Steve Albini was born in Pasadena, CA on July 22, 1962. He died from a heart attack on May 7, 2024, in his Chicago, IL home. Albini was best known as a prolific audio engineer - he detested being called a producer - and a musician. He was also a writer. Albini criticized the music industry's growing homogenization and exploitation of artists. He put his money where his mouth was by charging flat fees rather than taking industry standard "points" - or continuing royalties - from unit sales. ("Iwouldliketobepaidlikeaplumber:Idothejobandyoupaymewhatit's worth."-lettertoKurtCobain.)
Vitriolic and controversial, Albini, who condemned pop music, denounced music festivals, and lambasted artists - including some he'd worked with – apologized for previous behavior in 2021, although he remained a curmudgeon with integrity. ("A lotofthingsIsaidanddidfromanignorantpositionofcomfortandprivilegeare clearlyawfulandIregretthem."-Albini,X
Albini avoided drugs and alcohol. His life outside of music included food blogging, championship poker, and a “Letters to Santa” charity drive. Condolences to all who loved Steve, including his surviving wife, Heather Whinna.
Albini as Musician:
Big Black, 1981-1987 - Begun as a solo punk project and filled out as a touring band, Big Black was noisy, aggressive, and abrasive. Influenced by and similar to Gang of Four, Flipper, Killing Joke, Metz, Naked Raygun, Suicide, Swans, and The Birthday Party, Big Black’s brutally creative soundscapes and confrontational lyrics were a forerunner to industrial music. Rapeman*, 1987-1988 - Formed with members of Scratch Acid as a sister project to The Jesus Lizard, this noise rock band might be considered sonically similar to The Butthole Surfers, Cows, Drive Like Jehu, Fugazi, Helmet, and Killdozer, as well as those listed above. [*Named after a Japanese manga; Albini later decried this as "an inexcusable choice”] Shellac, 1992-2024 – Self-described as “a minimalist rock trio”, the "amelodic" noise and math rock post-hardcore Shellac was known for angular instrumentation and sparse arrangements which eschewed verse/chorus/verse structure. Somewhat like Don Caballero or Slint in addition to those previously listed, Shellac had just finished recording their latest album "To All Trains," and were preparing to tour when Albini died. Albini as Audio Engineer: "Idon'tthinkanyonehasexhaustedtherangeofsoundpossibleina conventionalrockband,butpeopledobecomeslavestotheirowneasiest techniques."
Albini advocated analog - or waveform via tape rather than digital - recording and preferred capturing bands together in live takes rather than overdubbing.
He used few effects and little compression to achieve his "trademark" raw sound, as if the band was in the room with the listener.
"ThereisalotofuseofProToolsinprofessionalstudios,butthisismostlyforthe specialeffectsitallows,notforsoundquality.”
Short list of personal favorite projects:
Pixies – Surfer Rosa
The Breeders – Pod
Failure – Comfort
PJ Harvey – Rid of Me
Sample of others worked with:
Nirvana – In Utero
Gogol Bordello – Gypsy Punks: Underdog World Strike* [*Gypsy is now recognized as a slur against the Romani people]
“Thebandsthathavebeenthemostimportanttome,andtherecordsthat havebeenthemostimportanttomeasafan,havebeenrecordsthat surprisedmeforonereasonoranother.” (In 2018, Albini estimated he'd recorded "acouplethousand" albums.)
JarvisCocker
JimmyPage&
RobertPlant
ScottWeiland CheapTrick
CloudNothings
GodspeedYou! BlackEmperor
Albini as Writer:
Helmet Jawbreaker
JonSpencerBlues Explosion Killdozer ManicStreet Preachers VerucaSalt
Medusa METZ Mogwai PansyDivision Screeching Weasel Slint FloggingMolly
SunnO))) Superchunk The Fleshtones
TheStooges UrgeOverkill
Sparklehorse
Bush
Albini has always been outspoken. In addition to penning challenging and combative lyrics, he wrote for Forced Exposure and Matter monthly Chicago music 'zines in the 1980s. His most infamous work is "The Problem with Music" (MAXIMUMROCKNROLL #133, Dec 1993 thebaffler.com/salvos/the-problemwith-music,) in which he explains where all of the money from a record deal goes. (Hint: not to the band.) Another well-known item is an editorial response to Bill Wyman, entitled "Three Pandering Sluts and Their Music-Press Stooge" (Chicago Reader, Jan 27, 1994 chicagoreader.com/news-politics/threepandering-sluts-and-their-music-press-stooge/.) Albini also wrote the forward to "Inconspicuous Consumption" by Paul Lukas, and his essay on “Letters to Santa” for the Huffington Post can be read at huffpost.com/entry/why-i-haventhad-a-conventional-christmas-in-20-years_b_8614568.
