Atomizer

I knew who Big Black were for a long time but never took the time to listen to them until their last album, which I thought was really good! This is the first thing I've listened to other than that and it's another thumbs up! It's got a real vital intensity to it and sounds way ahead of it's time for 1986. with its noisy, almost industrial feel at times, slightly grungy too, which all works for me!

indecipherable noise for most of it. Did not care for this much, also I just felt pissed off listening to it. There's a weird static through the whole thing that acts as a barrier to anything listenable.

Definitely a lot of anger, a lot of boredom and a lot of angst went into this album… not a very enjoyable listen though. At least it wasn’t just a standard boring punk album!

I can see why this was influential. The production is very interesting and it is pretty aggressive in its sound and lyrics. But I still found it repetitive and kind of meh before too long. Punk is pretty hit or miss for me, and this one was a miss

Not for me 1/5

Industrial Nirvana - I like normal Nirvana better though

On the sharp rough side. It's Seve Albini, which you can really hear in the consistent sound of the album. Very much gritty punk. Wouldn't necessarily listen back to it, it's missing a bit of hooks or something to get me into it. I get this type of punk is all about being very vocal, shouty, edgy, loud and let out feelings, but it didn't quite latch onto me.

Pretty cool. A bit industrial. I could hear some Ministry at times. I also heard some singing that reminded me of late Black Flag. I need to check out more of their catalog now. 4/5.

The first track was so abrasive I was worried that I was going to need to skip this, but I am glad a persevered as this turned out to be a fantastically innovative album

This was my first time listening to this particular album from Big Black, and I have to say it definitely delivers. Like the rest of Big Black’s catalog, it’s loud, harsh, and aggressive as hell. The music feels like a fusion of hardcore punk and industrial. It’s unrelenting and abrasive from start to finish. One of the standout elements is the use of a Roland TR-606 drum machine instead of a live drummer, which adds a cold, mechanical feel that really cranks up the intensity. For an album released in the mid 80s, this must’ve really pushed the boundaries. Using a drum machine in the punk and metal scene at the time was practically unheard of, and Steve Albini used it to amplify the chaos.

Insane album, one of the greatest noise rock albums, rip Albini

If I could describe Big Black and their music in two words, I think I'd go with "fuck you." I mean, to begin with, their music is a big "fuck you" — punk ain't agressive enough! Metal ain't heavy enough! Even hardcore punk is childish! What their doin' is some **real loud, intense shit**. Their guitars are damn **drills**, they can be so metallic! Hell, they're usin' a drum machine and they ain't gonna hide that fact 'coz, hey, fuck you, **they don't give a shit**! I know their **lyrics** are sure a big ol' "fuck you." They're only there because people like words, so of course they filled them up with stories of rape, racism, mysoginy, child abuse, arson and anything else dwelling in dark side of the American psyche. It's shit to make you squirm in your seat — to **think about**, let alone actually **hear someone sing**. It's the kind of shit where they're so open and brazen about it, and where they obviously hold such disdain for the monsters they're singing about, that to criticize them makes **you** look like the uppity puritan! They're a punk band! What're **you** gettin' on 'em for? Big Black is a lot, in short. Industrial noise punk absolutely **not** for the feint of heart. And I gotta tell you, there **is** something to hearing music that's just so . . . balls to the wall like this. It's actively fighting against mainstream taste, both musically **and** lyrically. Or maybe it's not even fighting — it's just over here making big ol' mess 'coz, fuck you, this is just what it wants to do. You want a piece of this? Tough shit, fucko; it ain't gonna be easy. This is an album you hafta take entirely on energy and intensity. Any other way, you're doing it wrong. I mean, let's be fuckin' real here: the lyrics don't matter. They're filled with a lot of pitch-black dark shit, but they matter about as much as the words on Frank Zappa's 'Uncle Meat', or on any Coheed And Cambria album. They're all instrumentals, pretty much. Though with how hard they push themselves, they can sometimes come across as just balls of energy. For how metallic the guitars are, it's remarkably primal music. And it's really not something I could see myself listening to all the time. I'm sure I'd tire myself straight out if I listened to it twice too close together! Like, not even the hardest of hardcore punk that I'm into is this intense. Dead Kennedys, "Deadfall" by Snot — neither comes close. And while I can certainly marvel at their efforts and give them props for just not giving a fuuuuuuck . . . yeah, it's generally just not the kind of punk I'd reach for first. Gimme the Ramones or The Clash or Green Day . . . hell, maybe even a little Sex Pistols on an odd day. In comparison to all of those bands, Big Black comes across as often a bit too abrasive for my usual, most-all-of-the-time tastes. And I'm sure they'd hear all that and wouldn't even give it a reply. Just an unspoken "fuck you" before going on their way. And, I mean, "fuck you" back, I guess? I'm sure it's the kind of reaction they'd want. I just don't think I'd give it back as enthusiastically as they'd want me to. Ah well. If I could describe Big Black and their music in two words, I think I'd go with "fuck you." I mean, to begin with, their music is a big "fuck you" — punk ain't agressive enough! Metal ain't heavy enough! Even hardcore punk is childish! What their doin' is some **real loud, intense shit**. Their guitars are damn **drills**, they can be so metallic! Hell, they're usin' a drum machine and they ain't gonna hide that fact 'coz, hey, fuck you, **they don't give a shit**! I know their **lyrics** are sure a big ol' "fuck you." They're only there because people like words, so of course they filled them up with stories of rape, racism, mysoginy, child abuse, arson and anything else dwelling in dark side of the American psyche. It's shit to make you squirm in your seat — to **think about**, let alone actually **hear someone sing**. It's the kind of shit where they're so open and brazen about it, and where they obviously hold such disdain for the monsters they're singing about, that to criticize them makes **you** look like the uppity puritan! They're a punk band! What're **you** gettin' on 'em for? Big Black is a lot, in short. Industrial noise punk absolutely **not** for the feint of heart. And I gotta tell you, there **is** something to hearing music that's just so . . . balls to the wall like this. It's actively fighting against mainstream taste, both musically **and** lyrically. Or maybe it's not even fighting — it's just over here making big ol' mess 'coz, fuck you, this is just what it wants to do. You want a piece of this? Tough shit, fucko; it ain't gonna be easy. This is an album you hafta take entirely on energy and intensity. Any other way, you're doing it wrong. I mean, let's be fuckin' real here: the lyrics don't matter. They're filled with a lot of pitch-black dark shit, but they matter about as much as the words on Frank Zappa's 'Uncle Meat', or on any Coheed And Cambria album. They're all instrumentals, pretty much. Though with how hard they push themselves, they can sometimes come across as just balls of energy. For how metallic the guitars are, it's remarkably primal music. And it's really not something I could see myself listening to all the time. I'm sure I'd tire myself straight out if I listened to it twice too close together! Like, not even the hardest of hardcore punk that I'm into is this intense. Dead Kennedys, "Deadfall" by Snot — neither comes close. And while I can certainly marvel at their efforts and give them props for just not giving a fuuuuuuck . . . yeah, it's generally just not the kind of punk I'd reach for first. Gimme the Ramones or The Clash or Green Day . . . hell, maybe even a little Sex Pistols on an odd day. In comparison to all of those bands, Big Black comes across as often a bit too abrasive for my usual, most-all-of-the-time tastes. And I'm sure they'd hear all that and wouldn't even give it a reply. Just an unspoken "fuck you" before going on their way. And, I mean, "fuck you" back, I guess? I'm sure it's the kind of reaction they'd want. I just don't think I'd give it back as enthusiastically as they'd want me to. Ah well.

Does very much feel like a predecessor to something like Nine Inch Nails. 4.5 bumped down to 4.

You know what? Fuck it, I’m at a 4.5 that I'll bump up to a 5. I had some thoughts going into this; I figured it would be noisy (yes), with a little bit of a punk / industrial lean (yes), but I also assumed it would be a little annoying (no), abrasive (yes), & overall, it would feel like another “same”-y 1980s punk album that could either really hit or really miss. Thankfully, what I’ve been greeted by is, oddly enough, a blend of “Double Nickels on the Dime” (in terms of the instrumental vibes / energy), & Tom Waits’ “Bone Machine” (in terms of some heavier, yet honest subject matter on a handful of tracks). This album isn’t as quickly paced as the former, nor is it as well written as the latter, but for 1985, this feels like it takes parts of the best of both, leaning more towards using the soundscape as the primary storyteller, but using the harsher tones to more of a musical advantage as opposed to Tom Waits using it for a little bit of a shock early on in his album. Lyrically, there’s tracks about a falsified sexual abuse ring in Minnesota, the struggle for white-passing black people, crooked cops making shit up for money, small towns that are so boring they light shit on fire for fun (been there, literally done that), consensual physical touch taken to its extremes, falling back into the vices of alcohol, a slightly schizophrenic / paranoid mind, and cattle mutilation as a 9 to 5 job. Yeah. not exactly the same thing as Tom Waits’ struggle with mortality, but in terms of the brutally honest approach a lot of these tracks take, without ever going into anything truly gory or sickening (save for the first track, which is uncomfortable in that “Kim” by Eminem way where it’s a character), I think there’s some merit to that comparison. I think these are all mostly well written, even if the soundscape takes precedence, especially when it overshadows the vocals. It helps that there’s good liner notes for each track on Genius. Musically, it’s just a heavy fucking album. The guitar, percussion, bass, the whole 9 yards is LOUD, it’s abrasive, it’s full of echo & reverb, and yet for whatever reason, I found myself engaged, brought on by the fact that there are melodies & riffs & a general normal musical structure hiding underneath the “face value” volume. Other than “Passing”, a lot of these tracks do have a good sense of progression despite some repetition, and their drops are incredibly effective when they hit. I think it’s a little bit same-y for the 37 minute runtime, but if you allow yourself to just get into it, as fully harsh as it feels, there’s something satisfying there. I was definitely leaning towards a 4 for most of it, and yet something about the very last track showcasing that they keep the same energy live as they do in the studio really sold me on bumping it up & it sold me on them. Of course, afterward, I realized I hadn’t looked up anything about these guys, so I did a quick look at Wikipedia one more time, and… this is Steve Albini’s band. As in, prolific producer Steve Albini who passed away last year. We’ve had albums produced by him before, namely “Surfer Rosa” & “In Utero”, so it all makes a lot more sense now. I bounced off of “Surfer Rosa” very early on into this project (it was album #91!), but I feel like nowadays, I’d take much more kindly to it, so that needs a relisten. It’s not an album for everyone; I think the floor is a 3, and I do understand the 2.72 on the site. I’m at a 5 just because I enjoyed the hell out of it after the last track clicked really nicely. This was a good one to my ears, and I’m very sold on anything else we get in the future produced by Steve Albini (including yet another PJ Harvey album down the line) since this is the only Big Black album on the list. Rest in peace, Mr. Albini, and thank you for giving the list something this batshit crazy for 1986.

