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Any Idea what Steve Albini is up to at the minute? Last thing I heard from him was the production on the McClusky album. Any new Shellac stuff coming out in the future?

BUFFY THE VAMPIRE, Monday, 25 November 2002 15:26 (11 years ago) Permalink

I think he's preparing an egg dish at the moment.

Sean (Sean), Monday, 25 November 2002 15:29 (11 years ago) Permalink

He IS an egg dish.

Alex in NYC (vassifer), Monday, 25 November 2002 15:32 (11 years ago) Permalink

9:30 AM (or thereabouts) in Chicago; he's probably not even awake yet. Of course, you could just call Electrical Audio and find out (they're listed).

Yesterday I saw the back of the Rapeman Sub-Pop 7", and that reminds me of why I love Albini: flat-tops!

hstencil, Monday, 25 November 2002 15:36 (11 years ago) Permalink

bong hits and getting small indie bands to pay him lots of money so they can say "WE RECORDED WITH STEVE ALBINI"

Jonathan Williams (ex machina), Monday, 25 November 2002 15:44 (11 years ago) Permalink

bong hits...

Hahahahaha, the guy hardly touches beer! And he gave up smoking cigarettes after the heart attack.

hstencil, Monday, 25 November 2002 15:45 (11 years ago) Permalink

he recorded Songs Ohia's next album

stevie (stevie), Monday, 25 November 2002 15:58 (11 years ago) Permalink

the new giddy motors "make it pop!" lp was engineered by him...

chances are, albini's engineering some record with loud and abrasive guitars and really well mic'ed drums.

msp, Monday, 25 November 2002 16:05 (11 years ago) Permalink

When did he have a heart attack?

J0hn Darn13ll3 (J0hn Darn13ll3), Monday, 25 November 2002 16:14 (11 years ago) Permalink

On one of Rapeman's tours of Europe. If you had your own popcorn machine, your cholesterol would be off the charts, too.

hstencil, Monday, 25 November 2002 16:17 (11 years ago) Permalink

I heard he makes his own mayonaise, too.

Sean (Sean), Monday, 25 November 2002 16:21 (11 years ago) Permalink

homemade mayonaisse made me a believer...

seriously i was a mayo h8r until i discovered the goodness of home-made varieties.

i saw steve smoking after rapeman btw...

gygax!, Monday, 25 November 2002 16:36 (11 years ago) Permalink

i saw steve smoking after rapeman btw...

OMG, WHERE?!?!?!?!?!?

hstencil, Monday, 25 November 2002 16:43 (11 years ago) Permalink

shellac in SF - circa at action park

gygax!, Monday, 25 November 2002 16:46 (11 years ago) Permalink

out of his ass of course.

nathalie (nathalie), Monday, 25 November 2002 16:47 (11 years ago) Permalink

A local slagging-bands zine that comes out every two months has a regular "Dublin bands that fly to Chicago to record with Steve Albini" award.

Andrew Farrell (afarrell), Monday, 25 November 2002 17:01 (11 years ago) Permalink

Which reminds me of an article by Steve Albini. Dunno if you read it.

It is called the problem with music

the problem with music
by steve albini
excerpted from Baffler No. 5
Whenever I talk to a band who are about to sign with a major label, I always end up thinking of them in a particular context. I imagine a trench, about four feet wide and five feet deep, maybe sixty yards long, filled with runny, decaying shit. I imagine these people, some of them good friends, some of them barely acquaintances, at one end of this trench. I also imagine a faceless industry lackey at the other end, holding a fountain pen and a contract waiting to be signed.

Nobody can see what's printed on the contract. It's too far away, and besides, the shit stench is making everybody's eyes water. The lackey shouts to everybody that the first one to swim the trench gets to sign the contract. Everybody dives in the trench and they struggle furiously to get to the other end. Two people arrive simultaneously and begin wrestling furiously, clawing each other and dunking each other under the shit. Eventually, one of them capitulates, and there's only one contestant left. He reaches for the pen, but the Lackey says, "Actually, I think you need a little more development. Swim it again, please. Backstroke."

And he does, of course.

