#bigblack — Public Fediverse posts

Remembering Steve Albini: The Life and Legacy of a Punk Legend

O n a brisk November day in 2024, a crowd gathers on Belmont Ave. in Chicago outside a…
#France #FR #Europe #EU #BigBlack #Chicago #DIY #indierock #PunkRock #Shellac #SteveAlbini
https://www.europesays.com/france/12637/

Broadcast #OnThisDay 39 years ago:

Big Black - Peel Session 1987

The complete session recorded in Chicago in 1987 by Big Black for the John Peel show on BBC Radio 1 and broadcast on 6 May 1987.

Tracklist:

1. Dead Billy (0:07)
2. Ugly American (4:41)
3. Newman Generator (6:23)
4. L Dopa (8:59)

https://vibracobra23.blogspot.com/2012/05/big-black-peel-session-1987.html

#BigBlack #PeelSessions #OTD

Broadcast #OnThisDay 39 years ago:

Big Black - Peel Session 1987

The complete session recorded in Chicago in 1987 by Big Black for the John Peel show on BBC Radio 1 and broadcast on 6 May 1987.

Tracklist:

1. Dead Billy (0:07)
2. Ugly American (4:41)
3. Newman Generator (6:23)
4. L Dopa (8:59)

https://vibracobra23.blogspot.com/2012/05/big-black-peel-session-1987.html

#BigBlack #PeelSessions #OTD

Broadcast #OnThisDay 39 years ago:

Big Black - Peel Session 1987

The complete session recorded in Chicago in 1987 by Big Black for the John Peel show on BBC Radio 1 and broadcast on 6 May 1987.

Tracklist:

1. Dead Billy (0:07)
2. Ugly American (4:41)
3. Newman Generator (6:23)
4. L Dopa (8:59)

https://vibracobra23.blogspot.com/2012/05/big-black-peel-session-1987.html

#BigBlack #PeelSessions #OTD

Broadcast #OnThisDay 39 years ago:

Big Black - Peel Session 1987

The complete session recorded in Chicago in 1987 by Big Black for the John Peel show on BBC Radio 1 and broadcast on 6 May 1987.

Tracklist:

1. Dead Billy (0:07)
2. Ugly American (4:41)
3. Newman Generator (6:23)
4. L Dopa (8:59)

https://vibracobra23.blogspot.com/2012/05/big-black-peel-session-1987.html

#BigBlack #PeelSessions #OTD

Broadcast #OnThisDay 39 years ago:

Big Black - Peel Session 1987

The complete session recorded in Chicago in 1987 by Big Black for the John Peel show on BBC Radio 1 and broadcast on 6 May 1987.

Tracklist:

1. Dead Billy (0:07)
2. Ugly American (4:41)
3. Newman Generator (6:23)
4. L Dopa (8:59)

https://vibracobra23.blogspot.com/2012/05/big-black-peel-session-1987.html

#BigBlack #PeelSessions #OTD

#JukeboxFridayNight #fuel How about the #Pitchshifter cover of #BigBlack "Kerosene"?

https://youtu.be/mfkA6abCSKY

#JukeboxFridayNight #fuel How about the #Pitchshifter cover of #BigBlack "Kerosene"?

https://youtu.be/mfkA6abCSKY

#JukeboxFridayNight #fuel How about the #Pitchshifter cover of #BigBlack "Kerosene"?

https://youtu.be/mfkA6abCSKY

#JukeboxFridayNight #fuel How about the #Pitchshifter cover of #BigBlack "Kerosene"?

https://youtu.be/mfkA6abCSKY

#JukeboxFridayNight #fuel How about the #Pitchshifter cover of #BigBlack "Kerosene"?

https://youtu.be/mfkA6abCSKY

Speak to enough musicians in the underground who favor the sonically depraved, and you might hear word of two New Yorkers, who emerge now and then from the doldrums of normal life to unleash their unique brand of sonic chaos upon the unsuspecting masses. I’m talking, of course, about The Austerity Program, the criminally underrated duo of Justin Foley and Thad Calabrese who have delivered some of the greatest noise rock records of the 2000s. Their signature sound of “Big Black meets unhinged mathy industrial” has always been simultaneously entertaining and hideous to behold, but it was 2019’s Bible Songs 1 that took them to another level. The Austerity Program’s songs have always unfolded like twisted fables, but with Bible Songs, their subject matter took on a new gravitas, as the duo rendered the darkest moments of the Old Testament in their sardonic snarl. Bible Songs 1 is a stunning synthesis of literature and music that gives me chills with each listen, so 6 years after the fact, I was a little apprehensive about its sequel being able to live up to my expectations. Bible Songs 2 not only meets them, but exceeds them.

