Steve Albini | |
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![]() Albini in 2007 | |
Born | Steven Frank Albini[a] July 22, 1962 Pasadena, California, U.S. |
Died | May 7, 2024 Chicago, Illinois, U.S. | (aged 61)
Musical career | |
Origin | Missoula, Montana, U.S. |
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Years active | 1981–2024 |
Labels | Touch and Go |
Formerly of | |
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Steven Frank Albini (/ælˈbiːni/; July 22, 1962 – May 7, 2024) was an American musician and audio engineer. He founded and fronted the influential post-hardcore and noise rock bands Big Black (1981–1987), Rapeman (1987–1989) and Shellac (1992–2024), and engineered acclaimed albums like the Pixies' Surfer Rosa (1988), PJ Harvey's Rid of Me and Nirvana's In Utero (both 1993).
Albini was born in Pasadena, California, and raised in Missoula, Montana. After discovering the Ramones as a teenager, he immersed himself in punk rock and underground culture. He earned a degree in journalism at Northwestern University, Illinois, and wrote for local zines in Chicago. He formed Big Black in 1981 and recruited Santiago Durango and Dave Riley. Big Black attracted a considerable following, releasing two albums and four EPs. In 1987 he formed the controversially named band Rapeman with David Wm. Sims and Rey Washam, releasing one album and one EP in 1988. He formed Shellac with Bob Weston and Todd Trainer in 1992, with whom he released several albums, including At Action Park (1994) and 1000 Hurts (2000); To All Trains was released ten days after his death.
After Big Black's dissolution, Albini became a highly sought after recording engineer, rejecting the term "record producer". He recorded several thousand records during his career, collaborating with notable acts such as the Breeders, the Jesus Lizard, Page and Plant, Godspeed You! Black Emperor, Joanna Newsom, Cheap Trick and Slint. He refused to take royalties on albums he worked on, operating on a fee-only basis. He founded the Chicago recording studio Electrical Audio in 1997, dedicated to recording a sharp live sound at a cheap price.
Noted for his outspoken and blunt opinions, Albini was critical of local punk scenes and the music industry, which he viewed as exploitative of artists. He was an adherent to analog recording, and praised the increasing independence in music resulted by the internet. He was also infamous for authoring transgressive art as a reaction to people taking artistic compromises; Albini expressed regret for this past mindset in his final years. He died of a heart attack in 2024.
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