I. A&R Scouts

Every major label involved in the hunt for new bands now has on staff a high-profile point man, an "A&R" rep who can present a comfortable face to any prospective band. The initials stand for "Artist and Repertoire," because historically, the A&R staff would select artists to record music that they had also selected, out of an available pool of each. This is still the case, though not openly.

These guys are universally young [about the same age as the bands being wooed], and nowadays they always have some obvious underground rock credibility flag they can wave. Lyle Preslar, former guitarist for Minor Threat, is one of them. Terry Tolkin, former NY independent booking agent and assistant manager at Touch and Go is one of them. Al Smith, former soundman at CBGB is one of them. Mike Gitter, former editor of XXX fanzine and contributor to Rip, Kerrang and other lowbrow rags is one of them. Many of the annoying turds who used to staff college radio stations are in their ranks as well.

There are several reasons A&R scouts are always young. The explanation usually copped-to is that the scout will be "hip" to the current musical "scene." 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.

The A&R person is the first person to make contact with the band, and as such is the first person to promise them the moon. Who better to promise them the moon than an idealistic young turk who expects to be calling the shots in a few years, and who has had no previous experience with a big record company. Hell, he's as naive as the band he's duping. When he tells them no one will interfere in their creative process, he probably even believes it.

When he sits down with the band for the first time, over a plate of angel hair pasta, he can tell them with all sincerity that when they sign with company X, they're really signing with him and he's on their side. Remember that great, gig I saw you at in '85? Didn't we have a blast.

By now all rock bands are wise enough to be suspicious of music industry scum. There is a pervasive caricature in popular culture of a portly, middle aged ex-hipster talking a mile-a-minute, using outdated jargon and calling everybody "baby." After meeting "their" A&R guy, the band will say to themselves and everyone else, "He's not like a record company guy at all! He's like one of us." And they will be right. That's one of the reasons he was hired.

These A&R guys are not allowed to write contracts. What they do is present the band with a letter of intent, or "deal memo," which loosely states some terms, and affirms that the band will sign with the label once a contract has been agreed on.

The spookiest thing about this harmless sounding little "memo," is that it is, for all legal purposes, a binding document. That is, once the band sign it, they are under obligation to conclude a deal with the label. 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.

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. The band cannot sign to another label or even put out its own material unless they are released from their agreement, which never happens. Make no mistake about it: once a band has signed a letter of intent, they will either eventually sign a contract that suits the label or they will be destroyed.

One of my favorite bands was held hostage for the better part of two years by a slick young "He's not like a label guy at all,' A&R rep, on the basis of such a deal memo. He had failed to come through on any of his promises (something he did with similar effect to another well-known band), and so the band wanted out. Another label expressed interest, but when the A&R man was asked to release the band, he said he would need money or points, or possibly both, before he would consider it.

The new label was afraid the price would be too dear, and they said no thanks. On the cusp of making their signature album, an excellent band, humiliated, broke up from the stress and the many months of inactivity.

II. There's This Band

There's this band. They're pretty ordinary, but they're also pretty good, so they've attracted some attention. They're signed to a moderate-sized "independent" label owned by a distribution company, and they have another two albums owed to the label.

They're a little ambitious. They'd like to get signed by a major label so they can have some security—you know, get some good equipment, tour in a proper tour bus—nothing fancy, just a little reward for all the hard work.

To that end, they got a manager. He knows some of the label guys, and he can shop their next project to all the right people. He takes his cut, sure, but it's only 15%, and if he can get them signed then it's money well spent. Anyway, it doesn't cost them any thing if it doesn't work. 15% of nothing isn't much!

One day an A&R scout calls them, says he's "been following them for a while now," and when their manager mentioned them to him, it just "clicked." Would they like to meet with him about the possibility of working out a deal with his label? Wow. Big Break time.

They meet the guy, and y'know what—he's not what they expected from a label guy. He's young and dresses pretty much like the band does. He knows all their favorite bands. He's like one of them. He tells them he wants to go to bat for them, to try to get them everything they want. He says anything is possible with the right attitude. They conclude the evening by taking home a copy of a deal memo they wrote out and signed on the spot.

