Kamran
07-29-2006, 12:39 AM
http://www.decoymusic.com/images/missedalbums/sleater-kinney.jpg
The early 90s rock scene was undoubtedly one of the best explosions of new music in rock n’ roll history. With it came a slew of Gen-X bands and genres, one genre of which became one of the most powerful female rock movements ever: Riot Grrrl. Initially fronted and dominated by bands like Bikini Kill, Bratmobile, 7 Year Bitch, and L7, Riot Grrrl was an indie-rock/punk explosion for female rockers everywhere. The movement didn’t last long, as numerous bands never gained an ounce of commercial success, and only a few bands managed to survive beyond the initial eruption.
Of these bands comes Sleater-Kinney: A trio of socially and politically aware ladies, who were able to harness the spirit and intensity of Riot Grrrl and combine it with more accessible indie-rock. Originally spawned in 1994 as a side project between Corin Tucker and Carrie Brownstein before adding Lora MacFarlane on drums and dubbing themselves Sleater-Kinney – named after a Washington state freeway exit ramp. In 1995 the trio recorded Sleater-Kinney’s debut, self-titled album for Chainsaw Records. Met with enthusiastic critical acclaim, Sleater-Kinney instantly became a cornerstone for female rockers everywhere. Brash but inventive and showing signs of serious promise, Sleater-Kinney was the launching pad for future milestones.
In 1996, the trio released their second album, and arguably their best with Call the Doctor though Chainsaw. More refined than their debut, Call the Doctor avoided the sophomore slump tremendously thanks to 12 sensational tracks. Gone was the abrasive recklessness of the Riot Grrrl sound, and what was left was pure, unabashed rock n’ roll. Sure, Call the Doctor is undoubtedly a punk album – and a terrific one at that – but the empowering spirit of rebellious, conscious rock was the band’s mainstay. The socially aware lyrics were belted out by Tucker and Brownstein, the latter of whom took on a more major roll in the band’s songwriting and vocal duties. Within two years of their debut as a band, Sleater-Kinney were officially integral parts indie, punk, and rock n’ roll history.
http://www.decoymusic.com/images/missedalbums/sleaterkinneycallthedoctor.jpg
On their next release, 1997’s Dig Me Out, now on Kill Rock Stars, Sleater-Kinney recruited new drummer Janet Weiss who would stay on as the band’s drummer for the next decade. Dig Me Out’s overall presentation wasn’t as big or as boastful as previous releases, but it once again showed the band could progress without losing their roots along the way. Similar statements could be made of the band’s next three releases as well: 1999’s The Hot Rock, 2000’s All Hand’s on the Bad One, and 2002’s One Beat. While Sleater-Kinney managed to produce six truly remarkable albums in an eight-year period, the band’s most interesting, if not, most astonishing album came in 2004 with The Woods.
Although The Woods was a monstrous departure from any of the band’s previous works, it still was undoubtedly the band’s most courageous release. Huge, loud, and epic in stature, The Woods was the epitome of rock n’ roll, and featured the band at its best musically, vocally, and commercially. Gaining positive reviews from independent publications – including a 4.5/5 from Decoy – as well as strikes from the majors, The Woods, released this time through Sub-Pop, proved that Sleater-Kinney were more than just a female punk band with leftist lyrics; well, they were that, but they were so much more as well.
http://www.decoymusic.com/images/missedalbums/sleaterkinneythewoods.jpg
Sleater-Kinney, whether we realize it or not, are just as essential to 90s and 00s rock as Pearl Jam – who, after the release of The Woods, asked Sleater-Kinney to open for them – Soundgarden, Pavement, Fugazi and others. Although they might not have created Riot Grrrl, which is hardly the point anyways, they certainly took the concept to the next level, introducing melody and true musicianship. No all-female act rocked as hard or with as much consistently as did the ladies of Sleater-Kinney – ever.
Sadly, on June 27, 2006, Sleater-Kinney, through a message on their office website, stated they would no longer be a band, with “no plans for future tours or recordings.” After 14 years and seven revolutionary full-length albums, Sleater-Kinney decided on an “indefinite hiatus.” Although the three musicians together might’ve disbanded, the ladies – Tucker, Brownstein, and Weiss – their music will without doubt live forever as a staple to the Northwest, the 90s Riot Grrrl movement, punk and indie rock, feminism, women in rock, and as simply amazing music. They’ll cap off their tremendous career with two final, hometown, sold-out shows in Portland on August 11 & 12.
