Atomizer

Product Information

Larkin, Colin (2011). The Encyclopedia of Popular Music (5th conciseed.). Omnibus Press. ISBN 978-0-85712-595-8.

I've been thinking about what I would do if I had written "Jordan, Minnesota". That I would never have written "Jordan, Minnesota" is wholly beside the point. If you've lived long enough- let's say thirty-five years- and haven't said something you now know to be completely wrongheaded and stupid, you're either in denial or terminally boring. So that's not the question. The question is, how do you handle it when you've said something you now know to be colossally dumb and very probably harmful that is now enshrined as a "classic"? Algebra Suicide – Alpha Cue (studio album, 1990): bass guitar, piano, and additional percussion on "Summer Virus Night" and "What Rubs Up to You"

Companies, etc.

Riley, Dave. "Worthless Goddamn Cripple". Archived from the original on 2010-02-27 . Retrieved 2010-03-25. Miasma of Funk – The Glory of Destruction (various artists compilation, 1997): recording engineer and drum programming on "The Law of Averages"

Riley, Dave. "Worthless Goddamn Cripple". Archived from the original on February 27, 2010 . Retrieved March 25, 2010. Roland, Albini says, has since ceased to exist. “The housing for it broke and all the components under the pads have deteriorated to the point that it’s unusable,” he says. “Some of the programmed parts of the memory have failed. It wasn’t getting any use, really.” By 1984, the band did some touring and signed a deal with Homestead Records. They recorded one more time with Jeff Pezzati on bass, which resulted in their Homestead debut, the Racer X EP, and the start of the Il Duce 7". After that, Jeff returned full time to Naked Raygun, and he was replaced with Dave Riley. It meant nothing to us if we were popular or not, or if we sold either a million or no records, so we were invulnerable to ploys by music scene weasels to get us to make mistakes in the name of success. To us, every moment we remained unfettered and in control was a success. We never had a manager. We never had a booking agent. We never had a lawyer. We never took an advance from a record company. We booked our own tours, paid our own bills, made our own mistakes and never had anybody shield us from either the truth or the consequences. The results of that methodology speak for themselves: Nobody ever told us what to do, and nobody took any of our money. [20] [21] In addition to the ones mentioned below, the album was included in the book 1001 Albums You Must Hear Before You Die. [15] PublicationYou Weren't There: A History of Chicago Punk 1977-1984 (dir. Joe Losurdo and Christina Tillman) (2007) - Documentary Savage Beliefs – The Middle of America Compilation (various artists compilation, 1984): bass guitar on "Shake Your Neighbor's Hand", drums and vocals on "Double Standard" I "Rema-Rema" is a Rema-Rema cover included as a one-sided single with issue No.9 of Forced Exposure, and limited to 500 copies.

a b Azerrad, Michael (2001). Our Band Could Be Your Life: Scenes from the American Indie Underground 1981–1991. New York: Little, Brown and Company. p.314. ISBN 0-316-78753-1. It’s a typically fiery rebuke against the march of digital progress from the band’s ever-outspoken frontman, Steve Albini. Looked upon with the 20-20 lens of hindsight, it’s easy to take the statement for granted: we’ve heard Albini go on to openly dissect The Problem with Music with fervour and aplomb; we’ve seen the ongoing push of digitalisation provide more than its fair share of evolutionary dead-ends; we’ve watched as the rise of the MP3 begat the ascent of playlist culture and as the doomsayers announced the resultant death of the album as a format.Albini’s notoriety grew exponentially in the 1990s, though much of it had nothing to do with his music. He worked on a handful of epochal releases in the late 1980s, including Pixies’ 1988 album Surfer Rosa and Slint’s 1989 debut Tweez, but it was his credits on Nirvana’s 1993 swan song In Utero that launched him into the upper atmosphere of in-demand producers. From that platform, he wrote an instantly legendary article for alternative magazine The Baffler that warned of the dangers of signing to a major label, just as the majors were in the midst of snatching up almost every indie band they could find. Organizationally, we were committed to a few basic principles: Treat everyone with as much respect as he deserves (and no more), Avoid people who appeal to our vanity or ambition (they always have an angle), Operate as much as possible apart from the "music scene" (which was never our stomping ground), and Take no shit from anyone in the process. [20] [77] Members [ edit ] Christgau, Robert (September 2, 1986). "Christgau's Consumer Guide". The Village Voice . Retrieved June 19, 2016. Riley, Dave (2006). Blurry and Disconnected: Tales of Sink-or-Swim Nihilism. Warsaw, Illinois: Contortmedia. ISBN 0-9777353-0-3. Sanneh, Kelefa (September 14, 2006). "Critic's Notebook; 'Those Were the Days,' the Punk Remix". The New York Times . Retrieved March 27, 2010.