Each song on Bible Songs 2 adapts short Old and New Testament passages, turning some of the Bible’s darkest verses into miniature noise-rock payloads, modernizing the language and maximizing each piece’s impact with deranged noise-rock instrumentation. Foley’s acerbic spoken delivery covers verses about the vicious destruction and suffering of Jerusalem during the Babylonian siege (“Lamentations 4:7—11”), the condemnation of man by God for his failures (“Joshua 7:6—26”), and the ultimate biblical reckoning at the end of days (“Revelation 8:7—13”). Each line is spewed with a sort of sarcastic vitriol that at once recognizes the horror of its subject matter, while also poking fun at its absurdity. Individual lines alternate between exaggerated humor, 1 and cosmic consequence. 2 Through it all, Foley’s personality and keen sense of phrasing contribute to no shortage of incredibly memorable couplets that have stuck with me all year since I first heard them.

Bible Songs 2 by The Austerity Program

Bible Songs 2 features exclusively guitar, bass, and a drum machine, yet The Austerity Program uses this sparse palette to create expansive canvases that both excite and disturb. Calabrese’s bass provides the record’s most recognizable element, a chunky, mid-pushed growl reminiscent of imperial-era Ministry or The Jesus Lizard, forming the backbone of most songs alongside the band’s signature drum machine grooves. That drum machine feels uncanny in its force and precision, functioning less like traditional percussion and more like an inhuman engine driving each track forward. Foley’s guitar operates primarily as a shrill, siren-like effect, recontextualizing riffs, adding rhythmic accents, and pushing the music into the liminal space between noise and composition. These elements converge across six tracks built on hypnotic, repeating rhythms that expand and contract between subdued chaos and total aural devastation. “Judges 19:22—29” and “Luke 3:4—9” exemplify this, but there are also more even-tempered pieces like the bass-led “Joshua 7:6—26,” the slow-build of “Zephaniah 3:1—7,” or the sonic journey of “Lamentations 4:7—11.” This is all in preparation for the closer “Revelation 8:7—13,” whose urgent tremolo riffs, inhuman snare patterns, and final burst of dissonance convincingly soundtrack the end of days. 3

Bible Songs 2 is an absolute triumph of a record. It builds on the immense strengths The Austerity Program has demonstrated in the past and weaponizes their unique brand of unsettling noise rock for a set of timely compositions that showcase just how powerful the combination of music and a fully-realized subject matter can be. It’s one of my favorite records of the year, and I’ll be quoting notable lines and blasting it for years to come.

Tracks to Check Out: “Lamentations 4:7—11,” “Judges 19:22—29,” “Joshua 7:6—26,” “Revelation 8:7—13”

Speak to enough musicians in the underground who favor the sonically depraved, and you might hear word of two New Yorkers, who emerge now and then from the doldrums of normal life to unleash their unique brand of sonic chaos upon the unsuspecting masses. I’m talking, of course, about The Austerity Program, the criminally underrated duo of Justin Foley and Thad Calabrese who have delivered some of the greatest noise rock records of the 2000s. Their signature sound of “Big Black meets unhinged mathy industrial” has always been simultaneously entertaining and hideous to behold, but it was 2019’s Bible Songs 1 that took them to another level. The Austerity Program’s songs have always unfolded like twisted fables, but with Bible Songs, their subject matter took on a new gravitas, as the duo rendered the darkest moments of the Old Testament in their sardonic snarl. Bible Songs 1 is a stunning synthesis of literature and music that gives me chills with each listen, so 6 years after the fact, I was a little apprehensive about its sequel being able to live up to my expectations. Bible Songs 2 not only meets them, but exceeds them.

Each song on Bible Songs 2 adapts short Old and New Testament passages, turning some of the Bible’s darkest verses into miniature noise-rock payloads, modernizing the language and maximizing each piece’s impact with deranged noise-rock instrumentation. Foley’s acerbic spoken delivery covers verses about the vicious destruction and suffering of Jerusalem during the Babylonian siege (“Lamentations 4:7—11”), the condemnation of man by God for his failures (“Joshua 7:6—26”), and the ultimate biblical reckoning at the end of days (“Revelation 8:7—13”). Each line is spewed with a sort of sarcastic vitriol that at once recognizes the horror of its subject matter, while also poking fun at its absurdity. Individual lines alternate between exaggerated humor, 1 and cosmic consequence. 2 Through it all, Foley’s personality and keen sense of phrasing contribute to no shortage of incredibly memorable couplets that have stuck with me all year since I first heard them.