The A&R guy was full of great ideas, even talked about using a name producer. Butch Vig is out of the question—he wants 100 g's and three points, but they can get Don Fleming for $30,000 plus three points. Even that's a little steep, so maybe they'll go with that guy who used to be in David Letterman's band. He only wants three points. Or they can have just anybody record it [like Warton Tiers, maybe—cost you 5 or 10 grand] and have Andy Wallace remix it for 4 grand a track plus 2 points. It was a lot to think about.

Well, they like this guy and they trust him. Besides, they already signed the deal memo. He must have been serious about wanting them to sign. They break the news to their current label, and the label manager says he wants them to succeed, so they have his blessing. He will need to be compensated, of course, for the remaining albums left on their contract, but he'll work it out with the label himself. Sub Pop made millions from selling off Nirvana, and Twin Tone hasn't done bad either: 50 grand for the Babes and 60 grand for the Poster Children—without having to sell a single additional record. It'll be something modest. The new label doesn't mind, so long as it's recoupable out of royalties.

Well, they get the final contract, and it's not quite what they expected. They figure it's better to be safe than sorry and they turn it over to a lawyer—one who says he's experienced in entertainment law—and he hammers out a few bugs. They're still not sure about it, but the lawyer says he's seen a lot of contracts, and theirs is pretty good. They'll be getting a great royalty: 13% [less a 10% packaging deduction]. Wasn't it Buffalo Tom that were only getting 12% less 10? Whatever.

The old label only wants 50 grand, and no points. Hell, Sub Pop got 3 points when they let Nirvana go. They're signed for four years, with options on each year, for a total of over a million dollars! That's a lot of money in any man's English. The first year's advance alone is $250,000. Just think about it, a quarter-million, just for being in a rock band!

Their manager thinks it's a great deal, especially the large advance. Besides, he knows a publishing company that will take the band on if they get signed, and even give them an advance of 20 grand, so they'll be making that money too. The manager says publishing is pretty mysterious, and nobody really knows where all the money comes from, but the lawyer can look that contract over too. Hell, it's free money.

Their booking agent is excited about the band signing to a major. He says they can maybe average $1,000 or $2,000 a night from now on. That's enough to justify a five week tour, and with tour support, they can use a proper crew, buy some good equipment and even get a tour bus! Buses are pretty expensive, but if you figure in the price of a hotel room for everybody in the band and crew, they're actually about the same cost. Some bands (like Therapy? and Sloan and Stereolab) use buses on their tours even when they're getting paid only a couple hundred bucks a night, and this tour should earn at least a grand or two every night. It'll be worth it. The band will be more comfortable and will play better.

The agent says a band on a major label can get a merchandising company to pay them an advance on t-shirt sales! Ridiculous! There's a gold mine here! The lawyer should look over the merchandising contract, just to be safe.

They get drunk at the signing party. Polaroids are taken and everybody looks thrilled. The label picked them up in a limo.

They decided to go with the producer who used to be in Letterman's band. He had these technicians come in and tune the drums for them and tweak their amps and guitars. He had a guy bring in a slew of expensive old vintage microphones. Boy, were they "warm." He even had a guy come in and check the phase of all the equipment in the control room! Boy, was he professional. He used a bunch of equipment on them and by the end of it, they all agreed that it sounded very "punchy," yet "warm."

All that hard work paid off. With the help of a video, the album went like hotcakes! They sold a quarter million copies!

Here is the math that will explain just how fucked they are:

These figures are representative of amounts that appear in record contracts daily. There's no need to skew the figures to make the scenario look bad, since real-life examples more than abound. Income is underlined, expenses are not.