-Kamran Rouzpay
The early 90s rock scene was undoubtedly one of the best explosions of new music in rock n’ roll history. With it came a slew of Gen-X bands and genres, one genre of which became one of the most powerful female rock movements ever: Riot Grrrl. Initially fronted and dominated by bands like Bikini Kill, Bratmobile, 7 Year Bitch, and L7, Riot Grrrl was an indie-rock/punk explosion for female rockers everywhere. The movement didn’t last long, as numerous bands never gained an ounce of commercial success, and only a few bands managed to survive beyond the initial eruption.
Of these bands comes Sleater-Kinney: A trio of socially and politically aware ladies, who were able to harness the spirit and intensity of Riot Grrrl and combine it with more accessible indie-rock. Originally spawned in 1994 as a side project between Corin Tucker and Carrie Brownstein before adding Lora MacFarlane on drums and dubbing themselves Sleater-Kinney – named after a Washington state freeway exit ramp. In 1995 the trio recorded Sleater-Kinney’s debut, self-titled album for Chainsaw Records. Met with enthusiastic critical acclaim, Sleater-Kinney instantly became a cornerstone for female rockers everywhere. Brash but inventive and showing signs of serious promise, Sleater-Kinney was the launching pad for future milestones.
In 1996, the trio released their second album, and arguably their best with Call the Doctor though Chainsaw. More refined than their debut, Call the Doctor avoided the sophomore slump tremendously thanks to 12 sensational tracks. Gone was the abrasive recklessness of the Riot Grrrl sound, and what was left was pure, unabashed rock n’ roll. Sure, Call the Doctor is undoubtedly a punk album – and a terrific one at that – but the empowering spirit of rebellious, conscious rock was the band’s mainstay. The socially aware lyrics were belted out by Tucker and Brownstein, the latter of whom took on a more major roll in the band’s songwriting and vocal duties. Within two years of their debut as a band, Sleater-Kinney were officially integral parts indie, punk, and rock n’ roll history.
http://www.decoymusic.com/images/missedalbums/sleaterkinneycallthedoctor.jpg
On their next release, 1997’s Dig Me Out, now on Kill Rock Stars, Sleater-Kinney recruited new drummer Janet Weiss who would stay on as the band’s drummer for the next decade. Dig Me Out’s overall presentation wasn’t as big or as boastful as previous releases, but it once again showed the band could progress without losing their roots along the way. Similar statements could be made of the band’s next three releases as well: 1999’s The Hot Rock, 2000’s All Hand’s on the Bad One, and 2002’s One Beat. While Sleater-Kinney managed to produce six truly remarkable albums in an eight-year period, the band’s most interesting, if not, most astonishing album came in 2004 with The Woods.
Although The Woods was a monstrous departure from any of the band’s previous works, it still was undoubtedly the band’s most courageous release. Huge, loud, and epic in stature, The Woods was the epitome of rock n’ roll, and featured the band at its best musically, vocally, and commercially. Gaining positive reviews from independent publications – including a 4.5/5 from Decoy – as well as strikes from the majors, The Woods, released this time through Sub-Pop, proved that Sleater-Kinney were more than just a female punk band with leftist lyrics; well, they were that, but they were so much more as well.
http://www.decoymusic.com/images/missedalbums/sleaterkinneythewoods.jpg
Sleater-Kinney, whether we realize it or not, are just as essential to 90s and 00s rock as Pearl Jam – who, after the release of The Woods, asked Sleater-Kinney to open for them – Soundgarden, Pavement, Fugazi and others. Although they might not have created Riot Grrrl, which is hardly the point anyways, they certainly took the concept to the next level, introducing melody and true musicianship. No all-female act rocked as hard or with as much consistently as did the ladies of Sleater-Kinney – ever.
Sadly, on June 27, 2006, Sleater-Kinney, through a message on their office website, stated they would no longer be a band, with “no plans for future tours or recordings.” After 14 years and seven revolutionary full-length albums, Sleater-Kinney decided on an “indefinite hiatus.” Although the three musicians together might’ve disbanded, the ladies – Tucker, Brownstein, and Weiss – their music will without doubt live forever as a staple to the Northwest, the 90s Riot Grrrl movement, punk and indie rock, feminism, women in rock, and as simply amazing music. They’ll cap off their tremendous career with two final, hometown, sold-out shows in Portland on August 11 & 12.
-Kamran Rouzpay