# Album Name: Atomizer # Artist: Big Black # Rating: 1/5 # Comments: Im not going to lie, the first track had me thinking WTF is this shit. And it remained that way. Not for me this one # Top Tunes: None # Would I listen to it again? No

Nice 80s electro punk.

Not atomized, more like a solid turd.

This album is loud, abrasive, and completely unapologetic about it. The guitars sound like they’re trying to peel the paint off the walls, the drum machine pounds away like a jackhammer, and the vocals are all spit and sneer. It’s got a very specific, very aggressive sound, and I can respect the intent, but it’s not something I found particularly enjoyable to listen to for long stretches. There’s a certain power in how raw and confrontational it is, but it’s also pretty one-note. The relentless harshness starts to blur together after a while, making it hard for any individual track to really stand out. The energy is intense, but the lack of variety left me more worn down than hooked in. I get why this album is influential, but it’s just not my kind of listen. It’s an interesting experience once, but I doubt I’d come back to it. All bite, not much nuance.

3.75

So I was honestly a nervous going into today's album. But it was better than anticipated. Is it something that will be in the general rotation, definitely not but I can appreciate the sound and the evolution from pop to something different. It has the grungy anger of punk but moves into an almost metal vibe, but not so much that it becomes metal. While my ears don't always like the dissonance sound from the guitar or the drums, it is still impressive how they take those somewhat unpleasant sounds into a cohesive song. One of my biggest issues with this type of music is I can't understand or hear the lyrics and I think that can be a big miss in general. I want to hear what you are singing about, I want to hear what you are saying and I really think lyrics should be as highlighted as the instruments, but I might be the only one out there.

The lyrics/vocals didn't especially grab me but I really like the music. Very cool guitarwork. This is 1985? It sounds pretty ahead of it's time. This is worth a few more listens.

I’m old so punk/hardcore doesn’t torch my soul, but then that keyboard hook in Passing Complexion came on and intrigue set in. Then Kerosene rolled through and I felt an element of industrial Goth. Ok. I like it. The production is exceptional. Fists of Love pounded by and I’m realizing that this music is intentionally riding a very intense wave of urgency…something that seems to be lacking in modern music, or at least in music that is being crammed down the collective throat. Finally, I realized that this is Steve Albini’s band…producer of many 90’s alt rock titans (Nirvana, The Breeders, PJ Harvey, Slint, Bush) and of course the man behind the brilliant production on The Pixies’ ‘Surfer Rosa’. It ALL makes sense now. Steve truly was a genius music producer. This music feels of its moment and highly important even 40 years on.

My expectations were NOT high after reading the Wiki description on here. So I have to stay I was pleasantly surprised. I'm certainly not going to call it great, but I didn't mind it. Even found myself head banging to some of it. Standout track was Big Money. This feels pretty hardcore for the 80s.

This album is nuts. I can't imagine how abrasive it felt in the mid 80s. The loud guitar seems it would be ear piercing but it tickles my ear just right. And it's somehow pretty catchy. Love the drum machine

You know what it’s like when you’ve been stripped to your keks and there’s a gun at your head and you’ve been told to play the guitar like your life depends upon it (and it does) and you’re shredding for all you’re worth and your palms are clammy and the tips of your fingers have began to bleed and your heart is bounding and your mouth is dry but somehow, somehow, you feel that charge that says ‘this is what it means to be alive and to actually be living’? No. Me neither. But I bet Steve Albini did.

I can barely hear anything

Yup, first track I thought this was too heavy for me, but I loved this rocky futuristic punk that sounded like a prototype Prodigy. Wouldn’t sound out of place on a Powell and Peralta skate video.

Ok punk

Super abrasive but this slab of industrial drum machine punk definitely grew on me whilst listening - Steve Albini could wrangle some proper weird sounds and I’m not mad about it.

A challenging listen, and an example of why that isn't necessarily a bad thing.

Punky. Aggressive but pointed and not over egged

Это. Просто. Ахуенно.

830am is too early for this, which is going to hurt its score. I think after lunch I would have really gotten into it. The bad houses song sounds a lot like the inspiration for Tools song with Henry Rollins. Overall this was pretty ok.

The fandom of this band and Steve Albini seems very earnest but I just can't seem to understand what is so appealing about this 1.5*

not sure if I’ll come back to this very much, but I do like it. makes me curious about their other stuff. 3.5

Faltan melodías. Desconocidos de forma merecida.

I've never heard of this band before. I really like the music.

More approachable than I expected it was solid for what it was.

I hated it up until the last three songs which are all bangers. Still, if you want industrial, listen to Nine Inch Nails or Ministry. The first half could've been instrumentals since you can't understand the words anyway.

No 1.2

One of the most creative 80's rock albums out there. Wild idea after wild idea. Very dark and noisy, but at the same time they through fun and colorful ideas at the listener, like the main riff on "Passing Complexion". You never really know if the band is taking themselves too seriously or taking the piss, but you love it anyway. And with a cover art as deliciously ridiculous as that, how could you not? Steve Albini went on to become one the main architects of the sound of the 90's (and also a major competitive Poker player). Key tracks: Jordan, Minnesota Passing Complexion Kerosene

Well this was annoying as hell 2 ⭐️

I've never heard of Big Black before, but this is a really interesting album cover. I have no idea what this album is going to sound like, but in my quick jaunt to Wikipedia, I see that this album was influential on industrial music, and as one of the wackos who gave five stars to Kollaps, I have high hopes for this album. Ooh, and Steve Albini was the guitarist for this band? Neato, now I'm doubly excited! I really loved this album. It didn't sound exactly like Kollaps, but I'd say these albums are at least cousins. The guitar playing and drumming on this album were excellent throughout, and even though this album has a fairly narrow scope, each song really offered something different in terms of sounds. Listening to this was like riding in the back of a cement mixer with a bunch of scrap metal, and I loved it. The rhythms were excellent as well, bolstered by some excellent drum machines. Some notes on individual songs: I loved that reverb effect of the guitars and the drums on "Jordan, Minnesota." The sound matched the tone of the song's lyrics and theme really well. "Passing Complexion" was great too. There were more awesome guitars and drums, and now some sweet vocal effects were thrown in for good measure too. Deliciously chaotic. "Big Money" toned down the effects a bit, but I loved the blistering drumming. "Kerosene" was wild. I have no idea how they made those sounds, but it kicked ass. I enjoyed every second of those six minutes. "Bad Houses" was great. I enjoyed how the energy was slowed down a bit, but this song still kept the overall industrial sound. "Fists of Love" was excellent. The guitars were simply awesome. The guitars on "Stinking Drunk" were great. There's something that sounds like a weird vocal being looped, but I can't be sure. Regardless, I love it. The guitars are excellent too. I loved that little pause where it was mostly drums. "Bazooka Joe" was crazy. I loved how unsettled I felt listening to it. Atomizer was fantastic from start to finish, with excellent guitar playing, and an overall unique and wild sound. At 949 albums into this project, I keep worrying that there's no way I'll keep finding new albums to love, but I'm glad that I keep getting proven wrong about that. Atomizer isn't every day listening for me, but I really enjoyed it.

Great stuff!

Not really sure why, but I liked this one. A bit metal, some punk, very industrial. I could hear NIN and Metallica both in it at times. I think it being different helped it keep my attention. For positives, the sound was interesting and mostly enjoyable if a bit abrasive. I struggled with the vocals at times, but they suited the music well. Negatively, I got worn down by the time it ended. Though the album was only about 37 minutes long, the style was a bit much for me to have going for that long. Even so, I never disliked what was happening. I wouldn't call it great, and I can see why it wouldn't be for everyone. But this was different and heavy while still being an interesting listen. Not sure I'll listen to it again, but I'm not mad I heard it at least once. Overall: 3.25/5

Solid punk, drum marchine is a cool touch. Guitar work is aggressive and well recorded, the bass is turned full blast gain and sounds sick. Vocals are over the top and wild, this sounds modern. +1 for Chicago punk scene.

Heard it before. God, I adore Big Black. Confused why this is the album chosen for the list and not Songs About Fucking (which is better in my opinion) but can't complain, this album still has some bangers. And since this is my only opportunity to rate Big Black on this list this goes straight to my favourites 5/5

Good fun, I enjoyed songs about fucking a lot more, but this is very cool too! RIP Steve Albini

A mix of post-punk with pre-grunge, bordering on an avante-gard sort of sound. I could see some enjoying this but ultimately not for me- a little too dissonant for my taste.

