During the early to mid-1980s, the desire to experiment with hardcore's basic template expanded to many musicians that had been associated with the genre or had strong roots in it. Many of these groups also took inspiration from the 1980s noise rock scene pioneered by Sonic Youth. Some bands signed to the independent label Homestead Records, including Squirrel Bait (as well as David Grubbs-related Bastro and Bitch Magnet) and Steve Albini's Big Black (just as his subsequent projects Rapeman and Shellac) are also associated with post-hardcore. Big Black, which also featured former Naked Raygun guitarist Santiago Durango, made themselves known for their strict DIY ethic, related to practices such as paying for their own recordings, booking their own shows, handling their own management and publicity, and remaining "stubbornly independent at a time when many independent bands were eagerly reaching out for the major-label brass ring". The band's music, punctuated by the use of a drum machine, has also been seen as influential to industrial rock, while Blush has also described the Albini-fronted project as "an angst-ridden response to the rigid English post-punk of Gang of Four". After the issuing of the "Il Duce" single (and between the release of their only two studio albums, "Atomizer" and "Songs About Fucking"), Big Black left Homestead for Touch and Go Records, which would later reissue not only their entire discography, but would also be responsible for the release of the complete works of Scratch Acid, an act from Austin, Texas described as post-hardcore, that, according to Stephen Thomas Erlewine, "laid the groundwork for much of the distorted, grinding alternative punk rockers of the '90s".