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Albini and Big
It consisted of Steve Albini ( formerly of Big Black ) on guitar and vocals, David Wm.
in 1990 after Albini had an argument with the label over the release of a Big Black record.
Among others, Steve Albini ( Shellac, Rapeman, Big Black ), Panthére, Gang Gang Dance, The Jesus and Mary Chain, The Sisters of Mercy, She Wants Revenge, Henry Rollins, Joy Division / New Order, Soft Cell, Nick Cave, Cassandra Complex, Sigue Sigue Sputnik, Radiohead, Kap Bambino, Spacemen 3, Spiritualized, Angel Corpus Christi ( covers of Dream Baby Dream and Cheree with Alan Vega guest vocals ), Michael Gira, MGMT, Sonic Boom, Loop, The Fleshtones ( both of whom have recorded cover versions of " Rocket USA "), Ric Ocasek of The Cars, Mi Ami, R. E. M.
In 2004, Lightning Bolt played on the doorstep of radio DJ John Peel's chalet at noon during the All Tomorrow's Parties festival, about which neighbor Steve Albini of Shellac and Big Black commented " Best alarm clock I've ever had.
Albini has fronted the bands Big Black, Rapeman and Shellac on guitar and vocals.
On the advice of a 4AD colleague, Watts-Russell looked to hire Steve Albini, ex-frontman of Big Black, as the record's engineer and producer.
Big Black was founded by Steve Albini in 1981 during his second year of college at Northwestern University.
A Roland TR-606 drum machine, the model Albini used to create Big Black's drum sound.
Albini named his new musical project Big Black, calling the moniker " just sort of a reduction of the concept of a large, scary, ominous figure.
In early 1983 Albini met Naked Raygun singer Jeff Pezzati through mutual friends and convinced him to play bass guitar with Big Black.
According to Albini, " He ended up being absolutely crucial to Big Black.
Albini " sorta conned " small local label Fever Records into financing the next Big Black EP, bringing in drummer Pat Byrne of Urge Overkill to play on the sessions as accompaniment to the drum machine, which they dubbed " Roland " for album credits.
Part of Big Black's local unpopularity stemmed from Albini and the vitriol he regularly directed at Chicago's rock scene: by 1985 the Metro Chicago was the only club in the city that was booking punk rock shows and was also large enough to accommodate Big Black, but after performing there Albini badmouthed the club in an interview and found himself banned from it permanently.
Gerard Cosloy, who had befriended Albini through writing for Matter and gone on to work at Homestead, negotiated an unorthodox deal for the band: Big Black merely licensed their recordings to Homestead for specific lengths of time, rather than the label retaining the rights to the recordings as was typical.
Michael Azerrad comments that " by this time Big Black had both refined the ideas first suggested on Lungs and exploded them into something much huger than anyone but Albini had ever imagined ", while Mark Deming of Allmusic states that the album " upped the ante on the musical and lyrical ferocity of Big Black's previous body of work, an unrelenting assault of guitar sounds and imagined violence of all sorts.
Big Black secured a European distribution deal for their records through Blast First, a label recommended to Albini by Sonic Youth, and met enthusiastic responses to their shows on a 1986 European tour.
As a result of the deception, Albini and Big Black severed ties with Homestead and Dutch East India.
Another problem facing the band was that Riley was now in college and both Albini and Durango had to keep day jobs, which limited Big Black's ability to tour.
" Albini himself later considered the album's first side as Big Black's best output.
Following Big Black's breakup, Albini formed and fronted Rapeman from 1987 to 1989 and Shellac from 1992 onward.

Albini and Black
While recording the Pixies ' album Surfer Rosa, producer Steve Albini recognized the Pixies ' references and realized that he and Black both " had an affection " for Norman's music.
" An example was " Something Against You ", where Albini filtered Black Francis ' voice through a guitar amp for " a totally ragged, vicious texture.
On September 9, 2006, Albini and Durango reunited with original bassist Jeff Pezzati for a Big Black reunion performance at Touch and Go's 25th Anniversary festival.
Albini explained that the performance was " not about Big Black wanting to get back together or even an audience wanting to see Big Black, it's that ... to not honor Touch and Go would be an insult by way of damning with faint praise ", describing the label as " just a benchmark for how a record label should behave, but how people should behave.
" Both Albini and Riley described Big Black as a punk rock band.
Albini also emphasized that the songs ' lyrics were not the focal point of Big Black, and that the vocals were only there out of necessity: " It seemed like, as instrumental music, it didn't have enough emotional intensity at times, so there would be vocals.

Albini and had
In an interview, Albini reported that "' Rapeman ' is ... the title character in a Japanese comic book that I had come across through a friend of mine.
4AD gave the band an $ 11, 000 budget and recruited Steve Albini, who had worked with Deal on the Pixies ' 1988 album Surfer Rosa, to record in Edinburgh, Scotland for two weeks in December 1989.
Bush's albums include the aforementioned Sixteen Stone, Razorblade Suitcase ( recorded by Steve Albini ), Deconstructed, The Science of Things, and Golden State, all albums had much success in terms of albums sales, which led Bush to be one of the best selling rock groups to come out of the nineties.
That same year, the band spent time in the studio recording with Steve Albini, who had produced the Baby Talk / Brontosaurus single.
" Paul Kolderie, who had worked at Fort Apache Studios with Smith, recommended the Boston recording studio Q Division to Albini.
Albini had become a fan of punk rock during his high school years in Missoula, Montana, and taught himself to play bass guitar in the fall of 1979, his senior year, while recuperating from a badly broken leg resulting from being struck by a car while riding his motorcycle.
" Albini later remarked that " we just had a higher-than-average percentage of really good songs.
The band agreed on the condition that the single was not to be offered for sale, since the song had already been released as a 7-inch single in 1985 and, according to Albini, " We didn't want our audience milked for extra money to buy an alternate format.
Albini explained that the band strove for intensity, stating that their goal was to make " something that felt intense when we went through it, rather than something that had little coded indicators of intensity.
Some, such as " Cables ", " Pigeon Kill ", and " Jordan, Minnesota ", were based on real events, or things that Albini had witnessed during his midwest upbringing.
4AD gave the band a $ 11, 000 budget and recruited Steve Albini, who had worked with Deal on the Pixies ' 1988 album Surfer Rosa, to record in Edinburgh for two weeks in December 1989.
The band had originally recorded demos for the album in Chicago with producer Steve Albini at Chicago Recording Company studios, with the intention of releasing a two or three song EP.
We did a lot more pre-session demos, not just with Albini, but also using an 8-track reel-to-reel that we had bought to record our practices.
Wanting to record locally they met with Chicago-based producer Steve Albini, who had previously worked with artists such as PJ Harvey, The Pixies, and Nirvana.

Albini and nothing
Harvey describes herself as " an extremely quiet person, who doesn't go out much, doesn't talk to people " and has also acquired a reputation for eccentricity to match her music ; for example, Steve Albini claimed she ate nothing but potatoes while making Rid of Me.

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