More accessible than some other punk I've had on this list, but still a distinctly unpleasant experience for me.

Now this is an influential album. I feel like I've been lacking in actual "must-listen" albums, so to see this greeting me last night was very welcome. But how do I feel about Big Black's Atomizer as an album? It's pretty good. I'll admit that I'm generally not a fan of noise rock, but this album's generally solid. Of course, this is not an album for everyone. This thing is harsh, abrasive, and arguably even offensive. But here's the thing. This was released in 1986. This thing is revolutionary, okay? Other bands just weren't doing things like this at the time. Steve Albini was definitely an interesting artist, all things considered. While I don't think I enjoy this as much as some of the albums he's produced, I still think his willingness to make the kinds of music most people didn't want to hear was somewhat commendable. However, this album only works because the music itself is actually music, and good music at that. I don't think every song works. Like, I know this album's supposed to be bleak and harsh, but I think the opener, "Jordan, Minnesota" is just a little... much, you know? But the good songs? Bangers. "Passing Complexion" is cool. I love the bass on it especially. And of course, we have "Kerosene," which I love. This album's full of weird noises that sometimes are a little annoying, but other times are really cool. The writing is certainly interesting, and the actual compositions are very well-made. These actually feel like they have melodies and such, to an extent. So, between the influence, the musical quality, and the experimentation, I have to give Atomizer my respect. While I prefer other albums of the time, I can't deny that Atomizer is a strong album that deserves its recognition on a list like this. Low 4/5.

Noisy. Jarring. Harsh. Yep, it's an album Steve Albini is involved in. I dug it but I prefer Shellac more. Still, this one deserves to be in and it's definitely influential.

Just a whole lot of noise. I did find the last two tracks to be listenable but maybe I just got used to their sound by then. Cool album art though.

Boting

A fine punk album. Very abrasive. Not great, not terrible, just okay.

meh 2/5

Rather wonderful - nasty, dirty anger, but never to the point of noise. Felt unclean listening to some of it, but I still returned. Even the programmed drums grew on me, a tantalising look forward to NIN and the like.

Instrumental rock fury with guitar riffs that take center stage and lyrics that cut to the issue. Good listen.

This sounds like every teenage garage band in the 1980s. It’s nothing special, it’s a melodic Throbbing Gristle at worst, and a proto-Nine Inch Nails at best, which I grudgingly accept makes it a pretty important album. I didn’t like it, but it paves the way for Steve Albini the engineer and Nine Inch Nails. So even though I will not listen to this again, it earns a place in the book.

I just don't have the patience for lo-fi anymore. I used to claim to like it, but now I'm doubting whether I ever did. Maybe I was just going for hipster cred. With so many albums in the world that are pleasing to the ear, why would I choose this? Anywho, whether it's lo-fi or intentionally industrial, I'm not a fan of the production on this one. It's a shame, because there's a lot of potential here. Also, one-star automatic deduction for the use of a drum machine with punk rock.

Oh, fuck yes. It made me very happy to see this come up. Big Black is my favorite Steve Albini band, and this is my favorite Big Black album. There's some great songs on here and the lyrics are so extremely dark, but it's the actual *sound* of the album that captures me every time. Albini had a vision and it shows: abrasive, harsh, and metallic, but with no sludge or gloom in the production. It's like the aural equivalent of suurgical steel and bright lights, and I love it.

I liked this way more than I was expecting. Songs about F$&king didn’t make a huge impact on me 25 years ago when I was introduced to it, but maybe I was just not ready to hear it then. Now I will need to revisit that. Lots of interesting songs here, and I especially liked Kerosene, Bad Houses, and Bazooka Joe.

5/5 - I needed to hear this because it melted my face. This is beautiful, raw noise. I listened to the whole thing 3 times and played Kerosene and Passing Complexion about 5 more. I’ll probably do the same tomorrow.

Somewhere between punk and industrial, and far enough away from either end of the spectrum that it sounds fresh and original even 40 years old. Yeah, it's noisy and abrasive with some fairly edgelord lyrics, but it's got enough rhythm, melody, and insight to steady the ship. Pretty fucking cool album.

The backing music reminds me of NIN (which it predated) -- it's really amped up in a great way. But I don't love the vocals - it's talking/shouting with reverb.

This goes hard. Especially for 1986. But, surprisingly catchy and listenable for an album that is abrasive and ugly by design. You can also hear a lot of the elements that would lead to Albini's later success as a producer.

People go on about how abrasive this is but it just struck me as punk crossed with some dance vibes - like if Trent Reznor went *REALLY* balls to the wall. I enjoyed 'Passing Complexion' and 'Kerosene' enough to add to playlists. Some of it was too darkly punk for me - but mostly a good listen for an afternoon of deleting shit off SharePoint.

You will love this or hate it. But I don’t think it can be ignored. I loved it, big 5 for me! Abstract ideas that come to my head while listening to this album: Jordan Minnesota: noisy dialectics, Gyrating hips, we do what we like, murder on the vocals, violate me Passing complexion: yum yum sushi, conveyor food wizzes by, I’m hungry, high school halls smell starchy. Five star because it is making a new mold. It doesn't seem like it aged because it has such freshness, I’m sure some would say it has a rotten vegetable smell. I say it smells of heated organic decay that I call humus. Perfect sound.

Intense - definitely an interesting one, and I put Bad Houses on my playlist

Ah, Steve Albini's band, I had heard of, but never actually heard. It was ok (post?) punk stuff.

Another album on the bad side of noise rock. I’m very iffy on this genre already and this album didn’t help. Not really my groove.

C'est pas mauvais mais je l'ai écouté sans en noter aucune

Big Black makes bands like Nine Inch Nails & Ministry sound about as dangerous as the latest volume of Kidz Bop. The most brutal album on the 1001 list? For me, so far, yes, by far. Part of me hates that this is so good because I can't stand Steve Albini (mastermind behind Big Black) but no denying his genius. The 10 songs that make up Atomizer are among the most vicious, bleak and misanthropic ever recorded. Songs about pedophilia, racism, drug addiction, self-immolation and every other disturbing subject you can think of & that's just side A. Atomizer is an exhausting listen and one of very few albums that keeps playing days after the needle lifts after side two comes to an abrupt end like a nightmare does when you feel that familiar hand on your tummy at the exact time you did the night before.

Transgressive, edgy nonsense made by some goobers that wanted to hear more of this kinda shit. My kind of album.

Although I'm used to this kind of industrial rock/punk from the 80s both band and album were all new to me. Nonetheless it has never been my preferred genre. 2,5

That's not music, that's just bloodeh noise!

Æ vet æ hørte på det, det va raskt og bråkate?

This is a record that I inhaled so hard a voice in me will forever incant “me, Atomizer.” It’s panache comes from fulfilling a promise that heavy metal made that only Big Black, a punk band, satisfied: a raging, intoxicating sublime made into sound. It is also surprisingly tuneful. This was made with three guitars and a drum machine, mammoth riffs, brilliant flow in song structure, and a scholarly, relentless curiousity into what electric guitars can sound like beyond the blues-country-rock tropes that came before. Albini’s trebly chaos and Riley’s distorted funk pulled me in; only later I recognised how Santiago Durango’s insolent big rock twang and song-tinkering held the weirdness together. The first side’s packed. “Kerosene”’s the pinnacle, “Jordan, Minnesota”’s a rocket, “Big Money”’s a lost Stooges banger, and “Passing Complexion” flaunts a crazy, synth-like laser-trill I’ve never heard elsewhere. “Bad Houses” is moody, an amuse-bouche before the record’s second greatest song opens Side B. After “Fists of Love”’s exhibition of how much drama and variation one can wring from one riff, three short experiments follow: “Stinking Drunk” sets staccato, scratchy, mosquito-like picking against jet-engine power chords, a lovely anti-solo in the middle; “Bazooka Joe” has a hot rod’s profile, built to blast a straight line, a study in different timbres at full throttle; and “Strange Things”, the song everyone - especially the band - labels the weakest, yet it’s the track that comes closest to Naked Raygun’s goofy disco and is graced by one of the great Durango off-kilter grandiose guitar lines at the end - it’s Big Black’s disposable pop song. "We wanted to see how far we could go doing something really bad”, said Durango. They capped the record with a live recording of “Cables” as they thought it rocked, and were right. I despair of adequately describing Durango’s work, mock-heroic, drunk-epic, enormous riffs played through a deafening Geiger Counter, ingenious, elegant, volcanic, sometimes plain nasty. Albini idolised him, claiming there was a sub-group of Chicago bands that subsisted purely on riffs Durango had thrown out. Seek out the live recording “The Sound of Impact” and listen to the first side; the bass is diminished, but the hum of Durango’s guitar is the most gigantic rock sound I’ll ever hear. Per Albini, he also possessed the sharpest ears for the band’s strengths, tuning structure and vetoing mistakes - putting Albini’s distinctive, arabesque intro to “Kerosene” was Durango’s idea, a killer one, foreshadowing the overwhelming chorus. You have to have the sleeve notes for the full package. Nasty short stories with sensationalist narrators, caricatures with wit and venom, printed lower case white on a black background. The cover is perfect, though what they originally wanted, an illustration of Marvin the Martian zapping earth with his ray-gun, could have been even better. The edgelord legacy deserves comment. It’s a machine for angry fantasies: all-consuming, incredible for charging narrow tranches of emotion and imagination, but exhausting, and it can stop you from listening or watching. When I was a kid, I wish I’d spent some time outside my head and these places, violent comic books included. Two thirds of the band have died, the pioneering punk rock engineer Iain Burgess too, a cruel travesty. I hope Sant comes out of retirement as I’m sure he has a blinder of a record in him, but today feels like an extinction zone for titans. A line by Beckett comes to mind: “Giacometti mort. George Devine mort. Oui, conduis-moi au Père Lachaise, en brûlant les feux rouges.” Requiscat, Riley, Burgess, Albini.

