STEVEN "STEVE" ALBINI (pronounced /ælˈbiːni/ ; born July 22, 1962)
is an American singer-songwriter, musician, record producer, audio
engineer and music journalist. He was a member of
Big Black , Rapeman
and Flour , and is a member of Shellac . He is the founder, owner and
principal engineer of
Electrical Audio , a recording studio complex
located in Chicago . In March 2004, Albini said that the number of
albums he had worked on was "probably as many as 1500." He has had
major influence on the development of genres such as noise rock ,
post-hardcore and math rock .
* 1 Early life
* 2 Career
* 2.1 Musician
* 2.1.1 1981–1987:
* 2.1.2 1987–1988:
* 2.1.3 1992–present: Shellac
* 2.2 Recording engineer
* 2.2.1 Methodology
* 2.2.2 Production influences
* 2.2.3 In Utero
Electrical Audio Studio
* 4 Perspectives
* 4.1 Music industry
* 4.2 Music recording
* 5 Other activities
* 6 Personal life
* 7 Works or publications
* 8 References
* 9 Further reading
* 10 External links
Albini was born in
Pasadena, California , to Gina (née Martinelli)
and Frank Addison Albini. His father is a wildlife researcher. He also
has two siblings. In his youth, Albini's family moved often,
before settling in the college town of
Missoula, Montana in 1974.
Italian American and part of his family comes from the
Piedmont region of
Northern Italy .
While recovering from a broken leg, Albini began playing bass guitar
and participated in bass lessons in high school for one week.
Thrill Jockey 's Looking for a Thrill, Albini was exposed
to punk rock by a schoolmate on a field trip when he was 14 or 15, and
subsequently bought every
Ramones recording available to him.
Growing up in Montana, he became a fan of bands such as
The Stooges ,
Ramones , Television , Suicide , Wire , The Fall , The Velvet
Throbbing Gristle ,
Kraftwerk , The Birthday Party ,
Pere Ubu ,
Public Image Ltd ,
Rudimentary Peni , and
Killing Joke .
After graduating from
Hellgate High School , Albini moved to
Evanston, Illinois , to attend college at the Medill School of
Northwestern University (NU), where he attained a degree
Journalism . Albini said he studied painting in college with the
Ed Paschke , someone he calls a brilliant educator and "one of
the only people in college who actually taught me anything."
In the Chicago area, Albini was active as a writer in local zines
such as Matter, covering the then-nascent punk rock scene, and gained
a reputation for the iconoclastic nature of his articles. Around the
same time, he began recording musicians and engineered his first album
in 1981. According to Albini, he maintained a "straight job" for five
years until 1987, working in a photography studio as a photograph
Prior to formation of his first prominent band Big Black, Albini
played in bands, such as the Montana punk band "Just Ducky", a Chicago
band called "Small Irregular Pieces of Aluminum," "Stations," and
another band that record label Touch and Go/Quarterstick Records
explained "he is paying us not to mention." He also played for Flour
1981–1987: Big Black
In 1981, Albini formed
Big Black while he was a student at NU and
recorded Lungs , the band's debut EP , on
Ruthless Records (Chicago) ,
a label he co-managed with Jon Babbin (
Criminal IQ Records ) and John
The Effigies ). Albini played all of the instruments on Lungs,
except the saxophone parts, played by friend John Bohnen. The
Bulldozer (1983) EP was then released on both Ruthless and Fever
Jeff Pezzati and
Santiago Durango , of Chicago band
Naked Raygun ,
and live drummer Pat Byrne joined shortly thereafter, and the
band—along with a drum machine credited as "Roland "—released the
Racer-X in 1984 after touring and signing a new contract with the
Homestead Records business. Pezzati commenced recording the "Il Duce"
7-inch single with the band, but returned to his original band before
it was completed. Pezzati was replaced on bass by
Dave Riley , with
whom the group recorded its debut full-length album, Atomizer (1986).
The "Il Duce" recording was eventually finished with Riley as bassist
and the band also released
The Hammer Party
The Hammer Party album while signed to
Homestead, which was a compilation of the Lungs and Bulldozer EPs.
