Recording and Production Work
- See Jack Endino discography for a chronological list of Endino's recording and production work
Endino is known for his stripped down recording practices and his dislike of 'over-producing' music with effects and remastering. Largely because of the success of albums like Soundgarden's Screaming Life and Nirvana's Bleach in the mainstream, the resulting raw, unpolished sound is still seen as a defining characteristic of the grunge movement.
In the Pacific Northwest, he's done work for underground legends like Green River, Screaming Trees, L7, The Gits, Hole, 7 Year Bitch, The Fartz, Idiot Culture, Supersuckers, TAD, the thrashcore band The Accüsed, Willard and ZEKE. Endino mastered or produced nearly every album by The Grannies. He continues to work with influential underground bands, and in 2007 he recorded an album with the proto-grunge band Flipper. Other projects have included the bands High on Fire, Hot Hot Heat, Toxic Holocaust, Lucid Nation, and Valient Thorr. Internationally, Endino is well known for his work with the Brazilian super-band Titãs, who he’s recorded since 1993. He also produced three albums by the Mexican grunge-like band Guillotina, two albums by the British rockers Winnebago Deal, and worked with Irish band Therapy?, Iron Maiden singer Bruce Dickinson, French punk rockers Burning Heads, and the Australian band Spiderbait.
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Famous quotes containing the words recording, production and/or work:
“He shall not die, by G—, cried my uncle Toby.
MThe ACCUSING SPIRIT which flew up to heaven’s chancery with the oath, blush’d as he gave it in;—and the RECORDING ANGEL as he wrote it down, dropp’d a tear upon the word, and blotted it out for ever.”
—Laurence Sterne (1713–1768)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“You do not become a “dissident” just because you decide one day to take up this most unusual career. You are thrown into it by your personal sense of responsibility, combined with a complex set of external circumstances. You are cast out of the existing structures and placed in a position of conflict with them. It begins as an attempt to do your work well, and ends with being branded an enemy of society.”
—Václav Havel (b. 1936)