I really enjoyed this - the combination of extreme guitar treatments, incessant drum machine beats and the subject matter and its delivery make for an unforgettable listen. "Kerosene" I already knew and loved, but the rest is equally good (esp. "Passing Complexion" which has the best guitar sound and "Fists of Love" which could be from a John Carpenter soundtrack). The Killing Joke influence is clear but the result is entirely original, and awesome. Might cough up some cash for a copy (on Bandcamp)

I knew nothing about the band. I've never heard their music before. It came heavy, frenetic, distorted, and raw. It took me a bit to catch the mood but afterwards it was a noisy bliss. I was able to feel elements from shoegaze and punk. For me, it's a 4/5. mini0n, 05/09/2025

Did not know how I’d feel about this, and tbh I still don’t quite know how to feel about this. I like punk a lot, but there was a little more edgelord here than I cared for. “Kerosene” was the best song, but “Bad Houses” was good too.

This album is good but Songs About Fucking is waaaaaaaaaaaaay better and belongs on this list. 3.5

mixture of punk and new age. Not that good.

A pretty solid punk album. You can definitely hear the influence it may have had on future punk / noise / industrial stuff. Interesting use of a drum machine. I didn't listen close enough to hear (or be effected by) the lyrics but thought the playing and creativity were both top notch!

I got really into Big Black (and most of the other bands featured) after reading Our Band Could Be Your Life by Michael Azerrad many years ago, but at some point this abrasive, atonal, industrial noise fell out of my regular listening rotation. I am so happy to be diving back in today and I might need to re-read the book and dive back into more of these bands. I had a similar thought while listening to Double Nickels on the Dime by the Minutemen, who were surprisingly one of the few bands in the book that didn't fully resonate with me at the time. I absolutely loved listening to them for this project though, which also led me to think I should revisit the book and the bands it covered.

I really enjoyed this! Made sense once I realised it was Steve Albini.... First song was trying a bit too hard to be edgy and wound up gross though... I still think it's a 5 star album though - the energy the whole way through is insane. Kerosene is just punk perfection.

just barely a three

I think there's something interesting here, but am not willing to listen loud enough to find it.

A frustrating listen. There probably could've been good songs here, but the production choices, such as guitar sounds, kill this album and at times make it almost unlistenable. There are some good moments, but they are so few. The singing is another level of awful too. 2/5, barely...

awful

Assez moyen

Oh its steve albini's band. I didn't know it was his, fun. 93/100

Awful.

Not a lasting listening experience

At first I was not into it. Not really my genre. By the second or third song, I was thinking “oh shit, this kind of goes hard.” Then I got to reading about Big Black and Albini and it was really cool learning about him and his connection to Chicago.

Les gros albums de noise et over the top punk ne sont pas ma tasse de thé, mais y'a un ptit kek chose qui m'a permis de passer à travers sans trop de problème, mais j'arrive pas à mettre mon doigt dessus. Aussi, excellent cover d'album, j'aime beaucoup

Atomizer is an obnoxious, noisy, rushed, angry, mess of an album. It sucked my will to live, but I think that may have been the bands goal.

Definitely found Einstürzende Neubauten's Kollaps as well as Trout Mask Replica far more enjoyable than this. And I'm unsure whether this still deserves its entry on this list. I'm sort of leaning "no" - and then I'm leaning "hold on a minute". Next thing then is whether it's a 1/5 or 2/5 for me. I just handed out a bunch of 2s and it's definitely not particularly worse than those - if anything, it's more interesting than some of of them.

Good for what it is. Not my thing.

Solid 3 for sure.

Gar nicht mein Stil. Heavy Metal…

Industrial bliss

Very polarizing global reviews, very few 3’s. I fall on the lower side on this one (no pun intended).

This was a pretty polarizing album when it was being passed around in high school. You either liked or hated it. I fell into the latter category. Even as a self-proclaimed punk rocker I found the lyrics too off putting. But I can appreciate its musical influence and lean-in to other bands like Ministry or even NIN. It makes perfect sense that Albini would make the pivot from harsh raw edged playing into harsh raw edged production that would become his known style.

Sounds like a panic attack wrapped in anxiety that hurt my ears. Also the topics/lyrics sound like something I don’t need in my life. I imagine Albini accomplished exactly what he wanted with this album and will appreciate my 1 rating.

I would not use words like "enjoy" to describe this album... but there is something about it that I don't hate. And would probably really enjoy it if this music was my type of thing. I appreciate a band just doing their thing and can also see how they likely influenced bands like NIN and industrial rock in general. Prob won't ever revisit but think it deserves higher than a 1* rating. 2/5

Nope

Not what I was expecting.

Gear: Dunu SA6 Artwork: 🧨🌍💥 Production: 🥩🖕👌 Music: 🎸🐇🔋 Rating: ⚛️⚛️(⚛️)/5

I was annoyed after one and a half songs so I shut it off.

More boring annoying noise. Too bad, because some of the lyrics are interesting.

Cover 7 Lyrically, there's substance. Unlike much of NIN and other industrial music. It's surprising that they were doing this as early as 1980s. A decade too soon. Personally, I'd welcome a remastering to improve the production quality, although that might be some of the charm (for some people). Better than good album.

Bleak. Dark. Hard. Not sure why I like Husker Du so much more.

There are some excellent (dare I say epic?) beats on here, and some very interesting sounds, moods, and moments. The vocals and lyrics somewhat undo it for me. But mostly, it’s that I feel like, when I listen to this, I’ve eaten too much salt and my heartbeat’s gone crazy.

I can see where Prodigy maybe got their influence. Prodigy meets Pixies. Just not my kind of taste in music. Bazooka Joe is ok. Pretty straight forward neo-punk.

No private session used for Spotify. Heavy, discordy, screamy. 2/3rd of those are not real words, but I Big Black doesn't deserve real words and I think they are fine with that. Probably won't listen to this album again.

This one was a difficult listen. There were many parts throughout that sounded great, but they were pushed behind harsh filters/distortions. This made a lot of the album just come off as "noise", even when there was great instrumentation in the background. Maybe that was the point? If all that "noise" was removed, I'm sure I would enjoy this album even more.

2/5

Yes

Great album, great band, great producer.

Absolutely love this. This album feels so much more contemporary than it is. Noisy but so controlled.

probably would have loved this if i first discovered it as a teenager. it was fine.

This was a little more noisy than I really needed today but it was fun. I will give it the round up.

Fists of Love sounded way too much like the song playing during the supermarket running scene in Requiem for a Dream. Apart from this small reprieve, I couldn't wait for it to end.

It felt like something was ripping out my eardrums

A couple of good tracks, some that drone on. Doesn’t grab me like others of the era.

definitely not my type of music

An assault on the ears

Wow! This album is NOISY!!! but energetic... I can imagine this being more fitting in a cramped concert hall but just listening to it alone is a bit much.

first full punk rock album ive listen to, good introduction. not my fav type of music, but the album seems well thought out and the message is always clear in every song. wouldn't listen to it again but i understand the appeal.

Not bad but it ain't nothing to write home about. The abrasive, explicit, and rough around the edges vibe you get from this may probably be mentally stimulating for some but it unfortunately was not for me. I kinda got nothing from this in terms of it being brain stimulating but still I wouldn't say this was bad. 2.25-2.50/5

I can't. It was just too many abrasive noises on top of each other, and so repetitively. And this, coming from a man who has enjoyed Bastard Noise.

I really like this and I don’t know why

noise rock, wtf. maybe one or two was ok

Much better than expected. First industrial album I’ve liked so feeling very surprised. It’s raw, it’s different, and doesn’t let up. Has repeat listenable qualities for workouts.

Albini revels in blue color small town toxic machismo and ennui. It becomes difficult to untangle how you feel about these horror stories delivered like Shapiro infused anthems. This has such a unique sound it feels both DIY and highly skilled. I do prefer when Albini added a full band on Rman’s Two Nuns and a Pack Mule but this Groundwork is solid and still sounds edgy.

Not for me. Maybe i am not in the right mood for this today, but it just annoyed me

Some noise, some punk, some grunge, some thrash. Very interesting record. Have never heard of this group before but I like what they’re laying down. Good energy and good musicianship along with a very energetic and loud singer. I dig this one.

Kerosene around, find something to do!

Very interesting album, not totally sure what to make of it. I enjoyed it though. Pretty thick sound.

pulverising, relentless, breathless and bleak

mostly unfamiliar with this (aside from a few tracks from Songs About Fucking). i'm more familiar with Albini's work with Shellac, had no idea this was his original group Jordan, Minnesota - 5/5 Passing Complexion - 3/5 Big Money - 4/5 Kerosene - 5/5 Bad Houses - 4/5 Fists of Love - 5/5 Stinking Drunk - 5/5 Bazooka Joe - 5/5 Strange Things - 5/5 Cables (Live) - 5/5 Average score: 4.6/5 (rounding up) loud and abrasive in the best ways possible. idk how this hasn't landed on my musical radar sooner Cables was amazing for a live performance, and i'm not usually a fan of live performances

Very nice.

I don't get it, and I'm only slightly embarressed to admit it.

Classic punk rock stuff here. Anti-establishment. Noisy. I like it.

Big Black - Atomizer, powerful, driving, industrial. Great album. Kerosene, full of power. A full 5 stars

Great punk with a driving guitar. Music that will get you up in the morning.