Big Black left the Homestead label for
Touch and Go Records in late
1985/early 1986 and recorded the Headache EP and the 7-inch single,
Heartbeat between June and August 1986—both were released the
following year. Also in 1986, a live album, titled
Sound of Impact
Sound of Impact ,
was released on the Not/
Blast First label.
The accompanying booklet provides insight into the band's influences,
as Albini cited bands such as
Ramones , The Birthday Party, The
Minor Threat , Whitehouse , Pere Ubu, Throbbing Gristle,
Skrewdriver , the Ex ,
Minimal Man ,
U.S. Chaos ,
Gang Green and Bad
In 1987 the band released their second studio album Songs About
Fucking , as well as the He\'s a Whore / The Model 7-inch single, both
on Touch and Go. Following a period of extensive touring in 1987 in
support of Songs About Fucking,
Big Black eventually disbanded shortly
afterwards. Durango enrolled in law school and was successful in
becoming a practicing lawyer .
Touch and Go released a
Big Black live album and video,
Pigpile , in
1992 that consisted mostly of recordings from their final tour in
Pigpile was also released in Japan, Australia and Germany.
Touch and Go states on its website in May 2014: "Someday, we might
release the video on DVD. Until then, please don’t ask us about it."
Albini went on to form the controversially named
1987—the band consisted of Albini (vocals, guitar), Rey Washam
David Wm. Sims . The band was named after a popular
Japanese comic book that garnered Albini and Washam's interests. They
broke up after the release of two 7-inch singles—"Hated Chinee b/w
Marmoset " (1988) and "Inki\'s Butt Crack b/w Song Number One "
(1989), one EP titled Budd (1988) and the Two Nuns and a Pack Mule
album, also released in 1988 on Touch and Go.
Albini formed Shellac in 1992. With bandmates
Bob Weston (formerly
Volcano Suns ), and
Todd Trainer (of
Rifle Sport , Breaking Circus
Brick Layer Cake ), they initially released three EPs: The Rude
Gesture: A Pictorial History (1993), Uranus (1993) and The Bird Is the
Most Popular Finger (1994)—the first two EP releases were on Touch
and Go, while the third EP was a Drag City label release.
Two years after formation, the Japanese label NUX Organization
released a Japan-exclusive live album in CD format titled
ライヴイン東京—an English-language reference to the name
Shellac cannot be found anywhere on the CD product, which was not
available outside Japan. The live album was followed by five studio
At Action Park (1994), Terraform (1998),
1000 Hurts (2000),
Excellent Italian Greyhound (2007) and
Dude Incredible (2014). All of
Shellac's studio albums were released on vinyl as well as CD.
Albini explained in 2010 that Shellac had made a decision early in
their existence that they would not play at festivals and this
position was articulated to All Tomorrow\'s Parties (ATP) festival
organizer Barry Hogan during the preparation stage of the inaugural
ATP event. However, Scottish band
Mogwai managed to convince Albini at
the time that they were ATP curators and the band was very impressed
by the experience: "They (ATP) completely changed the festival game.
Now the whole world has to operate under the knowledge that there are
these cool, curated festivals where everyone is treated well and the
experience is a generally pleasant one."
For a chronological list of Albini's recording work, see List of
Steve Albini\'s recording projects .
Steve Albini on right, with
Ani DiFranco and
RZA at The New Yorker festival in September 2005
As of 2008, Albini is most active as a record producer ; however, he
dislikes the term and prefers to receive no credit on album sleeves or
notes. When credited, he prefers the term "recording engineer."