Albini was an iconoclast with uncompromising aesthetics. He helped shape the soundscape over decades and genres, never sacrificing his honor or ideals, but never remaining rigid. That was pretty punk, Steve.
Quote to Remember: “Therecordingpartisthepartthatmatterstome thatI’mmakingadocumentthatrecordsapieceofourculture,thelife’swork ofthemusiciansthatarehiringme...Itakethatpartveryseriously.Iwantthe musictooutliveallofus.”-- The Guardian
On Wednesday, May 8, I saw Labrys, Friko, and Water From Your Eyes at Resonant Head. The vibes were immaculate from start to finish. Resonant Head just celebrated its first year as a venue, and this concert was a standout among many incredible acts.
LABRYS opened with magnetic energy. I'm a big fan and recently reviewed her latest album, "10:10," for UMAmi. Lead singer Pitchlynn started the night beautifully. Water From Your Eyes closed with a grunge vibe, sporting too-coolfor-you sunglasses indoors, and nailing hits like "I Count Mountains" and "Adeline" with perfect vocals and live looping. Even Flaming Lips' Wayne Coyne recorded snippets from the crowd.
But I really want to talk about Friko, a Chicago-based group. I knew I loved LABRYS and was familiar with Water From Your Eyes, so I was excited. I wasn’t familiar with Friko, but I figured they'd be good. I didn't expect to be blown away. This band was incredible—one of those live acts that make you wonder why they aren't the biggest band in the world yet. An energetic bass player, a brooding frontman, and a tight drummer were all perfectly in sync. They switched instruments, captivating the crowd instantly. It felt like seeing Bright Eyes in their early days a blend of post-punk, chamber-pop, and experimental rock that felt both familiar and fresh.
Their debut album, "Where We've Been, Where We Go From Here," amplifies their music’s exhilarating power with spirited ensemble vocals. Seeing this show live was like rediscovering music from my youth, like finding Flatsound's 2012 album "Sleep" on Spotify at 14. Friko's slower songs, especially "Cardinal," strike a stunning balance of restraint and vulnerability, blending technical prowess with poetic rawness reminiscent of anthems from that era.
When lead singer Niko Kapetan showcased his vocal abilities in the vulnerable moments of "Cardinal," the crowd was speechless, captivated by his effortless falsetto and melodic whistling. Other tracks like "Get Numb to It!" keep the energy high. Both their live performance and recorded music are heartfelt and explosive, like a piano-laced symphonic apocalypse. Friko grabbed me by the heart, and I haven't stopped listening since. I hope Friko returns to OKC soon, and I recommend keeping an eye on them—they've got "it." PS - Explore local bands Blue Morrison and Major Good for similar energy.
what would make your list?
#09: Vibes (1988) - Cyndi Lauper and Jeff Goldblum are different flavors of metropolitan psychics who end up on an Indiana Jones-style adventure
#36: Shock Treatment (1981) - by the same writer and several of the same actors as Rocky Horror Picture Show, but made for film (instead of adapted from a stage musical) and focusing on how fake reality tv is, the commodification of mental health, and mass media fandom. one content warning -- the leading lady’s dad is a total trumper and uses the derogatory f word in a musical rant on masculinity
#67: Road House (1989) - recently remade, the original features a lot of shirtless Patrick Swayze. If you need any more details, the moral of the story is that sometimes all you need to bring a community together is beating up the local sleazy rich dude who thinks he’s in charge.