אלבום מאוד מעניין הז'אנר לא הז'אנר המועדף עליי אבל זה אחלה מוזיקה שיר מועדף - Kerosine

Not my usual jam, good tho!

Really bad noise punk. Pass.

Refreshing listen after yesterday's The Who pick. Raw, and aggressive. There's a particular kind of fuzz on the guitar(s) that gives the whole record a distinct feel. Wish I would have listened to this earlier. My only complaint is that a lot of the songs could be mixed louder.

Really fun solid punk album. Lots of noise. Really liked it.

Not a single idea of what this was going in. Not a single idea of what this was going out. Spotify labels this as a few things - noise rock, post-hardcore, no wave. I don't know what any of those are. I guess I can infer what noise rock is, but what the hell is "post-hardcore"? What is hardcore, for that matter? I'm not denigrating these genres when I say this, it's just the context I'm approaching this from. I don't know what to make these because I lack any experience with these genres. I appreciated that the album seemed to take it down a notch (generally) as it progressed. It made it more listenable. But honestly, man, I really didn't enjoy this. It's just chaotic music with a guy screaming over it. I can't get there with this one, and I don't even really want to try. Two stars, simply for the benefit of the doubt that I'm missing something here. Standout Tracks: Jordan, Minnesota, Big Money

The first time I heard Big Black I thought they were one of the worst bands on the planet. I thought Steve Albini sounded like an edgy teenager and they were purposely trying to sound bad to make a point. A few years later after getting into recent noise rock bands with much tighter production I decided to go back and reevaluate. I am so glad I did. This is one of the most punishing albums ever recorded, the guitars cut like razors and the lyrical content is among (if not) the bleakest things ever put to paper. The electronic drums are pummeling and set the foundation for the metallic clang of the rest of the instruments. Steve sings and screams like a manic, fully embodying the characters he portrays, often representing the worst of humanity (some based on true stories ie. Jordan, Minnesota). It is edgy, but it is cutting and scathing and while brave might be the right word, you would be hard pressed to find many people willing to sing from the perspective of a paedophile. Countless shock rock bands came after this trying to one up each other with edgy and often "offensive" graphic content, not a single one has ever come close to the bleakness of this record. It is a record that backs up my belief that noise rock is heavier than metal, the unchained chaos after the tense build of kerosene goes far harder than any open string cleanly produced chugging breakdown (case in point, the lamb of god cover of kerosene) Not to mention the guitar tones on both kerosene and passing complexion are insane, truly warped and inimitable, crazy to believe this was recorded in 1985. When I saw this come up I thought I was going to give it a 4, I've heard it a hundred times and I thought that after all these years its novelty would have worn off. Nope, it reminded me how much I love heavy music and I was truly glad to have revisited it. Steve Albini's best work as a musician, crazy to think he would then go on to produce multiple albums I consider better than this. Kerosene might be a top ten song for me. Favourites - Jordan, Minnesota, Passing Complexion, Big Money, Kerosene, Bad Houses, Stinking Drunk

Equal parts aggressive, angsty, nasty, groovy, heavy, fun - and petulant, sloppy, contrarian, excessively-noisy, and grating. I could listen to this album one day and really vibe with it - and the next hate every second. Hard to give each song a fair rating when being forced to not let temporary feelings guide the review, but the album is a 1 and a 5 at the same time. Jordan, Minesota (6/10) Passing Complexion (7/10) Big Money (7/10) Kerosene (8/10) Bad Houses (5/10) Fists of Love (6/10) Stinking Drunk (7/10) Bazooka Joe (7/10) Strange Things (7/10) Cables (Live) (6/10) 6.6/10

nekad nemam nikakvih komentara. okej, ovo postoji, to je manje-više to

Not my jam, heavy metal and weird lyrics.

One listen is enough... unless u mad feeling, then give it ten

A lot of grit and teeth-gnashing with just a little bit of the still, soft-beating heart behind it. Not that I was over the moon about this one (I wasn’t), but I feel accomplished in understanding its appeal at the very least. “Passing Conplexion” was definitely my favorite for the interesting guitar tones and looped melody. But I also liked how funny the intro of “Bazooka Joe” was. Strong 2/5 it’s not for me but I get the appeal and understand people who may sing this albums praises if they’re into this lane of music

I love classic punk, this is unlistenable.

Very meh....it's loud and abrasive but not in a fun unique was...more in a kinda annoying boring way

This was such a solid punk rock album! I’d never heard of this artist or album before. As someone who loves 80s and new wave music it was fun to listen to and discover new music in one of my favorite decades! I will definitely be listening to this album again and would recommend it to others!

Punkish music released in 1986 - never heard of them. They're talented, but uninteresting. Best Songs Passing Complexion Kerosene Strange things

Sin más. Demasiado punk para mi.

Experimental I liked it not bad

Felt like I should like this because, Steve Albini. It wasn't terrible, just didn't love it. Bazooka Joe made the list.

2.3

Confession time, I've never listened to any of Steve Albini's own bands before despite loving so many bands that he worked with and recorded but now I know I've made a big mistake. This album is excellent and I will be listening to more. It's crunchy and noisy and angry but it's not a difficult listen and I enjoyed it so much more than I expected to.

Surprisingly listenable for an avant-garde industrial punk album. I like it.

You can 100% picture little Kurt listening to this and thinking “I can do that” Ugly, noisy, rude, mean… and totally awesome.

Bad

Had it's moments 3/5

1. Jordan, Minnesota - 2 Vocals are completely drowned out. Instrumentally it's very experimental and at times very enjoyable, but overall the song is lacking anything that would make me want to replay it any time soon. 2. Passing Complexion - 6 Instrumentally this is freaking brilliant. The beat and the waning guitar sounds make this a track you will absolutely tap your feet to. Lyrically it's a bit lost but they're never on the track too much to ruin anything on it bar maybe the scream at the end. 3. Big Money - 5 Carbon copy the last song but a little less enjoyment in the instrumentals. Bang on average track. 4. Kerosene - 2 The instrumentals are the only thing keeping this off the bottom rating. Lyrically it's dry, repetitive, and completely boring. 5. Bad Houses - 2 Carbon copy the previous song's critique but this time the vocals are completely drowned out and absolutely pointless being on the track since you can never hear them well enough to make out what they're saying. 6. Fists of Love - 0 I try to keep things within a 1-10 range for tracks... but this was so outrageously and horrendously bad. The lyrics are completely uncompelling while the same riff and drum beat is on repeat for the entirety of the song. Mix in horrible sounding noises like nails across a chalkboard (yes, actual nails across a chalkboard sounding like noises are on this track) and you get something so bad it cannot be awarded a single point out of 10. 7. Stinking Drunk - 3 The guitar in the opening half is amazing but the entire second half of this song from the bridge onward is awful. 8. Bazooka Joe - 3 The opening half a minute to this track is needless. Guitars are outstanding on the track given this between both the chorus riffs and parts in between the verses/choruses. Signing and lyrics, as par for the course for the entire album, leave everything to be desired. 9. Strange Things - 1 A monotonous and incredibly boring track. 10. Cables (Live) - 1 It's just a completely lost song. Guitars on it are peaking and sound very very bad. Lyrics are just non-existent, incomprehensible, or barely even saying anything bar shouting "Rebel!". Average Rating: 2.5 Adjusted to a 5-Point Scale: 1.25 Rounded Down: 1 Star

Definitely punk, definitely industrial. Big Black was not here to make you feel good, or to be "commercially viable". They were here with a message, and they didn't care if you wanted to hear it or not. Purposefully vulgar and uncomfortable lyrics are their brand, and they wear it proudly even decades after the band has folded. Definitely not for everyone, and while I can appreciate it for what it is, it's not something I'm likely to listen to again. Not upset I got to hear it though!

Aggressive, transgressive and quite impressive,

Some of it doesn't sound as if it was released in 1985. No surprise that one of the members went on to produce some classic grunge albums. Worth a listen but not one of the tracks stood out or made it into another playlist. Never would have heard of them without this and probably wouldn't have missed them.

A lot of my friends love this album but I could not get into it. There are a couple songs that are okay.

Not bad.

Big Black has been described as having “a sound resembling a singing saw blade mercillesly tearing through sheet metal.” My question is, why? You don’t like the sound of a saw blade tearing through sheet metal. I certainly don’t. No one does. People who work in factories where saw blades tear through sheet metal wear ear protection so they don’t have to hear that. So why listen to it by choice? What would make you want to do something like that to yourself, and more importantly, to me? It’s like food critics kind of. A million people eat McDonalds every day; but a million people eat delicious nutritious home cooked meals or at quality local restaurants every day too. So food critics should steer people away from McDonalds and towards good recipes and restaurants. That would be a productive and noble use of their platform. But that takes work and might not draw enough eyeballs. So they do write ups of the weird niche pop up that four people a night go to for clout that charges you $200 to inhale vaporized eel brain. This album is $200 vaporized eel brain. People don’t like it. It sucks. But it’s so extreme that it makes for good copy for lazy music critics to write about. So here we are. Speaking of drawing eyeballs, Steve Albini has walked back his frequent use of racial, gender and sexual orientation-based slurs (how punk rock!) but what no one who later recants saying those types of things ever admits is to why they did it. They did it for attention. They wanted to sell their shitty noise music and have people go to their awful headache-inducing concerts and normal people were never going to do that so they tapped into the edgelord market because edgelords are dumb, have a little money and there are enough of them to sell an okay number of records. Lyrics of that nature are a commercial decision, despite being very non-commercial. Targeting a niche market is still targeting a market. It’s no different than Madonna’s metal bra or Lil Nas X’s video where he gives Satan a lap dance. It’s all manufactured controversy meant to get dumb teenagers to buy your record. So don’t get on Twitter in 2023 and say you shouldn’t have said those things because of your privilege. Give back all the money and fame you intentionally sought by saying them or sit in your Wicker Park condo collecting your interest and shut the fuck up.