In 2004, Albini estimated that he has engineered the recording of
1,500 albums, mostly by obscure musicians. More prominent artists
that Albini has worked with include:
Foxy Shazam , Nirvana, Pixies ,
The Breeders ,
Godspeed You! Black Emperor ,
Mogwai , The Jesus
Don Caballero ,
PJ Harvey ,
The Wedding Present
The Wedding Present , Joanna
Superchunk , Low ,
Dirty Three , Jawbreaker , Neurosis ,
Cloud Nothings , Bush , Chevelle ,
Robert Plant and
Jimmy Page ,
Fred Schneider ,
The Stooges , Owls , Manic Street
Jarvis Cocker ,
The Cribs ,
The Fleshtones , Nina
The Frames ,
The Membranes ,
Cheap Trick , Motorpsycho
Slint , mclusky ,
Labradford , Veruca Salt , Zao , and The
Following the release of Schneider's album Just ... Fred, The Vinyl
District's Joseph Neff wrote: "The reality is that when enlisted by
the big leagues, Albini took his job just as seriously as when he was
assisting on the debut recording from a bunch of aspiring unknowns."
Albini's openness toward working with any artist, regardless of their
popularity, was reaffirmed in October 2014 when he said in an Uncut
interview that he would produce another album with Page and Plant "in
a heartbeat." Furthermore, Stereogum's Tom Breihan wrote in 2012:
"And even though he’s been an outspoken opponent of the major-label
system (and of other underground-rock heroes), he’s known to work
with just about anyone who requests his service".
Albini in 2008
In Albini's opinion, putting producers in charge of recording
sessions often destroys records, while the role of the recording
engineer is to solve problems in capturing the sound of the musicians,
not to threaten the artists' control over their product.
Albini's recordings have been analyzed by writers such as Michael
Azerrad , who is also a musician. In Azerrad's 2001 book Our Band
Could Be Your Life: Scenes from the American Indie Underground,
1981–1991 , Azerrad describes Albini's work on the Pixies album
Surfer Rosa : "The recordings were both very basic and very exacting:
Albini used few special effects ; got an aggressive, often violent
guitar sound; and made sure the rhythm section slammed as one." :344
On Nirvana's In Utero, one can find a typical example of Albini's
recording practices. Common practice in popular music is to record
each instrument on a separate track at different times, and then blend
the different recordings together at a later time as part of a process
that is known as multi-track recording . However, Albini prefers to
record "live in the studio" as much as possible: the musicians perform
together as a group in the same recording space. Albini also places
particular importance on the selection and use of microphones in
achieving a desired sound—including the painstaking placement of
different microphones at certain points around a room to best capture
ambience and other qualities.
A key influence on Albini was producer John Loder , who came to
prominence in the late 1970s with a reputation for recording albums
quickly and inexpensively, but nonetheless with distinctive qualities
and a sensitivity towards a band's sound and aesthetic.
Albini has mentioned an admiration for
Alan Lomax in particular
before. As for peers who make great sounding records, Albini likes
Bob Weston . Also
Brian Paulson from North Carolina, but who came up
in the Minneapolis punk-rock scene. And Matt Barnhart from Texas.
Albini's work on Nirvana's final studio album In Utero received a
large amount of media attention and, in the prelude to the release of
the 20th anniversary deluxe edition in September 2013, a press release
stated that "Steve Albini's recording laid bare every primal nuance of
the most confrontational yet vulnerable material
Kurt Cobain , Krist
Dave Grohl would ever record." Following the 1993
release of the original album, Rolling Stone writer David Fricke
stated that the album "is a lot of things—brilliant, corrosive,
enraged and thoughtful, most of them all at once. But more than
anything, it's a triumph of the will."
Albini has been asked about the challenges that accompanied the
recording and release of In Utero, but has clarified that the record
label was responsible for the difficulties that marred the trajectory
of the album.
Released on September 24, 2013, the deluxe reissue was mastered into
copper discs, using a process called Direct Metal Mastering, and
Albini explained that the method "gives you better immediate
fidelity." He also referred to the conflict with the record label
during the original recording process as "old injuries" and said that
he found it "gratifying" that his amenable relationship with Novoselic
and Grohl remains intact.
ELECTRICAL AUDIO STUDIO
Electrical Audio , his personal recording studio, in
1995. The impetus for the move to his own studio was the lack of
privacy for Albini and his wife. His former studio was in their house,
eventually taking over almost all the rooms, with the exception of the
Before Electrical Audio, Albini had a studio in the basement of
another personal residence. Musician
Robbie Fulks recalls the hassle
of "running up two flights of stairs all the time from the tracking
room" to where Albini was.
