Alternative rock pioneer and legendary producer Steve Albini, who shaped the music landscape through his work with Nirvana, the Pixies, PJ Harvey and more, has died. He is 61 years old.
Brian Fox, an engineer at Albini Electrical Audio Recording Studio, said Wednesday that Albini died of a heart attack Tuesday night.
In addition to writing classic rock albums such as Nirvana’s “In Utero,” the Pixies’ breakthrough “Surfer Rosa” and PJ Harvey’s “Rid of Me,” Albini is also the lead singer for underground bands Big Black and Shellac.
He refused to use the word “producer,” refused to receive royalties from albums he produced, and demanded credit “Recorded by Steve Albini,” a legendary label on albums he produced.
At the time of his death, Albini’s band Shellac were preparing to tour their first new album in ten years, To All Trains, which is due out next week.
Other bands whose music was shaped by Albini include Joanna Newsom’s indie-folk work “Ys” and the work of bands such as the Breeders, Jesus Lizard, Hum, Superchunk, Low and Mogwai.
Born in California and raised in Montana, Albini fell in love with Chicago’s DIY punk music scene while studying journalism at Northwestern University.
As a teenager he played in punk bands, and in college he wrote about music for the prescient independent magazine Forced Exposure. While attending Northwestern University in the early ’80s, he founded the abrasive, raucous post-punk band Big Black, known for its scathing riffs, violent and taboo lyrics, and a drum machine that replaced a live drummer. It was a controversial innovation at the time, coming from a man whose career was filled with risky choices. The band’s most famous song, the ugly, explosive six-minute “Kerosene” from their most cult album, 1986’s “Atomizer,” is ideal evidence but not for the faint of heart.
Then there was the short-lived Rapeman—one of two bands Albini fronted whose name and raunchy song titles were irrefutable. In the early 1990s, he formed Shellac, a ferocious, distorted noise rock band that was an evolution of Big Black but still featured driving guitar tones and aggressive vocals.
In 1997, Albini opened his renowned studio Electrical Audio in Chicago.
Last year, when asked about some of the issues, Albini told the Guardian: “The recording part is important to me, I’m making a document that records our culture and the life’s work of the musicians who employ me. . ” a famous and much-loved album he recorded. “I take this part very seriously. I hope the music outlives all of us.”
Albini is an indie rock legend, known for his forward-thinking work, unapologetic irreverence, acerbic sense of humor and criticism of exploitative practices in the music industry – as revealed in his landmark 1993 meaning as detailed in the article “Problems with Music” – and his talent.
He later became a famous poker player and apologized for his past indiscretions.
“Oops, heartbreaking loss of a legend. Sending love to his family and countless colleagues,” actor Elijah Woodon X wrote. “Farewell, Steve Albini.”
Author Michael Azerrad, who includes a chapter on Big Black in his comprehensive history Our Band Can Be Your Life: The American Indie Underground Scene, 1981-1991, also Post on X. “About the passing of Steve Albini,” Azerrad wrote. “He had a brilliant mind, was a great artist, and experienced the most extraordinary and inspiring personal transformation. I can’t believe he’s gone.”
Albini is survived by his wife, film producer Heather Whinna;