Advance: $250,000
Manager's cut: $37,500
Legal fees: $10,000
Recording Budget: $150,000
Producer's advance: $50,000
Studio fee: $52,500
Drum, Amp, Mic and Phase "Doctors": $3,000
Recording tape: $8,000
Equipment rental: $5,000
Cartage and Transportation: $5,000
Lodgings while in studio: $10,000
Catering: $3,000
Mastering: $10,000
Tape copies, reference CDs, shipping tapes, misc expenses: $2,000

Video budget: $30,000
Cameras: $8,000
Crew: $5,000
Processing and transfers: $3,000
Offline: $2,000
Online editing: $3,000
Catering: $1,000
Stage and construction: $3,000
Copies, couriers, transportation: $2,000
Director's fee: $3,000

Album Artwork: $5,000
Promotional photo shoot and duplication: $2,000

Band fund: $15,000
New fancy professional drum kit: $5,000
New fancy professional guitars (2): $3,000
New fancy professional guitar amp rigs (2): $4,000
New fancy potato-shaped bass guitar: $1,000
New fancy rack of lights bass amp: $1,000
Rehearsal space rental: $500
Big blowout party for their friends: $500

Tour expense (5 weeks): $50,875
Bus: $25,000
Crew (3): $7,500
Food and per diems: $7,875
Fuel: $3,000
Consumable supplies: $3,500
Wardrobe: $1,000
Promotion: $3,000

Tour gross income: $50,000
Agent s cut: $7,500
Manager's cut: $7,500

Merchandising advance: $20,000
Manager's cut: $3,000
Lawyer's fee: $1,000

Publishing advance: $20,000
Manager's cut: $3,000
Lawyer's fee: $1,000

Record sales: 250,000 @ $12 = $3,000,000 gross retail revenue Royalty (13% of 90% of retail): $351,000
Less advance: $250,000
Producer's points: (3% less $50,000 advance) $40,000
Promotional budget: $25,000
Recoupable buyout from previous label: $50,000
Net royalty: (-$14,000)

Record company income:
Record wholesale price $6.50 x 250,000 = $1,625,000 gross income
Artist Royalties: $351,000
Deficit from royalties: $14,000
Manufacturing, packaging and distribution @ $2.20 per record: $550,000
Gross profit: $710,000

The Balance Sheet: This is how much each player got paid at the end of the game.

Record company: $710,000
Producer: $90,000
Manager: $51,000
Studio: $52,500
Previous label: $50,000
Agent: $7,500
Lawyer: $12,000
Band member net income each: $4,031.25

The band is now 1/4 of the way through its contract, has made the music industry more than 3 millon dollars richer, but is in the hole $14,000 on royalties. The band members have each earned about 1/3 as much as they would working at a 7-11, but they got to ride in a tour bus for a month.

The next album will be about the same, except that the record company will insist they spend more time and money on it. Since the previous one never "recouped," the band will have no leverage, and will oblige.

The next tour will be about the same, except the merchandising advance will have already been paid, and the band, strangely enough, won't have earned any royalties from their t-shirts yet. Maybe the t-shirt guys have figured out how to count money like record company guys.

Some of your friends are probably already this fucked. Steve Albini is a much sought-after producer and founding member of eighties punk band Big Black. more on Big Black

Jahsonic, Monday, 25 November 2002 17:04 (11 years ago) Permalink

Thanks for posting what Albini was up to like 6 years ago.

hstencil, Monday, 25 November 2002 17:09 (11 years ago) Permalink

is this article a revised version? we should invite albini to revise the figures to take account of inflation.

Julio Desouza (jdesouza), Monday, 25 November 2002 17:46 (11 years ago) Permalink

hstencil, its monday and we are in a pretty louse mood, right?

nathalie (nathalie), Monday, 25 November 2002 17:49 (11 years ago) Permalink

Despite having to clean up a stopped-up toilet (thank you, roommates) I'm actually in a good mood. Even with that Albini article getting posted somewhere for like the 600 MILLIONTH time.

hstencil, Monday, 25 November 2002 17:54 (11 years ago) Permalink

Albini made the last GY!BE album bad.

Callum (Callum), Monday, 25 November 2002 18:51 (11 years ago) Permalink

explain? (haven't heard it but what is abt albini's contribution that made this record 'bad' in yr opinion?).

Julio Desouza (jdesouza), Monday, 25 November 2002 18:55 (11 years ago) Permalink

Albini is great with simple guitar bands like Shellac, Low and Labradford. With Godspeed his attempt to capture their 'live energy' turned it into a big blurry mess.