Albini does not receive royalties for anything he records or mixes at
his own facility, unlike many other engineer/record producers with his
experience and prominence. At
Electrical Audio in 2004, Albini earned
a daily fee of US$750 for engineering work, and drew a salary of
US$24,000 a year. Azerrad referred to Albini's rates in 2001 as among
the most affordable for a world-class recording studio.
Following the completion of the studio's construction, Albini
initially charged only for his time, allowing his friends or musicians
he respected—who were willing to engineer their own recording
sessions and purchase their own magnetic tape —to use his studio
Albini's opinions on the music industry, as well as on trends in
indie music, have received considerable exposure. His earliest writing
was for zines such as Matter and
Forced Exposure , and he later wrote
a significant article on the conduct of major record labels for the
art and criticism journal
The Baffler in 1994.
In an April 29, 2014 article for "digitally native news outlet"
Quartz, writer John McDuling referred to the Baffler article as a
In the 1994 article, Albini was severely critical of the manner in
which major labels were treating musicians. He named young A Terry
Tolkin, former New York independent booking agent and assistant
manager at Touch and Go; Al Smith, former soundman at the New York
CBGB club; and Mike Gitter, former editor of XXX fanzine. He further
explained that when he hears producers and engineers use "meaningless"
words like "Punchy”, “Warm”, “Groove”, “Vibe”,
“Feel”, he feels he needs to "throttle somebody."
At a 2004
Middle Tennessee State University presentation, Albini
reaffirmed his perspective on major labels, explaining that he was
opposed to any form of human exploitation. He was asked about file
sharing in June 2014 and he clarified that, while he doesn't believe
that the technological development is the "best thing" for the music
industry, he does not identify with the music industry. He considers
"the community, the band, the musician" as his peers, and is pleased
that musicians can "get their music out to the world at no cost
In November 2014, Albini delivered the keynote speech at the Face the
Music conference in
Melbourne , Australia, where he discussed the
evolution of the music scene and industry since he started making
music in the late 1970s. He described the pre-internet corporate music
industry as "a system that ensured waste by rewarding the most
profligate spendthrifts in a system specifically engineered to waste
the band’s money," which aimed to perpetuate its structures and
business arrangements while preventing bands (except for "monumental
stars") from earning a living. He contrasted it with the independent
scene, which encouraged resourcefulness and established an alternative
network of clubs, promoters, fanzines, DJs and labels, and allowed
musicians to make a reasonable income due to the system's greater
As part of the Face the Music speech, Albini noted that both the
corporate and independent industry models had been damaged by internet
file sharing; however, he praised the spread of free music as being a
"fantastic development," which allowed previously ignored music and
bands to find an audience (citing the protopunk band Death as one
example); the use of the internet as a distribution channel for music
to be heard worldwide; and the increasing affordability of recording
equipment, all of which allow bands to circumvent the traditional
recording industry. Albini also argued that the increased availability
of recorded music stimulates demand for live music, thereby boosting
While in Australia in November 2014, Albini spoke with national radio
station Double J , which described him as a "bona fide music industry
legend". In addition to asserting that music will always be made due
to its role in human expression, Albini explained that, while the
state of the music industry is healthy in his view, the industry of
music journalism is in crisis. Albini used the example of the media
spotlight that he received after he made comments about Amanda Palmer
's Kickstarter campaign, stating: "I don’t think I was wrong but I
also don’t think that it was that big of a deal." He described the
music media as "superficial" and composed of "copy paste bullshit."
Jay Z 's subscription-only, lossless audio streaming
service Tidal in an April 2015 interview with
Vulture.com , arguing
that streaming services would eventually be usurped by a more
convenient technology, that "if you want your music to play at the
push of a button, convenience is going to trump sound quality 100
percent of the time", and that audiophiles would prefer vinyl to
streaming. He made the point that the internet has a history "of
breaking limitations placed on its content" by making paid-for
products freely available.
