right off the bat, i have to say: this album is trying to offend everyone, and not just through the lyrical content. this album is trying to be the right amount of unlistenable to alienate enough people so that the people who do enjoy it see it for what it is: angry, riffy, screaming noise rock. atomizer is the 1986 debut by the influential evanston-based big black, fronted by famous producer steve albini (who produced more well-known albums, like nirvana’s in utero and the pixies’ surfer rosa).
when it was released, this album was probably very hard to place within a genre. there’s a punk rock-like energy and outspokenness to it, and it seems to be a clear predecessor to bands like nine inch nails, but it really stretches the definition of rock- hell, the band even refused to have a drummer, opting for a drum machine to capture a sort of inhumanity. but it relies heavily on durango’s driving punk riffs and repetitive bass lines to give it some melodic structure, to prevent it from falling into pure atonal chaos.
when it comes to atomizer‘s lyrical themes, almost all of them are probably beyond what a teenager like me can speak about: substance abuse, arson, child abuse, racism, prostitution, you name it. it’s clear that steve albini is singing (actually, screaming) out of pure resentment for these issues even as he screams from the perspective of people that condone these things. the only song that shows some remorse for being how it is is “Bad Houses“, probably the closest thing this album comes to a sentimental ballad, and it’s not even close to a sentimental ballad. and honestly, it goes back to literally offending and alienating the most sensible listeners. it’s the musical equivalent of a shock site.
atomizer is ear-scraping, cynical, unforgiving, and oddly precise. there are a few clear standout tracks that makes this album as great as it is: obviously, there’s the legendary “Kerosene“. “Kerosene” is about using self-immolation to escape a boring, suburban life, with a ferocious, mind-numbing riff with natural harmonics. there’s also “Passing Complexion“, which i reviewed a month ago here, and it really does cut like a razor blade. each other track has plenty of merit on its own, but these two are what really push the album to greatness, ultimately bringing in an entirely different perspective to punk rock.
tracklist:
q-street 