Callum (Callum), Monday, 25 November 2002 18:58 (11 years ago) Permalink

A lot of you people on here are big nap takers so I might check the new GYBE! out.....

Jonathan Williams (ex machina), Monday, 25 November 2002 19:00 (11 years ago) Permalink

it can't really be albini's fault: what are GYBE supposed to put on the record instead of their 'energy'. I don't think they have tried their hands at songwriting. the point is it prob is the band's fault.

Julio Desouza (jdesouza), Monday, 25 November 2002 19:04 (11 years ago) Permalink

He put the microphones TOO CLOSE!

hstencil, Monday, 25 November 2002 19:05 (11 years ago) Permalink

Maybe GYBE should try writing songs. I mean, if Mogwai can do it...

Callum (Callum), Monday, 25 November 2002 19:10 (11 years ago) Permalink

if only those microphones were a couple of cm to the right then 'energy' would be captured. precious precious energy.

''Maybe GYBE should try writing songs. I mean, if Mogwai can do it...''

they are not v good at it callum.

Julio Desouza (jdesouza), Monday, 25 November 2002 19:20 (11 years ago) Permalink

Are too. ;-)

Ned Raggett (Ned), Monday, 25 November 2002 19:24 (11 years ago) Permalink

Not very good? Uh, have you HEARD Rock Action?

Callum (Callum), Monday, 25 November 2002 19:26 (11 years ago) Permalink

heard one alb of theirs. that was enough.

Julio Desouza (jdesouza), Monday, 25 November 2002 19:29 (11 years ago) Permalink

All three of their albums are vastly different, but Rock Action is particularly different. They wrote SONGS for Rock Action.

Callum (Callum), Monday, 25 November 2002 19:29 (11 years ago) Permalink

GY!BE were one of two bands at Shellac's ATP which weren't there by invitation of Shellac. This presumably means that they were invited before the big fight, and Foundation wouldn't take them off because they're a big draw.

Andrew Farrell (afarrell), Monday, 25 November 2002 19:39 (11 years ago) Permalink

I really don't care.

Callum (Callum), Monday, 25 November 2002 19:43 (11 years ago) Permalink

big fight?

jones (actual), Monday, 25 November 2002 19:49 (11 years ago) Permalink

Hmmm, Sunday morning donut & pop tart rock shows.

donut bitch (donut), Monday, 25 November 2002 20:01 (11 years ago) Permalink

Festivals seem like a stupid idea to me. Who wants to watch a rock band at lunch-time?

Callum (Callum), Monday, 25 November 2002 20:05 (11 years ago) Permalink

Why's there such a big cult of personality around a recording engineer? I don't get it.

sundar subramanian (sundar), Monday, 25 November 2002 20:23 (11 years ago) Permalink

Because it's fun.

donut bitch (donut), Monday, 25 November 2002 20:31 (11 years ago) Permalink

Because of where he PLACES THE MICROPHONES. Ooooh!

hstencil, Monday, 25 November 2002 20:35 (11 years ago) Permalink

''Why's there such a big cult of personality around a recording engineer? I don't get it.''

um, he's not just a recording engineer sundar. shellac, rapeman and big black were/are good rock bands.

Julio Desouza (jdesouza), Monday, 25 November 2002 20:58 (11 years ago) Permalink

It's because of his music? That's even weirder.

sundar subramanian (sundar), Monday, 25 November 2002 21:00 (11 years ago) Permalink

OK he does come across as an idiot and this 'cult' you talk abt (well, since I do live in the UK and don't mix in indie circles)... its the first time I heard of it b-but I like his bands.

Julio Desouza (jdesouza), Monday, 25 November 2002 21:07 (11 years ago) Permalink

Because there are two people here and I want you to kill them.

donut bitch (donut), Monday, 25 November 2002 22:31 (11 years ago) Permalink

Because of where he PLACES THE MICROPHONES. Ooooh!

oh... don't forget the record buttons! and those level knobs! oh shit... and the pan knob!