Dear future me, Trust me you won’t like it!

Pretty cool single listen album for me, so I was surprised by how much I liked Kerosene. That shit had me going and is on several playlists now. Made me look at the whole album with a bit more interest. I can’t say I had a second stand out song but I am going to keep my eye on this band.

american shoegazing. it just didn't draw me in at all. i think that stinking drunk and strange things helped this not be a 1

This one was bad. Not excruciating, but I didn’t like anything about it, or really even find it interesting. Bad singing, bad style, bad everything.

Not entirely sure of the significance of this album. I did find their use of other styles of 80s music added to a couple of the songs, otherwise it just seemed like pretty generic punk music.

Was the goal of this album to make fun melodies with the most annoying sounds possible? If so, I think they nailed it!

This happens with a lot of heavy punk and metal bands. I love the instrumentation but the vocals leave a lot to be desired. Not that I want the vocals to be super clean or anything. Just more on par with the quality of the instrumentals.

To much distortion and strange noises for me to enjoy.

Sorry, what's the point? For me, it has nothing to do with music. And I don't understand why this album is supposed to be one of the most important albums of the 80s.

I've always wondered why Big Black wasn't more popular with the punks.

0 liked songs

Surprisingly... I don’t hate it? I expected to be running for the nearest Neil Young record (and god how I dislike Neil Young...) to soothe my bleeding ears, but Atomizer is oddly compelling in a “what fresh hell is this?” kind of way. I don’t like it, to be clear, but there’s something fascinating about its raw, unfiltered aggression. “Kerosene” and “Strange Things” were the least offensive to my nervous system, with the latter’s background “HEY!” transporting me directly into the middle of a mosh pit (which is hilarious, because I have never and will never be in a mosh pit). Three stars and three Advil. Let’s never speak of this again.

Estupendo para escuchar mientras te partes las caras con otra persona. Punk adolescente guarro

I was not prepared to listen to this at 9 am on a Wednesday. At work.

6/10 This was a decent one. There are definitely echoes of this in a lot of music that would follow it, from Nine Inch Nails to the Pixies and some of the more abrasive Nirvana tracks. It was pretty non-stop, partly because of the (obviously) metronomic and unstoppable drive of the drum machine, which made it quite a lot to take in in one go. Some of the tones they dragged out of their instruments were absolutely epic, especially as a three piece, like metal being wrenched apart. While I did enjoy this, it was definitely wearing me out by the end. I think I’ll probably go back to it here and there, but listening to it a couple of times round for this was definitely a lot. Jordan, Minnesota - This is pretty relentlessly driving. Really sets the tone for the rest of the album. Vocals are oddly low in the mix. Passing Complexion - The sound of this is great, like the red mist that clouds your senses when you’re absolutely furious about something. Reminds me of Pixies quite a lot. Big Money - Liked the riff in this one. Another non-stop track. Kerosene - This one had more distinct verse/chorus sections and there was a great groove, especially after the chorus. Maybe not as balls to the wall as other tracks, but I really liked it. Bad Houses - There was a bit more dynamic to this one. There is always the almost threatening undercurrent of the drum machine driving away, but that almost emphasised the change of pace from the rest of the instruments. Fists of Love - This one had a ‘Scentless Apprentice’ feel to it. Back to the more driving, breathless stuff. Stinking Drunk - Loved the riff on this one, as well as the breakdown near the end. Solid track. Bazooka Joe - I really liked bits of this, but it felt like it was just a bit too long. Maybe the non-stop nature of the album is tiring me a little but. Strange Things - A bit of Oi! Punk. Again, pretty relentless and things are starting to feel a bit too repetitive for me at this stage. Cables (live) - I had wondered if the could pull off the massive sound of the record live. Turns out they could. Abrasive, noisy and relentless.

Meh

Nice enough

Rough and unpolished, I love the drum machine sounds, nostalgic for that era with industrial and punk experiments. Echoes of Pailhead! Interesting.

Don't know what I was expecting going into this listen, but wasn't expecting an amazing proto-industrial post-hardcore record. The second the first song came on with its abrasive, lo-fi, but also clean production, I knew I was gonna like this thing. Checking the reviews, it's shocking to me that this is getting 2.7 average because with how noisy this record is, I'd expect harsher reviews. The sound of this album is immediately influential from the first notes, basically predicting stuff like Godflesh's Streetcleaner, and even dance punk like Death From Above 1979 or synthpop/EDM bands like Crystal Castles. Overall one of the best discoveries I've come across on this record that I hadn't heard before. Wasn't expecting it, but easy 5.

Interesting

I feel like this is supposed to be one of those albums that provokes an extreme reaction, but I thought it was… ok?

At first, I thought this was pretty grating. But then, the words they chose in their deconstructed tracks kind of drew me in, and in a strange way, this album was a relief from the very pretty and poppy albums from earlier in the week. Also, they formed in my hometown - Steve Albini was huge in the Chicago area as an audio engineer and recently passed away, which was all over the Chicago news at the time. It is kind of mind blowing that this grating, but transcendent? piece of art was released in the mid-80s and that they probably attended college with my dad, a guy who thought he was already so counter-culture by adoring classic rock and emotionally-charged music. I think this album is the white noise refuge from all of that, it's that underground underground, and I am thankful I learned more about this group and Steve.

Obviously this album had some issues with it, most notably they kicked the album off with one of the worst songs on the album. Funny enough, I would listen to this over the ABBA album 7 days out of the week. SET ME ON FIRE, KEROSENE. Probably a 2.5 and I'll round down, but could be rounded up

I love the base guitar on these tracks. A lot of the music is good, good sound. I find the lyrics have a... middle school complexity and astonishing transgressiveness. I gather that's the point, but I have limits.

I only need two words to describe this album: Abrasive noise. This was not a pleasant listening experience and I don't think I would listen again (given that I almost DNFed the first time around.)

This was good at doing what they're supposed to do, but truthfully I just didn't like it that much. I'm going to give it a 4 bc the sound really is innovative, but it was way too edgelord for me.

I really liked this. Raw, energetic, crunchy. Good guitar sounds.

Thought it was Black Flag at first. Enjoyed the first half and then got a bit sick of the sound after that. 5/10

Pretty much just screeching. Not for me.

Industrial Punk? Think it might need a second listen, lots of noise first time out.

A tough and abrasive listen from a sonic point of view. To be expected with any industrial rock record. This was Steve Albini's first band too, so the musical direction makes a lot more sense. I enjoy punk rock, but noise/industrial rock was always a bit too much for my tastes. I will say that the crunchy guitars on top of the clean & sterile drum machine makes for an interesting sound at least. Almost sounds out of this world for the time it was released, so I can definitely acknowledge the impact this album may have had in rock and its accompanying subgenres.

There is no reason anybody needs to hear this album. 1 star or F-.

Not particularly familiar with this album but I enjoyed it. Nice to see where Steve Albini started.

While the opening tracks are both deeply uncomfortable (especially the first, with its origins in a later disproven horrific news story) , the record as a whole is a solid punk effort that makes smart use of razor sharp guitars and pounding drum machine.

Completely new to me; enjoyed it and will check out their full range. Really liked the instrumentation. Simple enough guitar & bass riffs and high energy drum. Listened to the album after a long workday and zoned out, which will likely be how I listen to it in the future. Some lyrics were really rough to listen to (Jordan, MI, et al.), and I'm not sure the message outweighed how grating they were. I get that that was kind of the point, it just didn't feel like the subject matter elevated those songs and in some cases made them nigh unlistenable. That being said, the lyrics barely played into my overall appreciation of the album; the production felt raw yet polished. For not having much exposure to punk and for my first time hearing them, I'm surprised at how quickly I was into it. P.s. In 'Bad Houses' I kept waiting for the drum to drop and the hook from 'What I've Done' - Linkin Park to enter. Probably permanently ruined the immersion for that song, what can ya do...

A strange musical experience. not just for me, but even for my speaker! I think it was the first time it ever produced some of those frequencies 😁

4.5

7/10 porque no lo escuché aún entero pero tenía canciones buenas

Wow that's a lot of distorted heavy breathing. This sounds like how Wayne and Chip would sing if the audience shouted out "punk rock" on Whose Line Is It Anyway?

Urgh, harsh harsh harsh!

Noisy, abrasive and challenging. The sounds of these instruments really get to you. Can definitely see how the drumming influenced industrial rock, some of it doesn't really sound like drums, I guess because they used drum machines. I'm not sure I am even qualified to describe how they make their guitars sound, it's venomous, and really channels the anger and emotions of the writing. Talking of which the lyrics are... Certainly challenging. This is a brave album that I'm glad I listened to.. playing this thing loud is certainly an experience Not sure I'd say I loved listening to this album but it definitely belongs on the list and is one I'll remember

Punk classic, nothing further needs to be added

I liked this a lot. Sure it’s noisy and the production jarring but that’s what is required.

Big Black is a punk/rock group out of the Chicago area (never heard of them until now). I thought the beats were fine, but the lyrics were very basic and/or repetitive. If I ask myself “Would I like to listen to this album a second time?’ The answer would be no. Interesting album cover.

Is this cosmic punishment for saying the last album was boring? I've never heard of this band before. I do like some industrial, but this ain't it. Too much guitar, too edgy, not enough nostalgia. Maybe if I were 15 years older I'd like it? Probably not though. At least it's short.

I wanted to like this more, but it just didn’t do much for me. I do like the hard, punchy punk rock sound, though. I’d give it a solid 2.5.

