Sleater-Kinney Albums (7)
What The Critics Say
Far from the retreat implied in its title, The Woods is another passionate statement from Sleater-Kinney, equally inspired by the call-to-arms of their previous album, One Beat, and the give-and-take of their live sets, particularly their supporting slot on Pearl Jam's 2003 tour. Throughout their career, the band has found ways to refine and elaborate on the fiery spirit that makes them so distinctive without diminishing it. The Woods is no exception -- it may be Sleater-Kinney's most mature and experimental album to date, but unlike most mature and experimental albums released by bands entering their second decade, it doesn't forget to rock like a beast. The album's opening salvo, "The Fox," is shockingly feral, an onslaught of heavy, angry, spiralling guitars, ridiculously loud drums, and Corin Tucker's inimitable, love-them-or-hate-them vocals. It's so crushingly dense that it's hard to believe it came from Dave Fridmann's studio; reportedly, The Woods' sessions were challenging for band and producer alike, but from the results, it's clear that they pushed each other to make some of the best work of both of their careers. Though it may be hard to believe, at first, that this is a Fridmann-produced album, his contributions become a little clearer on tracks like the dysfunctional domesticity of "Wilderness," which has the depth and spaciousness usually associated with his work. However, it's easy enough to hear that The Woods is quintessential Sleater-Kinney. This may be the band's most self-assured sounding work yet -- their music has never lacked confidence and daring, but now they sound downright swaggering: "What's Mine Is Yours" is a subversive nod to Led Zeppelin and also captures Sleater-Kinney's own formidable power as a live act. Tucker's voice and viewpoints are as thoughtful and fierce as ever, and as usual, she's even better when aided and abetted by Carrie Brownstein's harmonies, as on "Jumpers." Capturing both the deeply depressing and liberating sides of suicide, the song moves from moody almost-pop to an intense but still melodic assault; unlike so many bands, Sleater-Kinney can go back and forth between several ideas within one song and never sound forced or muddled. A martial feeling runs through The Woods, but unlike the more overtly political One Beat, dissent is a more of an overall state of mind here. The more literal songs falter a bit, but "Modern Girl" is saved by its sharp lyrics ("I took my money and bought a donut/The hole's the size of the entire world"), while Tucker and Brownstein's dueling vocals and Janet Weiss' huge drums elevate "Entertain" above its easy targets of retro rock and reality TV. However, the songs about floundering or complicated relationships draw blood: "Rollercoaster," an extended food and fairground metaphor for an up-and-down long-term relationship with tough-girl backing vocals and an insistent cowbell driving it along, is as insightful as it is fun and witty. The unrepentantly sexy "Let's Call It Love" is another standout, comparing love to a boxing match (complete with bells ringing off the rounds) and a game of poker. At 11 minutes long, the song might be indulgent (especially by Sleater-Kinney's usually economic standards), but its ebbs and flows and well-earned guitar solos underscore the feeling that the band made The Woods for nobody but themselves. It flows seamlessly into "Night Light," an equally spooky and hopeful song that offers promise, but no easy answers -- a fitting end to an album that often feels more engaged in struggle than the outcome of it. One thing is clear, though: Sleater-Kinney remain true to their ideals, and after all this time, they still find smart, gripping ways of articulating them. ~ Heather Phares, All Music Guide
What The Critics Say
Having consolidated their strengths with All Hands on the Bad One, Sleater-Kinney revived the ambition of The Hot Rock on their sixth album, One Beat. John Goodmanson gives the group its cleanest-sounding production to date, which brings out all the new trappings in the ever more sophisticated arrangements. "Step Aside" boasts trumpet and sax, "The Remainder" a string section, several tracks are colored with delightfully weird vintage synths (the sort favored by Brian Eno or Pere Ubu), and there's even a theremin on "Funeral Song." (Trivia: The playful "Prisstina" also features the first male vocals ever on a Sleater-Kinney album, courtesy of Hedwig & the Angry Inch mastermind Stephen Trask.) Lyrically, One Beat is haunted by September 11; "Faraway" and the cry of dissent "Combat Rock" are some of the strongest statements on the tragedy any artist has yet released, and the backdrop lends a new urgency to Corin Tucker's pleas for a better world for her new son, not to mention the personal catharsis of "O2." All of this makes One Beat a much more effective stab at maturity than the often-difficult The Hot Rock. True, the group does occasionally fall into the angularity that made The Hot Rock their least immediate effort, but One Beat offers more rewards upon repeated plays -- the more challenging tracks eventually do sink in. The album does have its minor drawbacks -- Carrie Brownstein's vocals can be a bit precious at times, and the pointed 9/11 observations make the occasional feminist sloganeering sound like nothing the group hasn't done better elsewhere. All of which is to say that if you've never understood the cultish adoration surrounding Sleater-Kinney, One Beat isn't likely to change your mind. But if you're already on board with their idiosyncrasies, One Beat is another triumph from a band that seems to produce them with startling regularity. ~ Steve Huey, All Music Guide