Bible Songs 2 by The Austerity Program

Bible Songs 2 features exclusively guitar, bass, and a drum machine, yet The Austerity Program uses this sparse palette to create expansive canvases that both excite and disturb. Calabrese’s bass provides the record’s most recognizable element, a chunky, mid-pushed growl reminiscent of imperial-era Ministry or The Jesus Lizard, forming the backbone of most songs alongside the band’s signature drum machine grooves. That drum machine feels uncanny in its force and precision, functioning less like traditional percussion and more like an inhuman engine driving each track forward. Foley’s guitar operates primarily as a shrill, siren-like effect, recontextualizing riffs, adding rhythmic accents, and pushing the music into the liminal space between noise and composition. These elements converge across six tracks built on hypnotic, repeating rhythms that expand and contract between subdued chaos and total aural devastation. “Judges 19:22—29” and “Luke 3:4—9” exemplify this, but there are also more even-tempered pieces like the bass-led “Joshua 7:6—26,” the slow-build of “Zephaniah 3:1—7,” or the sonic journey of “Lamentations 4:7—11.” This is all in preparation for the closer “Revelation 8:7—13,” whose urgent tremolo riffs, inhuman snare patterns, and final burst of dissonance convincingly soundtrack the end of days. 3

Bible Songs 2 is an absolute triumph of a record. It builds on the immense strengths The Austerity Program has demonstrated in the past and weaponizes their unique brand of unsettling noise rock for a set of timely compositions that showcase just how powerful the combination of music and a fully-realized subject matter can be. It’s one of my favorite records of the year, and I’ll be quoting notable lines and blasting it for years to come.

Tracks to Check Out: “Lamentations 4:7—11,” “Judges 19:22—29,” “Joshua 7:6—26,” “Revelation 8:7—13”

Speak to enough musicians in the underground who favor the sonically depraved, and you might hear word of two New Yorkers, who emerge now and then from the doldrums of normal life to unleash their unique brand of sonic chaos upon the unsuspecting masses. I’m talking, of course, about The Austerity Program, the criminally underrated duo of Justin Foley and Thad Calabrese who have delivered some of the greatest noise rock records of the 2000s. Their signature sound of “Big Black meets unhinged mathy industrial” has always been simultaneously entertaining and hideous to behold, but it was 2019’s Bible Songs 1 that took them to another level. The Austerity Program’s songs have always unfolded like twisted fables, but with Bible Songs, their subject matter took on a new gravitas, as the duo rendered the darkest moments of the Old Testament in their sardonic snarl. Bible Songs 1 is a stunning synthesis of literature and music that gives me chills with each listen, so 6 years after the fact, I was a little apprehensive about its sequel being able to live up to my expectations. Bible Songs 2 not only meets them, but exceeds them.

Each song on Bible Songs 2 adapts short Old and New Testament passages, turning some of the Bible’s darkest verses into miniature noise-rock payloads, modernizing the language and maximizing each piece’s impact with deranged noise-rock instrumentation. Foley’s acerbic spoken delivery covers verses about the vicious destruction and suffering of Jerusalem during the Babylonian siege (“Lamentations 4:7—11”), the condemnation of man by God for his failures (“Joshua 7:6—26”), and the ultimate biblical reckoning at the end of days (“Revelation 8:7—13”). Each line is spewed with a sort of sarcastic vitriol that at once recognizes the horror of its subject matter, while also poking fun at its absurdity. Individual lines alternate between exaggerated humor, 1 and cosmic consequence. 2 Through it all, Foley’s personality and keen sense of phrasing contribute to no shortage of incredibly memorable couplets that have stuck with me all year since I first heard them.