(really tho... all respect due...)

msp, Tuesday, 26 November 2002 03:56 (11 years ago) Permalink

i think you're confusing tracking with mixing

electric sound of jim (electricsound), Tuesday, 26 November 2002 04:01 (11 years ago) Permalink

I saw Shellac like a month ago. I went because Rye Coalition were opening, and if you don't know about them, ya betta axe somebody. I was thinking about going up to Steve and saying (in numbnuts doofus voice) "Uh, Mister Albini, here's a tape of stuff I did on my 4-track with about $500 worth of equipment. Do you think you could listen to it, and then tell me if I have any talent that you could perhaps mold into something great, take me under your wing, as it goes?" But I drank to many beers and had to leave 3 songs into Shellacs set, so it didn't happen.

Helltime Producto (Pavlik), Tuesday, 26 November 2002 04:16 (11 years ago) Permalink

You guys are nerds.
Seriously. Steve Albini is not Julia Roberts and you are not Mary Hart.

E-to-the-Izzo, Tuesday, 26 November 2002 16:22 (11 years ago) Permalink

And you're not H.L. Mencken so step off already.

hstencil, Tuesday, 26 November 2002 16:30 (11 years ago) Permalink

All of the Silkworm albums he worked on sound amazing but especially "Firewater." My favorite drum sound.

Immediate Follower (NA), Thursday, 26 September 2013 21:30 (1 year ago) Permalink

Nina Nastasia's records, those are good.

LinkedIn Beef (Eazy), Thursday, 26 September 2013 21:37 (1 year ago) Permalink

oh yeah! those are some recent records i love. don't know how much of that is albini and how much of that is liking her a lot though. they sound fine. he is good with strings on some of those records.

scott seward, Thursday, 26 September 2013 21:39 (1 year ago) Permalink

taking a good band and not fucking it up is harder than it sounds -- there are plenty of crappy-sounding or overworked records by good bands

#fomo that's the motto (Hurting 2), Thursday, 26 September 2013 21:40 (1 year ago) Permalink

if you listen to the recent nina albums they don't scream albini or anything. which is a good thing. they shouldn't. i like tar's jackson too. forgot that one. just a great rock guitar sound.

scott seward, Thursday, 26 September 2013 21:41 (1 year ago) Permalink

i still dream of a new orleans brass band recording with albini.

festival culture (Jordan), Thursday, 26 September 2013 21:42 (1 year ago) Permalink

or great punk guitar sound anyway. you have to dig albini drum sound to like the tar album though.

scott seward, Thursday, 26 September 2013 21:42 (1 year ago) Permalink

every time i hear a shittily digitally recorded metal album i kinda wish i could hear it recorded by someone like albini. just to get some sort of room sound and some contrast.

scott seward, Thursday, 26 September 2013 21:44 (1 year ago) Permalink

From outside the world of rock, he did a really good job on The Thing's Bag It! a few years ago.

誤訳侮辱, Thursday, 26 September 2013 21:44 (1 year ago) Permalink

Wonder if he's still insisting on the no royalties with the 2013 mix and all that.

Emperor Cos Dashit (Adam Bruneau), Thursday, 26 September 2013 21:48 (1 year ago) Permalink

I wish more jazz artists hired him cuz yes that Thing record sounds great.

Steve is a genius at documenting what bands actually sound like, which seems like it would be really easy to do but is not. I am in a band that made a record with him and he was a pleasure to work with and I think it sounds closest of all of our records to what we actually sound like live & in the practice space.

chr1sb3singer, Thursday, 26 September 2013 21:51 (1 year ago) Permalink

obligatory post where i say that razorblade suitcase sounds pretty damn good.

call all destroyer, Thursday, 26 September 2013 21:56 (1 year ago) Permalink

chr1s I figured out what band that is and I'm listening to the record now and it sounds pretty great!

#fomo that's the motto (Hurting 2), Thursday, 26 September 2013 21:56 (1 year ago) Permalink

albini has a thing with kick and snare -- when he does anything on the hard side his kick and snare always really stand out to me

#fomo that's the motto (Hurting 2), Thursday, 26 September 2013 21:58 (1 year ago) Permalink

i guess he fucked it with that Rapeman song..among other stuff.