Patricia Wants to Cuddle by Samantha Allen Camp Damascus (cw: religious trauma) by Chuck Tingle
This Delicious Death by Kyla Cottingham
It Came From the Closet: Queer Reflections on Horror by Joe Vallese In the Shadow of Spindrift House by Mira Grant
The Haunting of Bly Manor (miniseries) Bodies Bodies Bodies (movie)
shows
Everything for You + If Only You by Chloe Liese
Chef’s Kiss + Chef’s Choice by Jarrett Melendez
Season of Love + For Never & Always by Helena Greer
The Mars House by Natasha Pully Sisters of the Vast Black by Lina Rather Long Way to a Small, Angry Planet by Becky Chambers
A Psalm for the Wild-Built by Becky Chambers Relax, I’m from the Future (movie)
In Other Lands by Sarah Rees Brennan Legends & Lattes by Travis Baldree
Locked Tomb trilogy by Tamsyn Muir
The Dragon of Ynys by Minerva Cerridwen
One Last Stop by Casey McQuiston
A Lady for a Duke by Alexis Hall
What it Means to be Brave by Andrea Anderson
Looking for Love in All the Haunted Places by Claire Kann
Love at First Set by Jennifer Dugan
How to Get a Girlfriend (When You're a Terrifying Monster) by Marie Cardno
Romance Recipe by Ruby Barrett
Never Ever Getting Back Together by Sophie Gonzales
The Princess and the Grilled Cheese Sandwich by Deya Muniz House in the Cerulean Sea by TJ Klune (Did you know he’s visiting the Downtown OKC Library June 23??)
Under the Whispering Door by TJ Klune
Wayward Children series by Seanan McQuire
Tea Dragon Society series by K O’Neill
Love, Hate, & Clickbait by Liz Bowery
Two Wrongs Make a Right by Chloe Liese
Read Between the Lines by Rachel Lacy
Take a Hint, Dani Brown by Talia Hibbert Bros (movie)
89thStreet 8911NWesternAve(OKC) 89thstreetokc.com
BeerCityMusicHall1141NW2nd(OKC) beercitymusichall.com
BlueDoor2805NMcKinleyAve(OKC) bluedoorokc.com
BlueNote2408NRobinsonAve(OKC) okcbluenote.com
Criterion500EastSheridanAve(OKC) criterionokc.com
DiamondBallroom8001SEasternAve(OKC) diamondballroom.com
FactoryObscura25NW9thSt(OKC) factoryobscura.com/
GrandRoyale1749NW16thSt(OKC) instagram.com/grandroyaleokc
JonesAssembly901WSheridan(OKC) thejonesassembly.com
OKCider705WSheridanAve(OKC) okciderco.com
Opolis113NCrawfordAve(Norman) opolis.org
PointA2124NW39thSt(OKC) pointa.space
PONYBOY423NW23rdSt(OKC) ponyboyokc.com/
ResonantHead400SW25thStSTEA(OKC) resonanthead.com
Resonator325EMainSt(Norman) resonator.space/
TheSanctuary1012NIndianaAve(OKC) facebook.com/thesanctuaryok
51stStreetSpeakeasy1114NW51stStreet(OKC) 51stspeakeasy.com/
TowerTheatre425NW23rdSt(OKC) towertheatreokc.com
V E N U E S
by evan jarvicks by evan jarvicks
ArmanSikderknowswhathe'sdoing.AsfounderofOKCbasedmusiclabelDistantEtherRecordsandcreatorbehind soloprojectexmaxhina,hehasprovenasavvinesstothe musicindustrybycreatingsearchableIPsandstayingabreast ofartworldtrendslikeWeb3.0.Undertheinventedgenretag "darklofiglitch,"exmaxhinaproduceschillbeatsthatrecall undergroundsoundslikeexperimentalhip-hopandprimitive dubstep.Samplesandsynthsweaveinandoutofmoderately pacedrhythmswhileknob-turningmanipulationskeeptracks fromfeelingtoosequencedordry.
Hecombineshumanwarmthwithdigitalcooltocreateasneakilyinfectious undercurrentofmusic.Inalivesetting,Sikderismorethancapableofmanipulating dancefloormasseswithpredictableDJsets,butasexmaxhina,herefusesit. Performingforuptothreeorfourhoursatatimeinexperientialspaces,exmaxhina performsinsymbiosiswithpeopleandactivitiesastheyunfoldinreal-timelikealiving soundtrack.
Whileexmaxhinaisnotanambientartistbygenre,itcanbe arguedthatheisonebymethod.WhenBrianEnocoinedthe terminthe1970s,hesuggestedthatambientmusicisas muchaboutfunctionasitiscomposition,claimingthatit shouldbecalmingandperipheral.Sikder'sfluid,form-fitting styleofperformancehasexemplifiedthisineventsranging fromartshowstomushroomfestivalstoarecentappearance atBelleIsleLibrary'sseasonalLo-FiStudyHallseries (pictured).