Bible Songs 2 by The Austerity Program

Bible Songs 2 features exclusively guitar, bass, and a drum machine, yet The Austerity Program uses this sparse palette to create expansive canvases that both excite and disturb. Calabrese’s bass provides the record’s most recognizable element, a chunky, mid-pushed growl reminiscent of imperial-era Ministry or The Jesus Lizard, forming the backbone of most songs alongside the band’s signature drum machine grooves. That drum machine feels uncanny in its force and precision, functioning less like traditional percussion and more like an inhuman engine driving each track forward. Foley’s guitar operates primarily as a shrill, siren-like effect, recontextualizing riffs, adding rhythmic accents, and pushing the music into the liminal space between noise and composition. These elements converge across six tracks built on hypnotic, repeating rhythms that expand and contract between subdued chaos and total aural devastation. “Judges 19:22—29” and “Luke 3:4—9” exemplify this, but there are also more even-tempered pieces like the bass-led “Joshua 7:6—26,” the slow-build of “Zephaniah 3:1—7,” or the sonic journey of “Lamentations 4:7—11.” This is all in preparation for the closer “Revelation 8:7—13,” whose urgent tremolo riffs, inhuman snare patterns, and final burst of dissonance convincingly soundtrack the end of days. 3

Bible Songs 2 is an absolute triumph of a record. It builds on the immense strengths The Austerity Program has demonstrated in the past and weaponizes their unique brand of unsettling noise rock for a set of timely compositions that showcase just how powerful the combination of music and a fully-realized subject matter can be. It’s one of my favorite records of the year, and I’ll be quoting notable lines and blasting it for years to come.

Tracks to Check Out: “Lamentations 4:7—11,” “Judges 19:22—29,” “Joshua 7:6—26,” “Revelation 8:7—13”

Speak to enough musicians in the underground who favor the sonically depraved, and you might hear word of two New Yorkers, who emerge now and then from the doldrums of normal life to unleash their unique brand of sonic chaos upon the unsuspecting masses. I’m talking, of course, about The Austerity Program, the criminally underrated duo of Justin Foley and Thad Calabrese who have delivered some of the greatest noise rock records of the 2000s. Their signature sound of “Big Black meets unhinged mathy industrial” has always been simultaneously entertaining and hideous to behold, but it was 2019’s Bible Songs 1 that took them to another level. The Austerity Program’s songs have always unfolded like twisted fables, but with Bible Songs, their subject matter took on a new gravitas, as the duo rendered the darkest moments of the Old Testament in their sardonic snarl. Bible Songs 1 is a stunning synthesis of literature and music that gives me chills with each listen, so 6 years after the fact, I was a little apprehensive about its sequel being able to live up to my expectations. Bible Songs 2 not only meets them, but exceeds them.

Each song on Bible Songs 2 adapts short Old and New Testament passages, turning some of the Bible’s darkest verses into miniature noise-rock payloads, modernizing the language and maximizing each piece’s impact with deranged noise-rock instrumentation. Foley’s acerbic spoken delivery covers verses about the vicious destruction and suffering of Jerusalem during the Babylonian siege (“Lamentations 4:7—11”), the condemnation of man by God for his failures (“Joshua 7:6—26”), and the ultimate biblical reckoning at the end of days (“Revelation 8:7—13”). Each line is spewed with a sort of sarcastic vitriol that at once recognizes the horror of its subject matter, while also poking fun at its absurdity. Individual lines alternate between exaggerated humor, 1 and cosmic consequence. 2 Through it all, Foley’s personality and keen sense of phrasing contribute to no shortage of incredibly memorable couplets that have stuck with me all year since I first heard them.

Bible Songs 2 by The Austerity Program

Bible Songs 2 features exclusively guitar, bass, and a drum machine, yet The Austerity Program uses this sparse palette to create expansive canvases that both excite and disturb. Calabrese’s bass provides the record’s most recognizable element, a chunky, mid-pushed growl reminiscent of imperial-era Ministry or The Jesus Lizard, forming the backbone of most songs alongside the band’s signature drum machine grooves. That drum machine feels uncanny in its force and precision, functioning less like traditional percussion and more like an inhuman engine driving each track forward. Foley’s guitar operates primarily as a shrill, siren-like effect, recontextualizing riffs, adding rhythmic accents, and pushing the music into the liminal space between noise and composition. These elements converge across six tracks built on hypnotic, repeating rhythms that expand and contract between subdued chaos and total aural devastation. “Judges 19:22—29” and “Luke 3:4—9” exemplify this, but there are also more even-tempered pieces like the bass-led “Joshua 7:6—26,” the slow-build of “Zephaniah 3:1—7,” or the sonic journey of “Lamentations 4:7—11.” This is all in preparation for the closer “Revelation 8:7—13,” whose urgent tremolo riffs, inhuman snare patterns, and final burst of dissonance convincingly soundtrack the end of days. 3

Bible Songs 2 is an absolute triumph of a record. It builds on the immense strengths The Austerity Program has demonstrated in the past and weaponizes their unique brand of unsettling noise rock for a set of timely compositions that showcase just how powerful the combination of music and a fully-realized subject matter can be. It’s one of my favorite records of the year, and I’ll be quoting notable lines and blasting it for years to come.