The hell?

New to me. It sounded fresher than I expected from the description, and heavier, and, in places, funkier (Wiki seems to lump all sorts of things under the word "punk".) It was a bit Killing Joke, and definitely seems to have influenced stuff like Slipknot and nu-metal, from my limited knowledge. I didn't pay attention to the words, but I gather the subjects covered are Dark. I started getting into it, musically, with Kerosene and Bad Houses, and from there on in, it captured my attention until the last two tracks, which I thought were less good. I liked the low bass and drum machine. The guitar playing is incredibly creative - it's used to sound like everything from a saw to a keyboard to an, er, guitar. The album isn't really my thing at this stage of comfortable middle age, but it's actually pretty good.

Synthesized rock

Sounds like every other 70s 80s bad punk band

i can appreciate the influence

I thought the songs were good musically. Interesting mix of pink and industrial. The drumming was really good. The vocals were awful. I’d give this a “3” if the vocals were better.

Amazing noise, industrial rock record. Steve Albini's guitar tone and vocals combined with Dave Rileys bass palying make for a very good album exploring dark themes. Also the drum machine in this album is probably my favourite part of it. 9/10 Favourite: Kerosene Least Favourite: None

accessible

Man I thought this was gonna be the guy from Rob and Big. RIP to a real one. This was fine though. Just kinda noisy punk rock

Almost....There is some cool instrumentation here, and some good drumming. But the singing is terrible. A somewhat generous 2.

An album I had to listen to on a long journey when I'd rather have been listening to TMS. So not a good start. Noisy dull and insignificant. Probably why in my most formative years I never heard of them at the time. And why i am not bothered about ever hearing of them again

Extra star for Jordan, Minnesota mention. This was cool and interesting, but it took me a few tries to listen to it.

I really enjoyed this. Unsurprisingly felt of a piece with 80s era Sonic Youth and Swans which is a sound I'm very into.

Well the cover looks nice, but the music is quite literally a lot of noise.

3.5

Kinda feels like it's always missing a step i could barely understand what the bloke was saying in soooo many songs instrumental slaps

More distortion please... Punk-rock, but not as bad as some other that I had in the list already.

🎧Bleak, aggressive, despondent, and angsty. Bad times had by all.

Mega jangle industrial punk fun chaotic energy.

A little shock value. Not bad though.

No

Favorite Track: Kerosene

There’s a difference between abrasive and actively repulsive. This one’s riding that line, bare-assed and proud. I didn’t necessarily hate the sound - harsh, yes, it hits like punk run through a meat grinder. The lyrics? Yeesh. It’s not shocking, it’s just juvenile and gross. Can’t say it’s boring though. Just... no. Spins: 1 Playlist Additions: - Kerosene

Steve Albini was a monumental figure and it's difficult to assess whether he said everything for shock value or if he actually meant some of the horrifying statements he made across the years. Atomizer is also a monumental record, and balances perfectly being very harsh on the ears and still captivating in its use of fast drumming machines and loud riffs. Fully fletched industrial from the get go.

Steve Albini was a crazy man - you can probably tell. Atomizer is manic, powerful and raw to its core. I don’t particularly enjoy it all the way through; but I’m not sure that it’s the intension anyway.

didn't get to this yesterday so listening now. Hm this sounds pretty cool. 1985?! Punk Rock group fuck yeah. This sounds a bit industrial too. I'm diggin!

This was fun but not entirely my jam. I dug it well enough and had a good time listening to it.

This was a good listen. I had never heard this at all and I can a any thinking there is a straight line from this band to Rage Against the Machine. At least in my ears. It's got something electronic and dancy about it in the right instrumental performances.

I remember reading about Big Black in “Our Band Could Be Your Life”. I never got around to listening to them, but I remember their M.O. Loud guitars and a drum machine (His name is Roland). This record is dark and punishing, so brutal, it threatens to crush you. This isn’t heavy metal posturing or machismo, it’s a sound that matches the grim reality of songs about sexual abuse, alcoholism, ptsd, domestic violence, arson…things most folks in Steve Albini’s hometown in the Mid-West would rather just sweep under the rug and not talk about. This is industrial punk rock. Nine Inch Nails used this sound to sing about emotional nihilism? Ministry used this sound for…goth creepiness? (Okay I really don’t know that much about Ministry take this with a grain of salt) Big Black are using this sound in the best way possible.

New album, new band for me, etc etc. Really not feeling it. I will admit to liking the drums and the bass, so there’s that.

I've listened to this a few times over the years and I really want to like it more than I do. I fully admire the brutal, razorblade tone of the mix, and it's a great example of full on misanthropic aggression, but I don't think the years have been kind. If you compare it to any Shellac recording, for example, it just sounds like a demo. When it does work - Jordan, Kerosene, Fists of love - it's brilliant. One that I would recommend everyone listen to once, but knowing you might not go back.

On this, the first anniversary of his death, it is safe to say that Steve Albini's legacy as an engineer far outshines his legacy as a performing artist. That is not say that Big Black, Shellac, and, yes, Rapeman weren't significant in their way, but who listening to In Utero, Ys, After Murder Park, Rid Of Me, Pod, Surfer Rosa, Razorblade Suitcase, Things We Lost in the Fire, Walking Into Clarksdale, Transaction de Novo, Dogs, American Don, or Bird Machine is even thinking of those abrasive power-trios? It celebrated recording style was the capture the group exactly as they are and, while that works perfectly for many of the great artists he captured over the years, it also highlights his limitations as an artist and songwriter in his own right. His other legacy is as a controversialist or, thankfully, as a repentant edgelord. Like John Lennon before him, Albini's life describes a redemption arc that we should all be granted enough time to complete. Although Albini's life was short, he got more it and completed more of his arc than Lennon did. Thus, he was able to show some regret over the stage antics that used to accompany Jordan, Minnesota. If I remember correctly the supposedly true story that inspired that song was also false, which would make it not only distasteful but reactionary. And that is the problem with an artistic practice that documents the thing warts and all - warts. And what Atomizer documents is an artist who hasn't arrived anywhere yet. The drum machines sound laden (compare with Twitch by Ministry of the same year). The grooves are monotonous. Until Kerosene, there is no dynamism and it is only the concluding live track that sounds as wide and alive as the rest of it ought to. The next Big Black album sounds a lot better and his later recording efforts will sound better still. The think that surprised me most was how much it sounded like the first Cocteau Twins record: similar bass movement, similar drum machine programming, similar guitar parts. Of course, Robin Guthrie would lash everything in reverb, spending hours sculpting those same ringing guitar lines into layers. And then Liz Fraser would sing beautifully, not on top, but in between - a million miles away from what Albini can do vocally of course. But it shows how principle can change very similar material. Later, Albini would learn to combine immediacy with craft (that coupling might be called professionalism), but it was never important to his artistic output. 2.5 I appreciate the trouble that went into making this record sound a certain way, which is to say sort of terrible. It’s harder to judge the musical material buried underneath all the distorted electronic kicks and guitar harmonics. But I am still fairly sure that, like the Scissor Sisters album, this record has most of its better stuff in the first half. ‘Jordan, Minnesota’, ‘Passing Complexion’ and ‘Kerosene’ are all striking and worth hearing. I found much of the rest of the album monotonous aggression. 2.5/5

To me this is a grower album, gets better with time. It’s sooo loud but it has quirky brief melodies that drew me in.

I am not a fan of loud, noisy music. I tend to find myself craving a song that brings me peace or something that makes me want to groove. That being said, I really appreciated the creativity in crafting these trailblazing sounds, resulting in a raw/gritty sound. The guitars were crazy -- I loved the sound of Passing Compassion. Even though this wasn't my style of music, I grew to appreciate the production, the lyrics, and the incredible guitar + drums interlaced throughout. I don't think I would listen to this on my own, but I enjoyed the experience.