Albini is a supporter of analog recording over digital , as can be
evidenced by a 1987 quote on the back cover of the CD version of Big
Songs About Fucking
Songs About Fucking : "The future belongs to the analog
loyalists. Fuck digital." A CD issue, consisting of the full-length
album Atomizer and the EP Headache, was released under the title The
Rich Man\'s Eight Track Tape , providing him with another outlet for
his support of analog. In a September 2013 interview, he reaffirmed
his preference for analog over digital, insisting that his choice is
not because he is "some kind of a nutball," or because he wants to be
"recalcitrant or reactionary." He also says he does not like and does
not want to produce pop music, telling 2SER Sydney "pop music is for
children and idiots. "
Albini commenced writing a cooking and food blog, titled
"Mariobatalivoice: What I made Heather for dinner", in March 2011.
Albini is an avid poker player and ranked in 12th-place at the 2013
World Series of
Poker (WSOP) Seniors Championship. Albini also
regularly engages in public-speaking appointments for the audio
industry. In 2004 Albini was always responsible for dealing with bands
Electrical Audio and answered the phone in the studio.
Albini is married to film director Heather Whinna and they work and
live in Chicago. His right leg is slightly deformed as a result of a
car accident when he was 18.
In 2010, he revealed that he is not an avid consumer of media and
watches a lot of cat videos on
YouTube , while avoiding feature films.
Albini called himself an atheist , in a 2011 interview.
WORKS OR PUBLICATIONS
* "Husker Du? Only Their Hairdresser Knows for Sure" Article for
Hüsker Dü , published September 1983.
* "I\'ll Rap Your head With A Rachet" Letter written by Steve Albini
to Nirvana in 1992, outlining his working philosophy
* "The Problem With Music" by Steve Albini. Excerpt from The
Baffler, Number 5, 1993. Negativland
* "Three Pandering Sluts and Their Music Press Stooge: The Great
Steve Albini Letters-to-the-Editor Debate"; Transcript of a stormy
exchange from 1994 provoked in the letters page of the Chicago Reader,
where Albini accuses music critic Bill Wyman of being a recording
* "Ask a music scene micro celebrity"
Steve Albini answers questions
about bands and music on a poker forum, The 2+2 Forums, July 7, 2007.
* Recording Josephine (2009) –
Magnolia Electric Company
Magnolia Electric Company at
Electrical Audio, a 70-minute documentary by Ben Schreiner on the
making of the album, Josephine by
Magnolia Electric Company
Magnolia Electric Company ,
engineered by Albini
* "I am Steve Albini, ask me anything" reddit IAmA , May 8, 2012;
accessed June 21, 2015.
Steve Albini talks to LISTEN: “I try to be an ally in
feminism”" Interview in LISTEN, May 2, 2016; accessed August 16,
* ^ Bush, John. "Biography: Steve Albini". AllMusic. All Media
Network, LLC. Retrieved September 6, 2011.
* ^ A B C D E F G Young, Andrew (March 12, 2004). "Steve Albini"
(Originally published in MTSU Sidelines, March 16th, 2004. This is the
unedited final draft of the story, with unpublished material.).
Lecture at Middle Tennessee State University. Retrieved 11 January
2014. Records became more and more produced, and more and more layers
of more abstract sounds were added
* ^ A B C D Thorn, Jesse (December 6, 2007). "Podcast: Live in
Chicago: Steve Albini" (podcast). Bullseye with Jesse Thorn. Retrieved
January 11, 2014.
* ^ A B Albini, Steve (May 30, 2011). "Strozzapreti-Gemelli with
Tomato, Shallot and Mint" (blog). Mario Batali Voice. Retrieved
January 10, 2014.
* ^ Kovacs Henderson, Andrea (2009). American men ">(eBook,
biography) (26th ed.). Detroit: Gale. p. 71. ISBN 9781414457260 .
Retrieved 10 January 2014.
* ^ A B Shatkin, Elina (2012-01-24). "
Steve Albini Has A Food
Blog". LA Weekly. Retrieved 2013-08-25.
* ^ "Looking for a Thrill: An Anthology of Inspiration". Thrill
Jockey. Retrieved June 21, 2015.
