Shellac
Terraform

Terraform

Shellac Record #10

Cover art

All the paintings are credited as:

Courtesy Estate of Chesley Bonestell
Space Art Museum
Smithsonion Institution

Jeff Economy (economy@tezcat.com) says about Bonestell:

those magnificent space art paintings that grace Shellac's new album are the work of artist Chesley Bonestell, a name which probably means zip to 99% of y'all but whose work is a cherished part of my childhood. His 50-odd paintings in the 1952 book THE CONQUEST OF SPACE still convey a more majestic sense of mystery and awe about the universe than any Voyager photograph, andthey're all the more remarkable considering their photorealistic qualities betray an insight and understanding of science and physics that never overshadows their ultimate purpose as art. Maybe you could say the same thing about the Shellac record--I dunno, haven't heard it myself. Just wanted to give an old hero some props.

Reviews

Chicago Reader, February 27, 1998

Peter Margasak's "Post No Bills" column

On Shellac at Action Park, the 1994 debut of Steve Albini's latest band, the guitarist and recording engineer further refined the lean, scrappy sound he developed in the 80s with Big Black and Rapeman. But on Shellac's long-awaited followup, Terraform (Touch and Go), it sounds like he's finally hit the wall. For the most part Albini, bassist Bob Weston, and drummer Todd Trainer perform perfect -- and perfect predictable -- exercises in Albininess, including the opening tension-and-release bit (the interminable opener, "Didn't We Deserver a Look at You the Way You Really Are") and the extreme dynamic shift ("Disgrace"). Two notable exceptions are "Canada" and "Rush Job," which rate with Shellac's best previous work, but ultimately listening to the record is like watching a great basketball player practice free throws.