This letter is taken from the second volume of Letters of Note. Huge thanks to Steve Albini. Sign up to have these letters sent straight to your inbox…
Although they only existed for seven years and released just three albums, Nirvana were a band of immeasurable influence in the music world thanks in no small part to Smells Like Teen Spirit, a single track on Nevermind, their second album. It was this song that brought them out into the open, going on to sell millions of copies and win countless awards, its iconic video seemingly broadcast on MTV every 20 minutes for the next six months. 17 months after Nevermind’s release, the band began to record what would be their final album, In Utero—produced by Steve Albini, outspoken engineer extraordinaire. In November of 1992, shortly before they formally agreed on his involvement, Albini wrote to Nirvana and laid bare his philosophy in a pitch letter that is fascinating from start to finish.
Kurt, Dave and Chris:
First let me apologize for taking a couple of days to put this outline together. When I spoke to Kurt I was in the middle of making a Fugazi album1, but I thought I would have a day or so between records to sort everything out. My schedule changed unexpectedly, and this is the first moment I’ve had to go through it all. Apology apology.
I think the very best thing you could do at this point is exactly what you are talking about doing: bang a record out in a couple of days, with high quality but minimal “production” and no interference from the front office bulletheads. If that is indeed what you want to do, I would love to be involved.
If, instead, you might find yourselves in the position of being temporarily indulged by the record company, only to have them yank the chain at some point (hassling you to rework songs/sequences/production, calling-in hired guns to “sweeten” your record, turning the whole thing over to some remix jockey, whatever…) then you’re in for a bummer and I want no part of it.
I’m only interested in working on records that legitimately reflect the band’s own perception of their music and existence. If you will commit yourselves to that as a tenet of the recording methodology, then I will bust my ass for you. I’ll work circles around you. I’ll rap your head with a ratchet…
I have worked on hundreds of records (some great, some good, some horrible, a lot in the courtyard), and I have seen a direct correlation between the quality of the end result and the mood of the band throughout the process. If the record takes a long time, and everyone gets bummed and scrutinizes every step, then the recordings bear little resemblance to the live band, and the end result is seldom flattering. Making punk records is definitely a case where more “work” does not imply a better end result. Clearly you have
