Albini used unusual recording techniques.

A Roland TR-606 drum machine, the model Albini used to create Big Black's drum sound.

Albini passed Lungs on to John Babbin of the small local label Ruthless Records, who released 1, 500 copies of the EP in December 1982 with random objects such as dollar bills, used condoms, photographs of Bruce Lee, and bloody pieces of paper thrown into the insert.

It consisted of Steve Albini ( formerly of Big Black ) on guitar and vocals, David Wm.

Their sound gave center stage to the signature guitar style of Albini.

Shellac ( sometimes referred to as Shellac of North America ) is an American group composed of Steve Albini ( guitar and vocals ), Bob Weston ( bass guitar and vocals ) and Todd Trainer ( drums and vocals ).

Albini is also known to use copper plectrums and unique guitar straps that fit around the waist rather than over the shoulder.

Albini has fronted the bands Big Black, Rapeman and Shellac on guitar and vocals.

* Pigface – Gub ( 1990 ) ( Albini also plays guitar, bass, and oscillator on some tracks )

* Zeni Geva – All Right You Little Bastards ( 1993 ) ( live album, Albini plays guitar )

** Steve Albini – guitar, vocals

" An example was " Something Against You ", where Albini filtered Black Francis ' voice through a guitar amp for " a totally ragged, vicious texture.

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.

In early 1983 Albini met Naked Raygun singer Jeff Pezzati through mutual friends and convinced him to play bass guitar with Big Black.

Albini achieved a signature " clanky " sound with his guitar by using metal guitar picks notched with sheet metal clips, creating the effect of two guitar picks at once.

Riley's funk background brought a slightly greater sense of melody and danceability to the band, while Albini and Durango's guitar work was more violent than ever before.

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.

Albini was determined to avoid the " standard rock stud guitar sound ", and achieved a signature " clanky " sound by using metal guitar picks notched with sheet metal clips ; the notch causing the pick to hit each string twice, creating the effect of two simultaneous guitar picks.

* Steve Albini – lead vocals, guitar, drum machine programming ( 1981 – 87, 2006 reunion performance )

Critic Mark Deming describes Santiago as an ideal guitar foil for Albini ; " his muscular guitar sound was the ideal match of Albini's jagged, metallic tone.

* Steve Albini: guitar, vocals

" and her lead vocals on " Gigantic ", Albini moved the studio equipment and recorded in a studio bathroom to achieve real, rather than studio, echo ; according to John Murphy, Deal's husband at the time, " Albini didn't like the studio sound.

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 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.

In Our Band Could Be Your Life, Michael Azerrad writes that " on the Jesus Lizard albums Albini recorded, singer David Yow sounds like a kidnap victim trying to howl through the duct tape over his mouth ; the effect is horrific.

In an interview with Steve Albini for his Matter column in 1983, singer and guitarist Bob Mould told Albini: " We're going to try to do something bigger than anything like rock & roll and the whole puny touring band idea.

The list of contributors and interviewees reads like a who's who of underground music from the time: Steve Albini, Mission of Burma, Sonic Youth, Lydia Lunch, Chris D., Tesco Vee, et cetera.

A version of the song Vamos would appear on Pixies ' next two releases: re-recorded with Steve Albini for their first full-length album, Surfer Rosa, and as a live B-side on their first single, Gigantic.

Though Homestead claimed not to be selling copies, Albini telephoned one of the label's salespeople posing as a record buyer and was told that they would sell him copies, but not in Chicago.

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.

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!

During performances of " Jordan, Minnesota ", the band would reach a point where they would prolong a discordant, creepy noise while Albini would perform an intense pantomime as though he were one of the children from the song's lyrics being raped.

In 2009 it was announced that the Jon Spencer Blues Explosion would release the 22 track retrospective compilation Dirty Shirt Rock ' n ' Roll: The First Ten Years followed by expanded reissues of the albums Extra Width, Orange, Acme, Now I Got Worry, Controversial Negro and tracks from the early releases ( the original Kramer and Steve Albini recordings ) Year One.

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.

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

Albini planned to mix the record " somewhere else ", but according to Lupfer, " He was unhappy there with it.

Pezzati recalled that Albini " knew a heck of a lot about, right from the start, how to release a record and get the word out that you have a record ", and that " He jumped at the chance to have a band play his stuff.

Some, such as " Cables ", " Pigeon Kill ", and " Jordan, Minnesota ", were based on real events, or things that Albini had witnessed during his midwest upbringing.

In 1996 The Auteurs released After Murder Park, produced by Steve Albini, and it included " Land Lovers ", " Unsolved Child Murder ", and " Buddha ".

To celebrate their 20th anniversary, the band released a vinyl-only album, " Child of the Future ", recorded by Steve Albini at the beginning of August 2009.

" The fourth album from long-term study is " The Art ( e ) of Romance ", recorded and produced by Steve Albini, famous for his work with the likes of Page / Plant, Nirvana and The Pixies, recorded entirely in United States is a very eclectic album ( which now standard at this point ) with a photo on the cover of Kurt Gustav Wilckens, the Vindicator, with super powerful and super fast tracks, themes Punk Rock, Rock, or simply as " Middle of the Rounds ", a sad and tragic ballad about the letter and " Leave Me Alone ", a bit of Trash (" One Day ( Like Wilckens )"), more trash ...("¿ Where Are You?