Precision engineering

Renowned heaviness helper Steve
Albini doesn’t slack on Shellac

IN THE SAME BASKET: Albini (L) and Shellac

by JOHNSON CUMMINS

Shellac’s guitarist/singer is probably best known, if only marginally, as the man behind the recording desk for such bands as Nirvana, Neurosis, Page & Plant, the Pixies, Cheap Trick and more. But Chicago’s Steve Albini also had a hand in shaping the post-hardcore underground with the seminal Big Black and Rapeman. In 1992, he formed Shellac, with a pounding rhythm section, noisy, discordant guitar and of course Albini’s acerbic wit, delivered in his trademark nasal monotone. The Mirror contacted Mr. Albini by phone at his studio, Electrical Audio.

Mirror: There have been a fair amount of gaps in the Shellac release schedule.

Steve Albini: Well, all of us in the band have busy, regular, normal lives, and for all of us, the band has always been a pastime or a secondary pursuit, albeit one that we take very seriously. We just can’t let the band interfere with our normal lives or our livelihood. Because of this, it just takes us a lot of work to get through a record, compared to a regular band. We’ll only spend about a week in the studio to make a record, but we’ll spread that week out, sometimes over several years. Personally, when you do something every day, it becomes an obligation and I would start to resent it. This band just means too much for me—in fact, the band means more to me than probably anything else in my life.

M: Because you don’t do that much touring, is hitting the road more like a vacation than a promotional obligation?

SA: Going on tour is fantastic. When you hear bands complain about how hard the road is, you can’t help but just think they’re pussies. Everything about the touring experience is incredible.

M: Having worked on so many studio sessions as an engineer, has this affected you as a musician?

SA: Well, like any life experiences, they are going to affect you as a musician, but when I’m working in the studio, I’m more concerned with the technical aspects and making sure they are maintained. I can be equally affected by just playing with my cat.

M: When Shellac is in the studio, is there any butting of heads, having two gifted engineers [bassist Bob Weston has engineered records by Polvo, Sebadoh, Mission of Burma etc.] in the band?

SA: We don’t generally have disagreements in the band so we try to come to a consensus before we do anything. We are kind of comfortably in the same basket and will usually know immediately if we all like it or not. We will never compromise if we can’t reach a consensus, though.

M: You’ve been to Montreal once as a musician in Flour’s touring band, and once as a speaker for Pop Montreal.

SA: I love Montreal. It’s a beautiful city with fantastic food and many good-looking and sturdy women. Au Petit Cochon is still one of my favourite eating experiences I’ve ever had.

M: Judging by the inner sleeve on Shellac’s debut record, At Action Park, I thought Canada was the punchline to a lot of your jokes.

SA: I think Canada is just adorable and I’m just giving you guys a pat on the head. Like, an “Oh, they have their own baseball team, how cute” kind of thing.