Technically accomplished, sonically subversive and fiercely independent, I’ll remember Steve Albini for his rare humility

As a tsunami of CDs, DAT tapes and samplers swept the recording industry in the late 1980s, Big Black frontman and alternative music agent provocateur Steve Albini threw down the gauntlet in defiance.

He quickly carved out a reputation as a go-to recordist for artists wanting to achieve a transparent representation of a live sonic aesthetic. The power of words – and music As a journalism graduate from Northwestern University, Albini routinely provoked outrage with his nonchalant commentary of extreme events and material, writing for local fanzines and reviewing the Chicago punk scene.

All apologies aside, it is hardly likely the dozens of women and LGBTQI+ artists Albini recorded – including Laura Jane Grace, The Breeders, Nina Nastasia, Screaming Females and PJ Harvey, to name but a few – would have set foot in his studio had Albini’s deviant satirising reflected his true politics or beliefs.

For those fortunate enough to have recorded with Albini, he was known as a kind, patient and accommodating engineer, eager to make bands feel at home and committed to capturing the truest possible representation of their live sound.As a young doctoral student researching sound recording and production techniques in 2009, Albini was only too happy to discuss his career and recording techniques with me.

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