly the moment I first heard Steve Albini’s music. It was back in my first year of high school when I explored beyond the classic rock albums I grew up listening to. I was intrigued despite delving into various “lo-fi” and “noisy” records recommended on online forums, such as In The Aeroplane Over The Sea, Loveless, and White Light/White Heat.
Still, I needed help understanding why some found them challenging to appreciate. Perhaps it was because my young ears were accustomed to low-quality phone speakers and chaotic cell phone videos, making me more tolerant of discomfort. I felt like I would never find something that truly satisfied my craving for intense sounds, thinking my quest to rediscover that electrifying feeling of hearing a distorted guitar for the first time was futile.
A friend suggested I check out an album called Songs About Fucking by Big Black. The cover art was unassuming, featuring a green background and a cartoon of a woman in ecstasy, with the title written in small letters. Despite its innocuous appearance, I felt rebellious and nervous about having it on my phone, as if my mother might discover it and be outraged.
As I walked between classes, music filled my ears, echoing through the hallways of my school. The opening lyrics, “The backbone of this country is the independent truckers,” rang out with a raw energy that made my heart race. I had turned up the volume to the max, and the guitars blared out fiercely like a swarm of wasps unleashing a chainsaw.
I thought my earbuds had malfunctioned for a moment, but then I realized that this was just the raw power of rock music hitting me like a lightning bolt. It was like hearing it again for the first time, and I couldn’t believe the emotions flooding through me.
Steve Albini’s impact on music is so profound that it’s hard to describe. As a producer and musician, he’s left his mark on countless albums and artists, and his influence can be heard in everything from the raw, edgy sound of 90s alt-rock to the soaring guitar riffs of “Kerosene.”
Even people who don’t know his name have probably heard his work – think “Where Is My Mind” or “Heart-Shaped Box.” Albini’s legacy is so vast that it’s hard to summarize in a single tribute, but people are finding ways to honour him. At XPN, the guitars of “Kerosene“ are blasting through computer speakers while friends are texting me about their favourite Albini-produced tracks.
Shellac’s At Action Park is regarded by some as a groundbreaking work of minimalist rock that shed light on the raw, unbridled power of the guitar. Others highlight Steve Albini’s contributions to the production of lesser-known albums, such as Songs: Ohia’s Magnolia Co. and The Wesley Fiasco’s Spookydisharmoniousconflicthellride, a punk record featuring the inimitable Wesley Willis on vocals.
Albini’s fans also point to the informative videos he has curated on Electrical Audio’s YouTube channel as a valuable resource for producers. Additionally, Albini’s colorful personality is remembered through his viral Twitter rant against Steely Dan, which began with his bold declaration: “I will always be the kind of punk that shits on Steely Dan.” Beyond his musical pursuits, Albini’s talents extended to the realm of poker, where he won two World Series Poker bracelets.
Albini should be remembered not only as a sought-after producer for successful albums like In Utero but also as an innovative guitarist and a strong-willed individual. He gained notoriety for his outspoken views on the music business, his firm support for analogue recording, and his aversion to popular music.
Delve more profoundly, and you’ll come across an Albini that may provoke you – for me, it adds to his appeal. In his later years, he embraced discussions and critiques of his controversial past and has become a vocal opponent of prejudice and systemic injustices. Throughout his life, Albini supported independent musicians by offering affordable rates at his Electrical Audio studios and frequently addressing the music industry’s exploitation of musicians.
The loss of Steve Albini, an influential figure in the music industry, comes at a particularly poignant time, just days before Shellac’s first album of new material in ten years. The tracklist of To All Trains includes a signature Albini-style jab at post-punk band The Fall and concludes with the defiant “I Don’t Fear Hell.“
Given the unexpected timing of his passing, it’s hard not to see the irony in the album’s closing track, though it’s likely Albini would have found it amusing. His legacy as a provocative and innovative musician will live on, leaving a lasting impact on the world of guitar music. As Wesley Willis put it, “Thank you, Steve Albini.”