Five songs that prove Steve Albini is a genius
Music today would indeed be markedly different without the influential underground scene of the 1980s. From the experimental sounds of groups like Swans in the no wave movement to the alternative rock innovations of bands like Pixies and Hüsker Dü, this era, which was catalysed by the original punk movement, left an indelible mark on the music landscape. One individual who played a significant role in shaping this scene was Steve Albini.
While Albini is perhaps most recognised for producing Nirvana’s final album In Utero, it was his earlier body of work that initially attracted the grunge band. Nirvana, who were fervent admirers of the 1980s underground scene and had evolved within it, sought Albini’s studio for a specific reason. Following the pop-leaning refinement of their 1991 breakout record, Nevermind, they aimed to return to basics and create a darker, more raw album. Albini proved to be the perfect choice for the job, skillfully capturing the intense, climactic essence of the trio.
Before converging with Nirvana, Albini had earned widespread reverence in the underground scene for his intense and taboo-busting work with influential outfits such as Big Black, Flour and Shellac. As well as making music that distilled the wrath of Generation X, he also recorded many of the bands that played a part in the decade’s movement, such as Pixies, Urge Overkill, Tad, and The Jesus Lizard, showing just how widespread his influence was on the other side of the mixing desk. Bringing this into focus, he brought Pixies’ influential debut Surfer Rosa to life, a record credited with kick-starting alternative rock as a cultural force. Without it, there would be no Nirvana, Smashing Pumpkins or PJ Harvey.
A towering figure in alternative rock music, today we’re listing five songs that prove Steve Albini is a genius.
Five songs that prove Steve Albini’s genius:
Big Black – ‘Bad Penny’
Songs About Fucking, the second and final album by Big Black, remains one of the highlights of 1980s punk. The 1987 release is a pulsating fusion of noise rock, hardcore and industrial, and is brimming with the spirit of Steve Albini. One of the highlights is the ominous ‘Bad Penny’, which features the hypnotic but evil-sounding rhythm section and Albini’s furious vocals.
From the dissonant fuzz of Albini’s guitar to the metallic clank of the bass, this number contains all the vintage Big Black elements and demonstrates the dark creative space the frontman occupied during this era.
Big Black – ‘Kerosene’
Without this Big Black classic, no list of the ultimate Steve Albini songs would be complete. While it is undoubtedly their best-known track and a route into their darkness for the uninitiated, there’s a reason it stands out. Another fusion of hardcore and industrial, it is driven by the almost-automated bassline and Albini’s weirdly catchy delivery, which is complete with classic lyrical moments such as the opening line: “I was born in this town / Live here my whole life / Probably come to die in this town / Live here my whole life”.
It’s a track that bottles Generation X apathy better than most. During the noisy but melodic chorus, Albini screams to be set on fire with the titular oil before a burst of dissonant noise swiftly breaks up the consonance. An emotionally oscillating and arresting number, ‘Kerosene’ is Big Black and Steve Albini to a tee. It’s over six minutes of pure intensity.
Nirvana – ‘Heart-Shaped Box’
To cast off the shadow of their sugary debut album, Nevermind, Nirvana enlisted one of Kurt Cobain’s favourite producers of all time, Steve Albini, to get back to basics and make an album that showed a more natural image of them. Resultantly, their third and final album, 1993’s In Utero, is the darkest and, indeed, heaviest record in their oeuvre, coaxed out of them by Albini.
The band needed to resoundingly show they had moved on from their 1991 effort with In Utero by releasing a resounding lead single, and that they did. Complete with dropped guitars, more prominent drums and a generally more atmospheric production, when ‘Heart-Shaped Box’ dropped in August 1993, fans weren’t ready for just how ominous the new Nirvana would be. It’s safe to say this new sonic period would have been nothing without the guiding influence of the former Big Black man.
Shellac – ‘Crow’
1994’s At Action Park, the debut by Shellac, is a cornerstone of the post-hardcore movement and remains one of the most impressive titles in Albini’s oeuvre. Finding the musician and producer in a more refined but no less furious space than in Big Black, the music is increasingly impactful because of this refreshed angle.
There are many highlights on the record, but ‘Crow’ is a standout. Albini’s delivery is better here than with Big Black, with it more guttural and affecting, and lines such as “Time flies, as a crow flies, in a straight line” are absolutely brilliant. The droning bassline is also exceptional, as it carries the song towards its end, as the spiky guitars bounce off it in cacophonous glory.
Shellac – ‘Prayer to God’
For many fans, 2000’s 1000 Hurts is the finest Shellac album. A “more mean-spirited” effort in the joking words of the band themselves, it’s not hard to understand why it is widely deemed their masterpiece. The opener ‘Prayer to God’ aptly commences the body of work, with Albini’s folk-like vocal melody inviting Bob Weston and Todd Trainer to come crashing in.
It builds and builds, with the hate as prominent as ever. Albini repeatedly sings, “fucking kill him / kill him”, as the intensity of his delivery increases, which causes the hairs on the back of the neck to stand to attention. Despite the darkness, the song is also really infectious, something that Albini has always been adept at.