Hang With Me Joe, Hang With Me Joe 1001 Albums Generator 24 (05/06/2025) After a series of 3 EP's released throughout the early 80's, post-hardcore pioneers Big Black decided in 1985 that their fans deserved more than just 20 minutes of tinnitus at a time; they were going to record a full length album. Vocalist and multi-instrumentalist Steve Albini started Big Black as a solo project in 1981. Before he became renowned for his work as a producer for artists such as Pixies, Nirvana, Fugazi, Slint, and hundreds of others, Albini was an innovative figure in the growth of noise and industrial rock, largely through his work with Big Black. Taking inspiration from the No Wave scene growing out of NYC in the late 1970's, Albini took its atonal, noisy energy and combined it with the industrial sounds that had become more prominent during that time, notably by Throbbing Gristle. Additional touchpoints include the early noise rock of Sonic Youth and the burgeoning post-hardcore movement of the mid-80's (although the term "post-hardcore" had not yet been coined at this time). With such a wide array of influences, to call Big Black's brand of rock "unique" would be an understatement. On the band's first LP, Atomizer, these influences exploded in a cacophonous roar, but was it worth the hearing damage? From the feedback and arrhythmic metallic clangs that start the opening track Jordan, Minnesota before leading into the quick, punishing riff that plays throughout most of the tracks runtime, Big Black do not waste time easing you into their musical world. The key sounds of this album are on display immediately: from the heavily distorted and industrial guitar sound to the fuzzed up bass; from Albini's manic, screamed vocals to the TR-606 drum machine; this song is a distillation of what defined Big Black's short career. That drum machine does deserve a special mention. While not the first instance of a rock album featuring programmed drums (The United States Of America's self-titled released in 1968), the way the drums are used on Atomizer was unique at the time. The drums are not meant to emulate a human drummer; no, the drums here are entirely unapologetically machinistic, oftentimes repeating the same 4 bar pattern over the course of an entire song. This is best represented on the blistering Bazooka Joe and Bad Houses, which has my favorite drum beat on the whole album. The lyrical themes here, unsurprisingly, are quite dark. The opener Jordan, Minnesota is about a real sex scandal that happened in the titular city and is told from the perspective of the abuser. The only single released before the album, Kerosene, is about a man in a small town who decides to set himself on fire while having sex. The closer, Cables, is about simply watching bovine get slaughtered. This one is great especially because it is a live recording, so it features even more energy and aggression than the rest of the album. Additionally, the guitar tone on this album is famously brutal. Albini used a guitar made entirely of aluminum, which still fails to fully explain the absolutely insane tone achieved on songs such as Passing Complexion. While there are many things I love about this album, and at 37 minutes, I could hardly call it "too long", I do find myself less interested in the B Side in general. What I was wondering was whether the songs on the latter half of the record really are weaker or if this sound is just hard to maintain throughout the length of an album. Upon listening to this album on repeat twice, I came to the conclusion that the writing is just stronger on the first half than the second. The first five songs are such interesting, punishing pieces of noisy post-hardcore that would have made a fantastic EP. While the second half has some songs that I really enjoy (especially Bazooka Joe and Cables), it does lose me a little. I have similar issues with No Wave albums that I have heard from Swans, even albums like Filth that I enjoy overall (side note: there isn't any fucking Swans on this list wtf). Atomizer is a strange album. On the one hand, it is exquisitely produced with more aggression than many metal albums could ever hope to achieve, but on the other hand, that aggression and the relative simplicity of the musical forms on display lead the album towards some sort of monotony (although the monotony this album lands on is quite the melting pot of influences). I enjoyed it overall and it sits right at a 3.5 for me, but I will need to round it down to a 3/5. Favs: Jordan, Minnesota Kerosene Bazooka Joe Least Fav: Strange Things

Three shut ins find each other and a drum machine and create a key album to underground rock and industrial music. What with songs about child abuse and alcoholism, the only way to describe the album is: fucking harsh, tinny and constantly bleak. Best Tracks: Jordan, Minnesota; Kerosene; Stinking Drunk

Parallel to Ministry. Precursor to NIN. Good recod

I thought this album was pretty cool. Had some catchy cuts.

. Pass very much not a fan. Made my ears and head hurt.

MEH

Planting the seeds for industrial rock. A bit chaotic but had some interesting tunes.

I’ve never heard a single Big Black song until today. I am absolutely blown away! I think everyone will agree, it’s obvious why they didn’t have more mainstream success, but I’m not sure why I don’t hear their name come up more often when influences are being rattled off. I hear a heavy Big Black influence in ChatPile which I’m really excited about. This album is so sonically unique. The driving, incessant rhythm makes me want to fight or fuck or both. The musicianship is second to none; as tight as any top 40 studio session band I’ve ever heard. Ironically the despair I feel in the terse, pointed lyrics give me a sense of hope because it feels like it can’t get any lower. Up and out of the pit is the only way to get free from the grinding nausea of the every-day mid-America small-town nightmare. I loved every minute of this album and I can’t wait to go down the Big Black rabbit hole. Atomizer is by far my favorite, never-heard-before album in this journey so far and it just might be my top album of 2025, and it’s 40 years old!

A bit generic metal

Atomizer is a good album name for this because it sounds like you are being ground into dust by the relentless of the drums and bass. They are simple, but punishing. And strangely enough, I liked it. The production was terrible and the distortion, specifically on the opener, were rough at first, but the album grew on me the longer it went on. The lyrics are pretty dumb, I like more social commentary rather than blind rage in my punk (talking about you, Stinking Drunk).

2.8 2x

Not quite. But not bad.

It was okay. Sounded like a pre-NIN, way less refined. Enjoyed a few tracks.

Pigfuck masterpiece. Abrasion abound. Albini's stylish sloppiness and morbid lyricism are inimitable, and the songs that come out on the other end are undeniably blood-pumping. I heard 'Songs About Fucking' far before this, and while I adore that album, I don't know if it has the same level of variety and experimentation. Regardless, this experience only further solidifies my adoration of Albini and his legendary output, which was already incredibly solid. Favorite Tracks: Jordan, Minnesota ~ Passing Complexion ~ Kerosene ~ Fists of Love ~ Bazooka Joe ~ Strange Things ~ Cables (live)

Big Black were yet another underground rock band working in the eighties to hazard a guess as to what the guitar music of the future would sound like. their answer was an uncompromisingly abrasive sound with a ton of overdrive and stiff, mechanical drums provided by an E-mu Drumulator. every song here has a slightly different drum pocket and more than a few incredible riffs, which helps to create a good sense of variety from one track to the next. I'm glad this was under 40 minutes; any more and I'd have gotten a splitting headache. Atomizer lasts just long enough to make it possible to enjoy every second, but not too long! light 9/10.

This is noisy and aggressive and I don't know if I approve, but after spending some time disassociating to Kerosene I came to the realization I was enjoying myself? As far as noise rock goes, it is eminently accessible and entertaining. 3*.

Holy hell, what an absolute barn burner of a record. Having never heard of ‘Big Black’, I came into the listening experience with a fair bit of trepidation. But boy what a blast. From the opening guitar scratch of ‘Jordan, Minnesota’ you just know you’re in for something violent - and once you key into the lyrics, the real horror show begins. This is an album that never lets up, and leaves nothing unsaid about life’s deepest miseries. This is a hateful and dark record; but you never get the sense that the songs have an agenda or something to rail against. They’re just screaming into the abyss. A rough as guts listen, but compelling as hell. A very easy Four stars ⭐️⭐️⭐️⭐️

This is one I have always wanted to listen to because I like the cover, but have never got around to until now. This is abrasive as shit. I love it. The beginning of Cables sounds like metal pipes smashing against concrete. Favorite songs were Passing Complexion, Kerosene, Fists of Love, Stinking Drunk, and Strange Things.

Sounds unpleasent but also fascinating at times. If I find it weird, I can only imagine what people thought when this came out. I didn't like much of the songs but it's impressive to hear how much this paved the way for the future. I imagine this was in part inspiration for Nine Inch Nails, which then gave us Marilyn Manson, Rob Zombie and many more. A whole genre of rock music was created becouse of this. And to me, that's really impressive.

- Punk -

This is punk, for sure. Too noisy for me, but I see how it broke new ground.

Steve Albini and co. make a lot of noise. What's not to like?

01) Jordan, Minnesota - 5,0 02) Passing Complexion - 5,5 03) Big Money - 5,5 04) Kerosene - 5,5 05) Bad Houses - 5,5 06) Fists of Love - 4,0 07) Stinking Drunk - 4,5 08) Bazooka Joe - 4,5 09) Strange Things - 5,5 10) Cables - 5,0 TOTAL: 5,05 (51/100) Current ranking: 485/524

Anytime a song on here literally makes my jaw drop it deserves massive acclaim. The sound on Passing Complexion baffles in. I don’t know how exactly they did it, all I know is I want someone to sample it in hip hop. I will dock one star if only because so many of the songs are trying WAY too hard to be edgy.

I’m into horror movies, and this album gave me the heebie jeebies in a cool punk rock way. Easy short album. It’s cool that they used a drum machine for a different effect. Hard to believe this album was made in the 80s! It still feels fresh and with the times. The instrumentals and vocals were interesting. It’s a cool, yet horrifying concept which makes for something new and exciting. Favourite tracks include: “Big Money”, “Kerosene”, “Bazooka Joe”, “Strange Things”, and “Cables (Live)”

Its great in context. Industrial punk heavily influenced by sonic youth and definitive influence for nine inch nails. Solid album but a bit overshadowed by the progression of the genere

Odd not sure what I listened to lol

just like, yelling and noise

I’m a fan of punk but this album just sounded really bad. The drums sounded programmed and badly mixed. The guitars were off etc.

Another one that is totally new to me. This is a great sounding industrial record. No wonder Albini when on to produce a lot of great albums.

very loud even on low volume - but the bandleader prduced many famous recordings for others

Dug the angst, but the album felt like one long song. Which made a relatively short album (37 minutes) feel a helluva lot longer.

> the Beatles This kinda rules

Enjoyed that.

Always tough, only spottily tuneful. Everybody loves Steve Albini, who seemed to be a pretty great guy, but this isn't one's thing – neither musically nor nihilistically speaking. Certainly has its moments – "Passing Complexion" is cool and "Kerosene" uber intense. And this should be regarded as ahead of its time, obviously, but some of the influencees (lookin' at you NIN) made the spark of darkness considerably worse.

Could not finish

Pre-listening: I own one Big Black album (Songs About Fucking) and it didn't do much for me so I never bothered to explore further. Maybe I will like this one more... Quite a week of personalities, going from two Courtney Love albums to a Steve Albini one. Listening: Yeah, this pretty much sounds like the other album I have. There may have been a time in my life when I would have liked this, but that time was well before 50 years old. This music just gives me a headache now. And I have always found Albini's lyrics pretty repulsive.

Dafuqevenizdis? Shite. Dazwat. Next.

Let's go. The general app population like this more than I expected. RIP Albini, ya creep.

Ugh! That was rough to listen to!

Abrasive post/punk tends to take me a few listens to get into it and this was no difference. I knew straight away that it wasn't getting rated the same day but coming back to it a few times and letting it sink in, I've found it pretty cool. I only really learned about Steve Albini since starting the challenge and when he passed away last year, so it's good to hear where he first started out and see where his signature sound was born. I don't think I'd rush out and buy this guy but I'll definitely come back and listen to it again soon.