Kim Gordon: Big Black were playing in Amsterdam, it was their last tour, and we happened to be there. In the train stations they have machines where you can buy women’s underwear. It was Steve’s birthday, so I bought some to throw at him so he would feel like a rock god on his birthday.

fit and working again, Thursday, 26 September 2013 21:58 (1 year ago) Permalink

These are all some great records, but Neurosis "Times Of Grace" is the best album Albini ever recorded

I agree with the "no royalties" ideology and put it into practice by working pay-what-you-can with all clients. The rest of that letter is a terrific, dogmatic method but it's a good method. I've heard lots of shitty Albini records by bands that really should've used Protools (or practiced more) ((or ceased to exist))

flamboyant goon tie included, Thursday, 26 September 2013 21:59 (1 year ago) Permalink

yeah, what bands actually sound like + an amazing larger-than-life roomy drum sound.

festival culture (Jordan), Thursday, 26 September 2013 21:59 (1 year ago) Permalink

yeah tbf I don't think many bands can claim that their drums sound like that in the practice room

#fomo that's the motto (Hurting 2), Thursday, 26 September 2013 22:01 (1 year ago) Permalink

Ha, well the drums actually do kind of sound that way in the practice pad when yr standing right in front of them.

chr1sb3singer, Thursday, 26 September 2013 22:02 (1 year ago) Permalink

i'm usually behind them so maybe i don't realize ha. but I'm also not a heavy-hitting drummer.

#fomo that's the motto (Hurting 2), Thursday, 26 September 2013 22:03 (1 year ago) Permalink

taking a good band and not fucking it up is harder than it sounds -- there are plenty of crappy-sounding or overworked records by good bands

― #fomo that's the motto (Hurting 2), Thursday, September 26, 2013 10:40 PM (32 minutes ago) Bookmark Flag Post Permalink

but taking a shitty/mediocre band and recording with them a record with a good production - no one will give a fuck anyway.

nostormo, Thursday, 26 September 2013 22:14 (1 year ago) Permalink

i think by definition "shitty/mediocre" bands who are recording an album have a number of people who will give a fuck

Tyskie in the giro (Noodle Vague), Thursday, 26 September 2013 22:18 (1 year ago) Permalink

But not the one's who liked the "good" bands.
Plus,people who like shitty band usually don't enjoy the "production"..

nostormo, Thursday, 26 September 2013 22:20 (1 year ago) Permalink

Assuming we all agree Pixies were good and Bush was shit lol

nostormo, Thursday, 26 September 2013 22:22 (1 year ago) Permalink

"Hey,that Bush record sounds great but I hate the band. I think I'll buy it"
A sentence that was never told

nostormo, Thursday, 26 September 2013 22:25 (1 year ago) Permalink

Tyskie in the giro (Noodle Vague), Thursday, 26 September 2013 22:30 (1 year ago) Permalink

here to rep for 'Ocean Songs' which i think is one of the most beautiful sounding records i've ever heard.

Jamie_ATP, Thursday, 26 September 2013 22:34 (1 year ago) Permalink

It's interesting to compare Seamonsters, which he recorded, against The Wedding Present's Hit Parade stuff which is of a similar style but sounds pretty terrible largely. Seamonsters sounds incredible; not austere at all with its soaring guitars and, yes, Albini drums. In this one example I do think he added so much that he should possibly deserve royalties.

kraudive, Thursday, 26 September 2013 22:55 (1 year ago) Permalink

"my mechanic only works on cars he respects on an aesthetic level"

This line on the thread got me to chuckle as I pictured one of those mechanics that works on just BMWs or Jaguars.

earlnash, Thursday, 26 September 2013 23:07 (1 year ago) Permalink

Albini gets a great live drum sound, Unfortunately, that same sound seems to be what he gets out of everything else, too.

Anyway, his work with Low and Bedhead show what he can do in mellower circumstances. In some ways, the lack of a pounding drummer in those situations forced him to do better with everything else.

