Steve Albini, an icon of indie rock as both a producer and performer, died on Tuesday, May 7, of a heart attack, staff at his recording studio, Electrical Audio, confirmed to Pitchfork. As well as fronting underground rock lynchpins including Shellac and Big Black, Albini was a legend of the recording studio, though he preferred the term “engineer” to “producer.” He recorded Nirvana’s In Utero, Pixies’ Surfer Rosa, PJ Harvey’s Rid of Me, and countless more classic albums, and remained an outspoken critic of exploitative music industry practices until his final years. Shellac were preparing to tour their first album in a decade, To All Trains, which is scheduled for release next week. Steve Albini was 61 years old.

Despite his insistence that he would work with any artist who paid his fee, Albini’s catalog as a self-described audio engineer encompasses a swath of alternative rock that is practically a genre unto itself. After early work on Surfer Rosa, Slint’s Tweez, and the Breeders’ Pod, he became synonymous with brutal, live-sounding analog production that carried palpable raw energy. His unparalleled résumé in the late 1980s and 1990s includes the Jesus Lizard’s influential early albums, the Wedding Present’s Seamonsters, Brainiac’s Hissing Prigs in Static Couture, and records by Low, Dirty Three, Helmet, Boss Hog, Jon Spencer Blues Explosion, Hum, Superchunk, and dozens more. His influence rang through to the next generations of rock, punk, and metal at home and abroad, many of whom he went on to produce—the likes of Mogwai, Mclusky, Cloud Nothings, Mono, Ty Segall, and Sunn O))). He also recorded enduring greats of the singer-songwriter canon: Joanna Newsom’s Ys, Nina Nastasia’s early records, and much of the Jason Molina catalog among them.

Albini was born in Pasadena, California, and lived a peripatetic childhood before his family settled in Missoula, Montana. As a teenager, his discovery of Ramones transformed what he described, to Jeremy Gordon for The Guardian, as a “normal Montana childhood” into an altogether wilder entity. In the subsequent years, while studying journalism in Illinois, he was drawn into the Chicago punk scene that his music would come to both defy and define. Albini spent his days at the record store Wax Trax, buying every record that “looked interesting” and talking to “everybody with a funny haircut,” he told NPR.

“It was an extremely active, very fertile scene where everybody was participating on every level,” Albini said of Chicago’s music scene. “The community that I joined when I came to Chicago enabled me to continue on with a life in music. I didn’t do this by myself. I did this as a participant in a scene, in a community, in a culture, and when I see somebody extracting from that rather than participating in it as a peer, it makes me think less of that person.… My participation in all of this is going to come to an end at some point. The only thing that I can say for myself is that, along the way, it was a cool thing that I participated in, and on the way out, I want to make sure that I don’t take it with me.”