* ^ A B C D Azerrad, Michael (2001). Our band could be your life :
scenes from the American indie underground 1981–1991 (1 ed.).
Boston: Little, Brown. ISBN 9780316063791 . Retrieved January 11,
* ^ "Staff & Friends – Steve Albini". Electrical Audio. Retrieved
June 21, 2015.
* ^ Carlson, Jen (September 28, 2011). "Nirvana Producer Steve
Albini Tells Us How He Really Feels About NYC". Gothamist. Retrieved
June 21, 2015.
* ^ A B C D E Margasak, Peter (January 6, 2014). "Artist on Artist:
Robbie Fulks talks to Steve Albini". Chicago Reader. Retrieved June
* ^ A B C D E F G "Big Black". Touch and Go/Quarterstick Records.
Touch and Go/Quarterstick Records. 2014. Retrieved May 18, 2014.
* ^ Cress, Jim (January 1, 1983). "Big Black: No Grey". Dementlieu.
Archived from the original (Matter (zine)) on September 27, 2007.
Retrieved January 11, 2014. Taken from Matter, Vol. 1, No. 1, January
1983. Possibly the first print
Big Black received?
* ^ A B "Big Black: Singles & EPs".
Big Black on Discogs. Discogs.
2014. Retrieved 18 May 2014.
* ^ "Not". Not on Discogs. Discogs. 2014. Retrieved May 18, 2014.
* ^ "Sound of Impact". dementlieu.com. Obik Anti. 2002. Retrieved
May 18, 2014.
* ^ "
Big Black – Pigpile".
Big Black on Discogs. Discogs. 2014.
Retrieved 18 May 2014.
* ^ "Rapeman".
Rapeman on Discogs. Discogs. 2014. Retrieved 18 May
* ^ Christe, Ian (2008). "The Hard Golden Tone of Shellac: An
Interview with Steve Albini". Crawdaddy! – Wolfgang's Vault.
Archived from the original on February 9, 2009. Retrieved 11 January
2014. Originally published in Warp, 1994
* ^ A B "Shellac". Shellac on Discogs. Discogs. 2014. Retrieved 18
* ^ "シェラック* – ライヴイン東京". シェラック*
– ライヴイン東京 on Discogs (in English and Japanese).
Discogs. 2014. Retrieved 18 May 2014.
* ^ "Shellac – At Action Park". Shellac at Discogs. Discogs.
2014. Retrieved 18 May 2014.
* ^ A B Lake Smith, Aaron (September 29, 2010). "The Verge Q+A:
Steve Albini on Music Festivals, The Future of Radio and
Why He Wants GQ To Fail". GQ Magazine. Retrieved January 11, 2014.
* ^ Heylin, Clinton (1992). The Penguin book of rock & roll writing
(1st ed.). London, UK: Penguin Group. ISBN 9780670845590 . Retrieved
January 10, 2014.
* ^ Herman, Maureen (May 13, 2014). "Who Cares What Steve Albini
Thinks? You Probably Do.". BoingBoing.net.
* ^ Crystal Brown (November 27, 2013). "FOXY SHAZAM: THE NEXT GREAT
PHENOMENON?". CincyMusic.com. CincyMusic, LLC. Retrieved November 16,
* ^ A B Sujata Murthy; Steve Martin (July 30, 2013). "Nirvana: In
Utero 20th Anniversary Multi-Format Reissue Out September 24".
Reuters. Retrieved June 21, 2015.
* ^ Jason Heller (July 30, 2014). "Steve Albini\'s 10 Best
Records". Pitchfork. Pitchfork Media. Retrieved June 21, 2015.
* ^ A B Tom Breihan (January 26, 2012). "The Top 20 Steve
Albini-Recorded Albums". Stereogum. SpinMedia. Retrieved June 21,
* ^ "Point #1 – Epk" (Video upload). WaLLy on YouTube. Google
Inc. 28 February 2006. Retrieved June 21, 2015.
* ^ A B "Steve Albini: "I’d do another
Jimmy Page and Robert
Plant album in a heartbeat"". Uncut. Time Inc. (UK) Ltd Entertainment
Network. October 2014. Retrieved June 21, 2015.