Tracks to Check Out: “Lamentations 4:7—11,” “Judges 19:22—29,” “Joshua 7:6—26,” “Revelation 8:7—13”

Speak to enough musicians in the underground who favor the sonically depraved, and you might hear word of two New Yorkers, who emerge now and then from the doldrums of normal life to unleash their unique brand of sonic chaos upon the unsuspecting masses. I’m talking, of course, about The Austerity Program, the criminally underrated duo of Justin Foley and Thad Calabrese who have delivered some of the greatest noise rock records of the 2000s. Their signature sound of “Big Black meets unhinged mathy industrial” has always been simultaneously entertaining and hideous to behold, but it was 2019’s Bible Songs 1 that took them to another level. The Austerity Program’s songs have always unfolded like twisted fables, but with Bible Songs, their subject matter took on a new gravitas, as the duo rendered the darkest moments of the Old Testament in their sardonic snarl. Bible Songs 1 is a stunning synthesis of literature and music that gives me chills with each listen, so 6 years after the fact, I was a little apprehensive about its sequel being able to live up to my expectations. Bible Songs 2 not only meets them, but exceeds them.

Each song on Bible Songs 2 adapts short Old and New Testament passages, turning some of the Bible’s darkest verses into miniature noise-rock payloads, modernizing the language and maximizing each piece’s impact with deranged noise-rock instrumentation. Foley’s acerbic spoken delivery covers verses about the vicious destruction and suffering of Jerusalem during the Babylonian siege (“Lamentations 4:7—11”), the condemnation of man by God for his failures (“Joshua 7:6—26”), and the ultimate biblical reckoning at the end of days (“Revelation 8:7—13”). Each line is spewed with a sort of sarcastic vitriol that at once recognizes the horror of its subject matter, while also poking fun at its absurdity. Individual lines alternate between exaggerated humor, 1 and cosmic consequence. 2 Through it all, Foley’s personality and keen sense of phrasing contribute to no shortage of incredibly memorable couplets that have stuck with me all year since I first heard them.

Bible Songs 2 by The Austerity Program

Bible Songs 2 features exclusively guitar, bass, and a drum machine, yet The Austerity Program uses this sparse palette to create expansive canvases that both excite and disturb. Calabrese’s bass provides the record’s most recognizable element, a chunky, mid-pushed growl reminiscent of imperial-era Ministry or The Jesus Lizard, forming the backbone of most songs alongside the band’s signature drum machine grooves. That drum machine feels uncanny in its force and precision, functioning less like traditional percussion and more like an inhuman engine driving each track forward. Foley’s guitar operates primarily as a shrill, siren-like effect, recontextualizing riffs, adding rhythmic accents, and pushing the music into the liminal space between noise and composition. These elements converge across six tracks built on hypnotic, repeating rhythms that expand and contract between subdued chaos and total aural devastation. “Judges 19:22—29” and “Luke 3:4—9” exemplify this, but there are also more even-tempered pieces like the bass-led “Joshua 7:6—26,” the slow-build of “Zephaniah 3:1—7,” or the sonic journey of “Lamentations 4:7—11.” This is all in preparation for the closer “Revelation 8:7—13,” whose urgent tremolo riffs, inhuman snare patterns, and final burst of dissonance convincingly soundtrack the end of days. 3

Bible Songs 2 is an absolute triumph of a record. It builds on the immense strengths The Austerity Program has demonstrated in the past and weaponizes their unique brand of unsettling noise rock for a set of timely compositions that showcase just how powerful the combination of music and a fully-realized subject matter can be. It’s one of my favorite records of the year, and I’ll be quoting notable lines and blasting it for years to come.

