Big Black
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1982
https://musicbrainz.org/artist/9463868f-edc8-427e-ac07-ea89698e5f15
Big Black Big Black Big Black Big Black

Biography

Big Black was an American punk rock band from Evanston, Illinois, active from 1981 to 1987. Founded by singer and guitarist Steve Albini, the band's initial lineup also included guitarist Santiago Durango and bassist Jeff Pezzati, both of Naked Raygun. ...

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Big Black
Dead Billy (Radio 1 Session, 6 May 1987)
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Dead Billy (Radio 1 Session, 6 May 1987) Dead Billy (Radio 1 Session, 6 May 1987) Dead Billy (Radio 1 Session, 6 May 1987) Dead Billy (Radio 1 Session, 6 May 1987)
Big Black
L Dopa (Radio 1 Session, 6 May 1987)
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L Dopa (Radio 1 Session, 6 May 1987) L Dopa (Radio 1 Session, 6 May 1987) L Dopa (Radio 1 Session, 6 May 1987) L Dopa (Radio 1 Session, 6 May 1987)
Big Black
I'm A Mess
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I'm A Mess I'm A Mess I'm A Mess I'm A Mess
Big Black
Newman Generator
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Newman Generator Newman Generator Newman Generator Newman Generator
Big Black
Dead Billy
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Dead Billy Dead Billy Dead Billy Dead Billy
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Biography

Big Black was an American punk rock band from Evanston, Illinois, active from 1981 to 1987. Founded by singer and guitarist Steve Albini, the band's initial lineup also included guitarist Santiago Durango and bassist Jeff Pezzati, both of Naked Raygun. In 1985 Pezzati was replaced by Dave Riley, who played on Big Black's two full-length studio albums, Atomizer (1986) and Songs About Fucking (1987).

Big Black's aggressive and abrasive music was characterized by distinctively clanky guitars and the use of a drum machine rather than a drum kit, elements that foreshadowed industrial rock. The band's lyrics flouted commonly held taboos and dealt frankly— and often explicitly— with politically and culturally loaded topics including murder, rape, child sexual abuse, arson, racism, and misogyny. They were staunchly critical of the commercial nature of rock, shunning the mainstream music industry and insisting on complete control over all aspects of their career. At the height of their success, they booked their own tours, paid for their own recordings, refused to sign contracts, and eschewed many of the traditional corporate trappings of rock bands. In doing so they had a significant impact on the aesthetic and political development of independent and underground rock music.

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