Albini later produced Nirvana's 1993 In Utero at the request of Cobain.

The song " In the Meantime " was recorded by Steve Albini and later remixed by Andy Wallace.

" Albini later said that the record could have been completed in a week, but " we ended up trying more experimental stuff basically to kill time and see if anything good materialized.

Lupfer later admitted that Albini knew " perfectly well what was going on.

Albini later observed the use of studio banter on Surfer Rosa: " It's on their record forever so I think now they are obliged to say that they're ok with it, but I honestly don't know that that idea would've ever come up if I hadn't done it.

Influenced by bands like Cabaret Voltaire, Killing Joke, and The Cure, the EP is described by Our Band Could Be Your Life author Michael Azerrad as " cold, dark, and resolutely unlistenable ", with the lyrics describing crack addicts and child abusers, and Albini later regarded the effort as one of his few artistic regrets.

" Albini himself later considered the album's first side as Big Black's best output.

In May 1993, Melt-Banana played a show opening for KK Null of Zeni Geva fame, who was impressed enough to immediately offer them a deal with his label, and would later introduce them to Mark Fischer of Skin Graft Records and Steve Albini.

It was remixed, along with " Heart-Shaped Box " and later " Pennyroyal Tea ," by Scott Litt prior to the album's release, with Cobain asserting that the vocals and bass sounded " mushy " in the unmastered Albini recording.

The single was recorded by Steve Albini, who would later record Nirvana's third and final album, In Utero.

The manor of Kenninghall was given by Henry I to William de Albini, and was later inherited by the Dukes of Norfolk.

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.

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.

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.

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.

Andrews argued that more can be done ( with greater ease ) with digital while Steve Albini argued that he can accomplish just as much with analog.

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.

in 1990 after Albini had an argument with the label over the release of a Big Black record.

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.

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.

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.

" 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.

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.

Albini believed that Big Black had nothing to gain by adopting the usual corporate trappings of rock bands: " If you don't use contracts, you don't have any contracts to worry about.

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.

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.

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.

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.

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.

Though the band was receiving lucrative offers from major labels, they chose to remain independent and signed to Touch and Go Records, Albini being good friends with label head Corey Rusk.

The Breeders allowed Deal to become more active in songwriting, and their debut album, Pod ( 1990 ), containing mostly Deal-written songs, was recorded in Edinburgh, Scotland by Steve Albini.

Prior to recording with Albini, the band recorded a second session with John Peel on 22 September and recorded a version of Bob Dylan's " Highway 61 Revisited ," and two new songs " Me Jane " and " Ecstasy.

On many songs Albini programmed it to accent the first and third beats of the bar, rather than the second and fourth beats typically accented in rock music.

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 would set off a brick of firecrackers onstage before the band played, a tradition he carried on from their earliest performances through their dissolution and revived for their 2006 reunion set, and would count in most songs by yelling " One, two, fuck you!

They recorded 17 songs with Steve Albini in January 2008, some of which have been played live at gigs in recent years.

These nine new songs were committed to tape by Steve Albini at his Electrical Audio recording studio and released in the fall of 2000 as American Don.

In summer of 2000, the band went into the studio to record some songs with producer Steve Albini.

The following year, the band recorded songs with producer Iain Burgess, followed by five more songs produced with Steve Albini: the resulting album Flower Plower was released in 1989 on the Limited Potential label.