Tracks to Check Out: “Lamentations 4:7—11,” “Judges 19:22—29,” “Joshua 7:6—26,” “Revelation 8:7—13”

“#bigblack #stevealbini #seattlegrunge” / “Big Black live Kentucky 1987” (1 user) https://www.youtube.com/watch?v=zwp3abnMm30

Where I Wuz 41 Years Ago #OTD Tonight:

#BigBlack at #DCSpace

Oct 24, 1984: Washington, DC

Probably my first time seeing the scrawny yet still freakishly imposing Albini backed by his drum machine "Roland" , with that edgy guitarist Santiago Durango on one side of Albini and on the other, at least for ths tour was Jeff Pezzati (also known as lead vox of #Chicago sound stalwarts #NakedRaygun with whom Durango spent time in as well. Later tours featured the formidable scarface bassist Dave Riley)

Where I Wuz 41 Years Ago #OTD Tonight:

#BigBlack at #DCSpace

Oct 24, 1984: Washington, DC

Probably my first time seeing the scrawny yet still freakishly imposing Albini backed by his drum machine "Roland" , with that edgy guitarist Santiago Durango on one side of Albini and on the other, at least for ths tour was Jeff Pezzati (also known as lead vox of #Chicago sound stalwarts #NakedRaygun with whom Durango spent time in as well. Later tours featured the formidable scarface bassist Dave Riley)

“#bigblack #stevealbini #seattlegrunge” / “Big Black at the 'No Bar & Grill' Indiana 1986” (1 user) https://www.youtube.com/watch?v=tRr6Pzhi-dY

“#bigblack #stevealbini #seattlegrunge” / “Big Black Live Seattle 1987” (1 user) https://www.youtube.com/watch?v=MdcapwffFKQ

:▅▅▅▅▅▅▅▅▅▅▅▅▅:

DEÄDPİȚĆH->:™.
-._|.->.
https://deadpitch.bandcamp.com
Music Construction - >.
Rapid.Hawk ™ ->.
.X two4k ™ ® - >.

:▅▅▅▅▅▅▅▅▅▅▅▅▅:

Nihil dicere ™ Division 4 - >.

:▅▅▅▅▅▅▅▅▅▅▅▅▅:

MŪŠĪĊ.- >. ® ™].- >.
ḺÎŚṮÉṈ™ ->. ? ™ ®

:▅▅▅▅▅▅▅▅▅▅▅▅▅:
.: #stevealbini #bigblack

:▅▅▅▅▅▅▅▅▅▅▅▅▅:

DEÄDPİȚĆH->:™.
-._|.->.
https://deadpitch.bandcamp.com
Music Construction - >.
Rapid.Hawk ™ ->.
.X two4k ™ ® - >.

:▅▅▅▅▅▅▅▅▅▅▅▅▅:

Nihil dicere ™ Division 4 - >.

:▅▅▅▅▅▅▅▅▅▅▅▅▅:

MŪŠĪĊ.- >. ® ™].- >.
ḺÎŚṮÉṈ™ ->. ? ™ ®

:▅▅▅▅▅▅▅▅▅▅▅▅▅:
.: #stevealbini #bigblack

:▅▅▅▅▅▅▅▅▅▅▅▅▅:

DEÄDPİȚĆH->:™.
-._|.->.
https://deadpitch.bandcamp.com
Music Construction - >.
Rapid.Hawk ™ ->.
.X two4k ™ ® - >.

:▅▅▅▅▅▅▅▅▅▅▅▅▅:

Nihil dicere ™ Division 4 - >.

:▅▅▅▅▅▅▅▅▅▅▅▅▅:

MŪŠĪĊ.- >. ® ™].- >.
ḺÎŚṮÉṈ™ ->. ? ™ ®

:▅▅▅▅▅▅▅▅▅▅▅▅▅:
.: #stevealbini #bigblack

:▅▅▅▅▅▅▅▅▅▅▅▅▅:

DEÄDPİȚĆH->:™.
-._|.->.
https://deadpitch.bandcamp.com
Music Construction - >.
Rapid.Hawk ™ ->.
.X two4k ™ ® - >.

:▅▅▅▅▅▅▅▅▅▅▅▅▅:

Nihil dicere ™ Division 4 - >.

:▅▅▅▅▅▅▅▅▅▅▅▅▅:

MŪŠĪĊ.- >. ® ™].- >.
ḺÎŚṮÉṈ™ ->. ? ™ ®

:▅▅▅▅▅▅▅▅▅▅▅▅▅:
.: #stevealbini #bigblack

:▅▅▅▅▅▅▅▅▅▅▅▅▅:

DEÄDPİȚĆH->:™.
-._|.->.
https://deadpitch.bandcamp.com
Music Construction - >.
Rapid.Hawk ™ ->.
.X two4k ™ ® - >.

