Steve Albini on the surprisingly sturdy state of the music industry – in “tha music industry is a parasite” it sure is, virtually all industries are. “i think that’s a totally much more direct and genuine way for an audience to pay for a band, and a much more efficient means of compensation” albini says. there was a booming band scene and all bands aspired to getting recorded, as a mark of legitimacy.) but in albini’s view, what exists now is far better than what existed before. “it never operated for the benefit of songwriters,” says albini. and editors who could place reviews, program directors and independent djs who could add records to playlists or played in nightclubs, were subject to much buttering up. is a supporter of analog recording over digital, as can be evidenced by a 1987 quote on the back cover of the cd version of big black's songs about fucking: "the future belongs to the analog loyalists. albini played all of the instruments on lungs, except the saxophone parts, played by friend john bohnen.'s now 20 years since Steve Albini, the legendary rock music producer best known for Nirvana's last studio album In Utero, penned a seminal essay for the literary magazine, The Baffler. i also imagine a faceless industry lackey at the other end holding a fountain pen and a contract waiting to be signed. the same was true of all those promo copies, posters, radio pluggers and payola men, producers, publicists, tour support, 8x10 glossies, shipping, freight – basically anything that could be associated with a specific band or record was ultimately paid for by the band, not by the record label. Albini is a musician and recording engineer, a member of the celebrated punk groups Big Black and Shellac. at the moment i’m in a band, i also work as a recording engineer and i own a recording studio in chicago. real problem is that the catalogs have been released on cd for decades and are being sold endlessly used…which does nothing for the industry btw. albini is the producer (he prefers the term “recording engineer”) behind several thousand records. in addition to asserting that music will always be made due to its role in human expression, albini explained that, while the state of the music industry is healthy in his view, the industry of music journalism is in crisis.
Steve Albini Thinks Online Streaming Solved “The Problem With he went on to document just how shitty the money was … a standard contract for a new act might net a record company some 0,000, but a band member only walked away with about ,000 — and that was after selling 250,000 records and going on tour. the end the bands operating under this system earned very little from their record sales, unless they were monumental stars. azerrad referred to albini's rates in 2001 as among the most affordable for a world-class recording studio. a 2004 middle tennessee state university presentation, albini reaffirmed his perspective on major labels, explaining that he was opposed to any form of human exploitation. record labels paid handsomely for these promotions and the stores used the sale of these promotions as additional income.'s recordings have been analyzed by writers such as michael azerrad, who is also a musician. the chicago area, albini was active as a writer in local zines such as matter, covering the then-nascent punk rock scene, and gained a reputation for the iconoclastic nature of his articles."three pandering sluts and their music press stooge: the great steve albini letters-to-the-editor debate"; transcript of a stormy exchange from 1994 provoked in the letters page of the chicago reader, where albini accuses music critic bill wyman of being a recording industry stooge. my part, i believe the very concept of exclusive intellectual property with respect to recorded music has come to a natural end, or something like an end. because of this great bulk of the industry needed to sustain itself. they sold 250,000 copies of an album—considerable success by most standards—making the music industry more than million, yet still ending up ,000 in debt. previously, in the top-down paradigm allowed local industry to dictate what music was available in isolated or remote markets, markets isolated by location or language. i wish i had a contract for my red headed stranger—then the record co wouldn’t have laughed in my face when i asked where my royalties were. or it could be paid to other operators within the industry, increasing the clout and prestige of the person doing the spending. around the same time, he began recording musicians and engineered his first album in 1981. without copyrights, the music industry he hates so much will simply appropriate other people’s musical ideas.