'All Hands on the Bad One'
Release Date 5/2/2000
Tracks 13
Label Kill Rock Stars
See Album Tracklist and Review
What The Critics Say
Sleater-Kinney switched gears on their follow-up to the challenging, introspective The Hot Rock, delivering their brightest, most accessible album to date with All Hands on the Bad One. That's partly due to a renewed assurance in craft -- the arrangements here are the most refined of the group's career, and their performances the most polished. Corin Tucker seems to be in complete command of her voice as an instrument, delivering her most nuanced vocal performance to date. Tucker and Carrie Brownstein's guitar interplay is up to their usual standard of intricacy, but instead of wildly careening off one another, the two mesh more seamlessly than they ever have. Plus, drummer Janet Weiss had been honing her skills as a backup vocalist, and the group makes full use of that extra instrument, packing the tracks with lilting three-part harmonies. Yet all of this craft and control shouldn't be taken as evidence that Sleater-Kinney has toned down the passion that makes them so exciting. Even if All Hands on the Bad One isn't as desperately cathartic as their previous records, there's a contagious exuberance in the performances, and the band is absolutely brimming with confidence and vitality. Though the record still covers serious political and emotional topics, its overall aura is best summed up in "You're No Rock n' Roll Fun," a bouncy, playful jab at snobby scenesters unable to remember the good times at the core of so much great rock & roll. Not only is All Hands on the Bad One Sleater-Kinney's most consistent overall set of songs since Call the Doctor, it's also evidence that the band has taken that philosophy to heart. ~ Steve Huey, All Music Guide
What The Critics Say
Expectations for Sleater-Kinney's fourth album were stratospheric, with the raging, tuneful feminist catharsis of Call the Doctor and Dig Me Out having garnered near-universal critical raves and outlandish media hype. Afraid of falling into a predictable rut, though, the band bravely pushed its range of expression into more personal, subdued, and cerebral territory on The Hot Rock. That means the record isn't quite as immediately satisfying as its two brilliant predecessors, but it does reward those willing to spend time absorbing its nervy introspection and moodiness. Corin Tucker and Carrie Brownstein push relentlessly for more complex interplay, both in their vocal and instrumental work; even the gentlest songs might break into unexpected dissonance or take an angular, off-kilter melodic direction. As such, there's never an obvious, gut-level anthem that jumps out at the listener in the manner of an "I Wanna Be Your Joey Ramone" or "Words and Guitar," but the intensity simmering under the surface does bubble over often, thanks to the group's greater use of dynamic shifts. There are fewer protest songs this time around, as most of the lyrics explore failed relationships and personal uncertainty, yet it manages to retain the sense of empowering catharsis that makes the group so compelling. The Hot Rock can invite comparisons to a less jam-oriented Television or a minimalist version of indie compatriots Helium (not to mention the obvious Kim Gordon homage on "Get Up"), but in the end, it stands on its own as Sleater-Kinney's most progressive and experimental work, as well as their darkest. ~ Steve Huey, All Music Guide
What The Critics Say
Having reinvented the girl-punk wheel with Call the Doctor, Sleater-Kinney continues to expand the boundaries of the form with the stunning Dig Me Out. Leaner and more intricate than its predecessor, the record is remarkably confident and mature; instead of succumbing to the pressures of "next big thing" status, the trio finds vindication in all of their critical adulation -- the vocals are even more ferocious, the melodies are even more infectious, and the ideals are even more passionate. ~ Jason Ankeny, All Music Guide
What The Critics Say
Sleater-Kinney's masterful sophomore effort Call the Doctor fulfills all the promise of the group's debut and more, forging taut melodicism and jaw-dropping sonic complexity out of barbed-wire emotional potency. The emergence of Carrie Brownstein as an equal shareholder in Corin Tucker's vision is the key -- her four contributions (particularly "Stay Where You Are" and "I Wanna Be Your Joey Ramone") are stellar, while her harmonies complete Tucker's equally superb lead turns by reading between the lines to verbalize the naked aggression at the core of the songs' polemic power. Forget the riot grrrl implications inherent in the trio's music -- Call the Doctor is pure, undiluted punk, and it's brilliant. ~ Jason Ankeny, All Music Guide
What The Critics Say
Sleater-Kinney's debut record is a medium-fi blast of thrashy riot grrrl rock. Some tracks are reminiscent of '90s Sonic Youth ("Be Yr Mama"), while others are just blasts of punk angst ("A Real Man"). The group suffers from excessively monotone melody lines, but succeeds with their overall confidence and an understanding of dynamics that is promising. This is a good first record, and a showcase for talent that would later blossom on The Hot Rock. ~ Zachary Curd, All Music Guide