:▅▅▅▅▅▅▅▅▅▅▅▅▅:

Nihil dicere ™ Division 4 - >.

:▅▅▅▅▅▅▅▅▅▅▅▅▅:

MŪŠĪĊ.- >. ® ™].- >.
ḺÎŚṮÉṈ™ ->. ? ™ ®

:▅▅▅▅▅▅▅▅▅▅▅▅▅:
.: #stevealbini #bigblack

“*First Gen VHS Filmed By 'Ingo Gäbler' The Master Tape Is Lost... If You Know Where It Is Please Get In Touch! We Tr... / “Big Black - Live Schlachthoff, Bremen 1986 (Full Show)” (1 user) https://www.youtube.com/watch?v=_vu07MiQkI0 #bigblack かっこえー。マスターテープが見つかってYouTubeに公開されたら良い #マストドン音楽好き部 #fedibird　

37 years ago
Big Black played their final show in Seattle , August 1987.

Big Black - Bad Penny

#punk #punks #punkrock #oldschoolpunk #punklegends #bigblack #history #punkrockhistory

37 years ago
Big Black played their final show in Seattle , August 1987.

Big Black - Bad Penny

#punk #punks #punkrock #oldschoolpunk #punklegends #bigblack #history #punkrockhistory

37 years ago
Big Black played their final show in Seattle , August 1987.

Big Black - Bad Penny

#punk #punks #punkrock #oldschoolpunk #punklegends #bigblack #history #punkrockhistory

37 years ago
Big Black played their final show in Seattle , August 1987.

Big Black - Bad Penny

#punk #punks #punkrock #oldschoolpunk #punklegends #bigblack #history #punkrockhistory

37 years ago
Big Black played their final show in Seattle , August 1987.

Big Black - Bad Penny

#punk #punks #punkrock #oldschoolpunk #punklegends #bigblack #history #punkrockhistory

38 years ago
Big Black, the American punk rock band played their final show in Seattle in August 1987

Here the Band at Chicago's Union Station in 1986; left to right: Riley, Albini, and Durango

#punk #punks #punkrock #bigblack #ripstevealbini #history #punkrockhistory

38 years ago
Big Black, the American punk rock band played their final show in Seattle in August 1987

Here the Band at Chicago's Union Station in 1986; left to right: Riley, Albini, and Durango

#punk #punks #punkrock #bigblack #ripstevealbini #history #punkrockhistory

38 years ago
Big Black, the American punk rock band played their final show in Seattle in August 1987

Here the Band at Chicago's Union Station in 1986; left to right: Riley, Albini, and Durango

#punk #punks #punkrock #bigblack #ripstevealbini #history #punkrockhistory

38 years ago
Big Black, the American punk rock band played their final show in Seattle in August 1987

Here the Band at Chicago's Union Station in 1986; left to right: Riley, Albini, and Durango

#punk #punks #punkrock #bigblack #ripstevealbini #history #punkrockhistory

38 years ago
Big Black, the American punk rock band played their final show in Seattle in August 1987

Here the Band at Chicago's Union Station in 1986; left to right: Riley, Albini, and Durango

#punk #punks #punkrock #bigblack #ripstevealbini #history #punkrockhistory

Friday as well as every other day - #SongsaboutFucking, #BigBlack and #Kerosene! #music #industrial #rock #noise #alternative #SteveAlbini #RIP #Atomizer www.youtube.com/watch?v=EXV6...

Kerosene

Friday as well as every other day - #SongsaboutFucking, #BigBlack and #Kerosene! #music #industrial #rock #noise #alternative #SteveAlbini #RIP #Atomizer www.youtube.com/watch?v=EXV6...

Kerosene

Friday as well as every other day - #SongsaboutFucking, #BigBlack and #Kerosene! #music #industrial #rock #noise #alternative #SteveAlbini #RIP #Atomizer www.youtube.com/watch?v=EXV6...

Kerosene

G-Nitro’s Daily Music Wrap-Up - 2/19/25

I quickly give up on a noise filled album from Big Black.

Favorite Videos include Conton Candy on The First Take, a DISCODELICOS vinyl set, and more!

https://g-nitro.com/g-nitros-daily-music-wrap-up-2-19-25

#Music #MusicVideo #1001Albums #BigBlack #ContonCandy #Discodelicos

G-Nitro’s Daily Music Wrap-Up - 2/19/25

I quickly give up on a noise filled album from Big Black.