Josh in Chicago, Thursday, 26 September 2013 23:52 (1 year ago) Permalink

If you don't know, Lil BUB is the latest deformed kitty to take the inter-tubes by storm, following in the paw-prints of the now-legendary Grumpy Cat. The gal has no teeth so her tongue constantly hangs out and has some kind of drawfism so she remains an eternal kitten with tiny, unbelievably adorable front paws. Here she is:

Yeah, well Lil BUB has a YouTube show. In what might one day culturally rival Alice Cooper on the Muppet Show or the punk rock episode of CHiPS, the guest in the third episode is famed funnyman Steve Albini. Here is the trailer:

I cannot wait for the whole episode in two days...

Loud guitars shit all over "Bette Davis Eyes" (NYCNative), Tuesday, 1 October 2013 18:42 (1 year ago) Permalink

lil bub's owner is an electrical audio board guy i think

lorde willin' (upper mississippi sh@kedown), Tuesday, 1 October 2013 19:24 (1 year ago) Permalink

i wonder if there is video of albini interviewing nate silver

Philip Nunez, Tuesday, 1 October 2013 20:01 (1 year ago) Permalink

Always a good reason to repost this:

Jersey Al (Albert R. Broccoli), Tuesday, 1 October 2013 21:06 (1 year ago) Permalink

"They're HUGE in the world of math rock."

Loud guitars shit all over "Bette Davis Eyes" (NYCNative), Tuesday, 1 October 2013 21:18 (1 year ago) Permalink

i wonder if there is video of albini interviewing nate silver

I went to this last December. Albini asked Silver something along the lines of: "Why go into election stats instead of going to Wall Street and becoming a billionaire?" And Silver talked about how high the bar was for Wall Street quants, and how he was more excited to be in a field where doing a B+ job felt like an A-grade job, where there was that kind of skill gap.

(Also played cards with them that evening.)

LinkedIn Beef (Eazy), Tuesday, 1 October 2013 21:21 (1 year ago) Permalink

I hear Nate Silver is a good poker player.

Loud guitars shit all over "Bette Davis Eyes" (NYCNative), Tuesday, 1 October 2013 21:23 (1 year ago) Permalink

Good player, great guy, happy to talk politics and baseball at the card table.

LinkedIn Beef (Eazy), Tuesday, 1 October 2013 21:41 (1 year ago) Permalink

Josh in Chicago, Saturday, 5 October 2013 13:47 (1 year ago) Permalink

Steve Albini drives a PT cruiser

global tetrahedron, Saturday, 5 October 2013 16:01 (1 year ago) Permalink

i'm going to pretend you didnt say that

set the controls for the heart of the sun (VegemiteGrrl), Saturday, 5 October 2013 16:28 (1 year ago) Permalink


set the controls for the heart of the sun (VegemiteGrrl), Saturday, 5 October 2013 17:24 (1 year ago) Permalink

pt cruiser is very much in character

call all destroyer, Saturday, 5 October 2013 17:48 (1 year ago) Permalink

the only bad thing about driving a PT cruiser is when you pass another PT cruiser and the driver looks at you with a knowing smile

flamboyant goon tie included, Saturday, 5 October 2013 18:21 (1 year ago) Permalink

hope the pt cruiser has truck nutz

mookieproof, Saturday, 5 October 2013 19:48 (1 year ago) Permalink

just plz tell me it's not a convertible

set the controls for the heart of the sun (VegemiteGrrl), Saturday, 5 October 2013 19:52 (1 year ago) Permalink

Know why he must like it? Quality engineering.

Josh in Chicago, Saturday, 5 October 2013 21:24 (1 year ago) Permalink

i wanted him to drive a beatup GMC A-Team van

you guys I'm really bummed out by this

set the controls for the heart of the sun (VegemiteGrrl), Sunday, 6 October 2013 03:23 (1 year ago) Permalink

then again I heard a while ago that Maynard gets around LA in a smartcar which made me lol so, idk...maybe I can get over this

set the controls for the heart of the sun (VegemiteGrrl), Sunday, 6 October 2013 03:23 (1 year ago) Permalink

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