* ^ Miranda Yardley (April 4, 2012). "DARK RECOLLECTIONS: Helmet".
Terrorizer. Terrorizer. Retrieved June 21, 2015.
* ^ A B Joseph Neff (March 14, 2013). "Graded on a Curve: Fred
Schneider, Just…Fred". The Vinyl District. Mom & Pop Shop Media.
Retrieved June 21, 2015.
* ^ "
Steve Albini talks about recording
The Stooges album The
Weirdness.mp4" (Video upload). FleaVids on YouTube. Google Inc.
February 14, 2011. Retrieved June 21, 2015.
* ^ Logan Jourgenson (September 14, 2012). "Some of Missoula native
Steve Albini\'s lesser albums still worth a listen". The Billings
Gazette. Retrieved June 21, 2015.
* ^ Jonathan Garrett (March 30, 2009). "Manic Street Preachers
"Peeled Apples"". Pitchfork. Pitchfork Media, Inc. Retrieved June 21,
* ^ Ryan Dombal (March 6, 2009). "
Jarvis Cocker Returns With Steve
Albini-Produced LP". Pitchfork. Pitchfork Media, Inc. Retrieved June
* ^ Ryan Bassil (February 24, 2012). "The Cribs: The new record
addresses a lot of unexorcised demons". The Independent. Retrieved
June 21, 2015.
* ^ John D. Luerssen (February 3, 2014). "Fleshtones Celebrate
\'Hipster Heaven\' – Song Premiere". Rolling Stone. Rolling Stone.
Retrieved June 21, 2015.
* ^ "
Nina Nastasia Once Again Pairs Up with
Steve Albini for New
Album". Exclaim.ca. Exclaim.ca. March 17, 2010. Retrieved June 21,
* ^ Joe Tangari (January 29, 2002). "
The Frames For the Birds".
Pitchfork. Pitchfork Media, Inc. Retrieved June 21, 2015.
* ^ John Robb (March 4, 2012). "Steve Albini: In Depth Interview".
Louder Than War. Louder Than War. Retrieved June 21, 2015.
* ^ "
Cheap Trick In Color mix by Steve Albini". Review Stalker.
Review Stalker. May 28, 2009. Retrieved June 21, 2015.
* ^ Matt Kerry (April 24, 2013). "
Motorpsycho – Still Life With
Eggplant". echoes and dust. echoes and dust. Retrieved June 21, 2015.
* ^ Stuart Berman (April 16, 2014). "
Slint Spiderland". Pitchfork.
Pitchfork Media, Inc. Retrieved June 21, 2015.
* ^ Chris Dahlen (September 19, 2002). "
Mclusky Do Dallas".
Pitchfork. Pitchfork Media, Inc. Retrieved June 21, 2015.
* ^ Kitty Empire (September 12, 2005). "Labradford: Fixed Content".
NME. Time Inc. (UK) Ltd Entertainment Network. Retrieved June 21,
* ^ Thomas Michalski (July 11, 2014). "Veruca Salt w/ Battleme @
Turner Hall Ballroom". Express Milwaulkee. Retrieved June 21, 2015.
* ^ "ZAO announce album title". Roadrunner Records. Roadrunner
Records. December 7, 2011. Retrieved June 21, 2015.
* ^ A B Matthew Shearn (June 17, 2014). "
Steve Albini Interview.".
Figure 8. Figure 8. Retrieved June 21, 2015.
* ^ A B Tingen, Paul (September 2005). "Steve Albini: Sound
Engineer Extraordinaire". Sound on Sound. Retrieved June 21, 2015.
* ^ A B Mlinaric, Jessica (September 11, 2013). "Interview: Steve
Albini Talks About Shellac, Chicago, And The Specifics Of Remastering
Nirvana\'s \'In Utero\'". Chicagoist. Retrieved June 21, 2015.
* ^ A B Crane, Larry (January 15, 2012). "Steve Albini: \'I’ve
made a lot of records.\'". Tape Op. Retrieved January 10, 2014.
* ^ A B C
Steve Albini (1994). "The Problem With Music". The
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