Favorite Videos include Conton Candy on The First Take, a DISCODELICOS vinyl set, and more!

https://g-nitro.com/g-nitros-daily-music-wrap-up-2-19-25

#Music #MusicVideo #1001Albums #BigBlack #ContonCandy #Discodelicos

G-Nitro’s Daily Music Wrap-Up - 2/19/25

I quickly give up on a noise filled album from Big Black.

Favorite Videos include Conton Candy on The First Take, a DISCODELICOS vinyl set, and more!

https://g-nitro.com/g-nitros-daily-music-wrap-up-2-19-25

#Music #MusicVideo #1001Albums #BigBlack #ContonCandy #Discodelicos

G-Nitro’s Daily Music Wrap-Up - 2/19/25

I quickly give up on a noise filled album from Big Black.

Favorite Videos include Conton Candy on The First Take, a DISCODELICOS vinyl set, and more!

https://g-nitro.com/g-nitros-daily-music-wrap-up-2-19-25

#Music #MusicVideo #1001Albums #BigBlack #ContonCandy #Discodelicos

G-Nitro’s Daily Music Wrap-Up - 2/19/25

I quickly give up on a noise filled album from Big Black.

Favorite Videos include Conton Candy on The First Take, a DISCODELICOS vinyl set, and more!

https://g-nitro.com/g-nitros-daily-music-wrap-up-2-19-25

#Music #MusicVideo #1001Albums #BigBlack #ContonCandy #Discodelicos

Sure the lyrics are beyond and grim and nihilistic, but somehow -- I suppose in a Hesse-Steppenwolf sorta way -- I've always found the refrain of this song weirdly but *enormously* inspiring and uplifting. Like, the idea that I always have the option to destroy myself can itself serve as an incredibly powerful motive to push myself to be as *creative* as I can manage instead. It's like a little existentialist prayer: SET ME ON FIIIIIIRRRE!!!

Big Black - "Kerosene"

https://song.link/i/1120138371

#noiseRock #noiseLife #BigBlack #SteveAlbiniRIP

Sure the lyrics are beyond and grim and nihilistic, but somehow -- I suppose in a Hesse-Steppenwolf sorta way -- I've always found the refrain of this song weirdly but *enormously* inspiring and uplifting. Like, the idea that I always have the option to destroy myself can itself serve as an incredibly powerful motive to push myself to be as *creative* as I can manage instead. It's like a little existentialist prayer: SET ME ON FIIIIIIRRRE!!!

Big Black - "Kerosene"

https://song.link/i/1120138371

#noiseRock #noiseLife #BigBlack #SteveAlbiniRIP

Sure the lyrics are beyond and grim and nihilistic, but somehow -- I suppose in a Hesse-Steppenwolf sorta way -- I've always found the refrain of this song weirdly but *enormously* inspiring and uplifting. Like, the idea that I always have the option to destroy myself can itself serve as an incredibly powerful motive to push myself to be as *creative* as I can manage instead. It's like a little existentialist prayer: SET ME ON FIIIIIIRRRE!!!

Big Black - "Kerosene"

https://song.link/i/1120138371

#noiseRock #noiseLife #BigBlack #SteveAlbiniRIP

Sure the lyrics are beyond and grim and nihilistic, but somehow -- I suppose in a Hesse-Steppenwolf sorta way -- I've always found the refrain of this song weirdly but *enormously* inspiring and uplifting. Like, the idea that I always have the option to destroy myself can itself serve as an incredibly powerful motive to push myself to be as *creative* as I can manage instead. It's like a little existentialist prayer: SET ME ON FIIIIIIRRRE!!!

Big Black - "Kerosene"

https://song.link/i/1120138371

#noiseRock #noiseLife #BigBlack #SteveAlbiniRIP

Sure the lyrics are beyond and grim and nihilistic, but somehow -- I suppose in a Hesse-Steppenwolf sorta way -- I've always found the refrain of this song weirdly but *enormously* inspiring and uplifting. Like, the idea that I always have the option to destroy myself can itself serve as an incredibly powerful motive to push myself to be as *creative* as I can manage instead. It's like a little existentialist prayer: SET ME ON FIIIIIIRRRE!!!

Big Black - "Kerosene"

https://song.link/i/1120138371

#noiseRock #noiseLife #BigBlack #SteveAlbiniRIP