Hishome,however,isMyceliumGallery,arecentlyformedartcollectivecurrently stationedinastudiospaceandgallerybehindanunassumingstorefrontat2816 NPenninOKC.Here,exmaxhinastockslimited-runcassettetapesandconducts anall-agesmonthlyresidencycalledMyceliumSessionswhich,truetoform,are notconcertsinthetraditionalsense.Rather,Sikderusesmusictocreatean atmospheretoinspirecreativityinitsattendees.Artsuppliesareincludedinthe $10admissionforeach3-hoursession,thoughguestsarewelcometobringany projecttoworkon.
OnSaturday,May11th,themostrecentMyceliumSessionincludedsmallmushroom canvasesandpaints.Withmultipleaudioworkstations,exmaxhinaquietlyprovideda seamlesssoundtracktotheartgalleryfromamobile,sculpturalbackdropatthefar endofthewell-litroom.Mostattendeespainted,butsomebroughtotherdisciplines likesketching,embroidery,andevenwirework.
Inadditiontomusic,originalartworksfromMyceliumGallery'sover25localartists aboundateverycorner,sovisitorsaretrulyimmersedinweird,cosmicart.Itisan inspiringexperiencebeyondanysipandpaintofferinginthemetro,andlikelymore affordable.
Whilethespaceisn'toutfittedforfull-bandshowsatthemoment,Sikderisgrowing thatsideofMyceliumasthecollective'sforemostmusicorganizer.Heeagerly welcomestheideaofmusiciansdoinganartsessionseriesonsitesimilartohisbut isopentoanyideas.Hewouldliketoseedigitalprojectionsaddedtothemixas well.
MyceliumGallerygetsitsnamefromthefungusworld,referringtosprawlingrootlikecolonynetworksthatgrowinthewild.Similarly,thisartcollectiveisanetworkof like-mindedyetdiverseartistsworkingtowardsasharedcoexistence.Here,no singlethreadismoreimportantthananother,andthemusicofexmaxhinafitsright in.ArmanSikdercouldpursuecenterstageifhewanted,buthe'sbeenthereand donethat.Heknowswhathe'sdoing,andherecognizesthatheispartofsomething bigger,somethingmoretruthfulwhenhissoloactisnotasoloact.
“Hi,I'mTrindleRiley!IhavealocalbandfrommyhighschoolthatIthinkfits intothiszineperfectly,Acolyte!Theyaremostlyshoe-gaze,butcanalsohavesomereallycool soundstoolikepost-hardcore,numetal/alternativemetal,punk,heavyalternativerock,andeven alittlefunk/grooverockandmetalgenres.SadlyIhaven'thadthechancetosee oneoftheirshowsyet,butoneofmyfriendshasandhesaysitwasaweeesoommee!!!”
“AnotherthingIwouldliketomakeamentionofisthe2000'sAdultSwimshowMetalocalypse. Dethklok(Theworld'sgreatestdeathmetalband:3)recentlyhadashowhereatthecriterion whichIwenttoanditwasBRUTAL!!Theyaren'tfairlyunderground,butIwouldliketoshareit becauseittrulyisafunnyshowabouttheworld'sgreatestdeathmetalband! Seriouslythough,gowatchanepisode!!(OnHBOMax:D)“ -Thanks4readingthis,withbrutality,Trindle >:3
CelticJamatthe
FunkattheBlueNote
OpenMicatFair WeatherFriend
Bluegrassatthe
Patriarch
JazzattheSpeakeasy
WeirderWednesday atOpolis-every4th Wed.
OpenMicNight w/ShalulaatPointAevery1stWed
OpenMicnightatFactory Obscura-every1stThur.
BluegrassattheSpeakeasy
SongSwapattheBlueNote (usuallyevery1stThur.)
DJnightsatPonyboy
DJnightsattheSpeakeasy
CelticJamattheBanjo Musuem-every4thSat.
DJnightsatPonyboy
DJnightsattheSpeakeasy
CelticmusicatFull CircleBookstore
As a member of the Muscogee Creek Nation with verifiable Cherokee ancestry, I'd like to share the two-spirit flag. Those unacquainted with LGBTQ+ or Native America may think "two-spirit" = transgender or another term. It's much more complex! Two-spirit, originally meaning masculine and feminine in the same person, is a new word describing diverse historic roles & identities (formerly erased by colonialism) in many different Native nations. Not all tribes recognize the same gender expressions & sexual orientations. Two-spirit shouldn't be co-opted outside of Native culture; it was specifically chosen to signify a spirit of connection with community, land, & tradition. Natives can be LGBTQ+ or “indigiqueer”whether or not they identify as two-spirit.
