Steve Albini
Steve Albini
Steven Frank "Steve" Albiniis an American singer-songwriter, guitarist, 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."...
NationalityAmerican
ProfessionGuitarist
Date of Birth22 July 1962
CityPasadena, CA
CountryUnited States of America
These letters never have any term of expiration, so the band remain bound by the deal memo until a contract is signed, no matter how long that takes.
Shellac was asked to do a recreation of our first album, but we've always been a band that improvised our sets. That's critical to the way that we function on stage. Whatever the mood takes us on stage can vary from night to night with what you feel like playing.
I feel like bands should be growing, living, functioning entities and to crystallize a band into a single album, and for that to be a touchstone - I understand it from a fan's perspective but I also feel like it's a little bit misleading in terms of the way bands actually function.
A more important reason is that the bands will intuitively trust someone they think is a peer, and who speaks fondly of the same formative rock and roll experiences.
By now all rock bands are wise enough to be suspicious of music industry scum
If the label presents them with a contract that the band don't want to sign, all the label has to do is wait. There are a hundred other bands willing to sign the exact same contract, so the label is in a position of strength
The band cannot sign to another label or even put out its own material unless they are released from their agreement, which never happens.
I have no problem with bands using participant financing schemes like Kickstarter and such. I've said many times that I think they're part of the new way bands and their audience interact and they can be a fantastic resource, enabling bands to do things essentially in cooperation with their audience. It's pretty amazing, actually.
I want to be in cahoots with bands who want to make the record of their dreams.
It always offended me when I was in the studio and the engineer or the assumed producer for the session would start bossing the band around. That always seemed like a horrible insult to me.
The bands that have been the most important to me, and the records that have been the most important to me as a fan, have been records that surprised me for one reason or another.
We have no general conceptual thrust for the band, other than trying to make music that keeps our interest. When things are novel, they are probably things we have discovered by accident or investigation rather than by design
In 1980, I moved to Chicago, and I recorded demo tapes for my friends' bands, and in 1981, the first Big Black record - the first thing I did that was an actual record.
I'm only interested in working on records that legitimately reflect the band's own perception of their music and existence. If you commit yourselves to that as a tenet of the recording methodology, then I will bust my ass for you.