TRACK REVIEW: Sleater-Kinney - Can I Go On

TRACK REVIEW:

Sleater-Kinney

PHOTO CREDIT: Getty Images

Can I Go On

9.4/10

The track, Can I Go On, is available via:

https://www.youtube.com/watch?v=pTZXBmRaQtw

GENRES:

Punk-Rock/Pop-Punk

ORIGIN:

Washington, U.S.A.

RELEASE DATE:

31st July, 2019

The album, The Center Won’t Hold, is released on 16th August, 2019 through Mom + Pop. Pre-order here:

https://www.banquetrecords.com/sleater-kinney/the-center-won%27t-hold/7790842

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THESE are interesting times for…

IN THIS PHOTO: Corin Tucker and Carrie Brownstein/PHOTO CREDIT: Rozette Rago for The New York Times

the tremendous Sleater-Kinney. I will talk about their new single, Can I Go On, in a minute but, when you look at how their music and line-up has changed recently, it warrants some discussion. I wanted to look at artists who evolve and go in a different direction; Annie Clark in the context of Sleater-Kinney and why she is a good force for them; this year being dominated by women and why I feel change needs to happen; artists that endure for years and continue to influence and inspire the generations; where Sleater-Kinney go from here and, indeed, why a lot of gossiping press around them is quite damaging. I have been a fan of Sleater-Kinney since the 1990s and, back then, they were seen as a great Riot Grrrl band; this potent and amazing force that formed in Washington D.C. and were destined for big things. They were indeed to go on and become a world-straddling wonder and their 1997 record, Dig Me Out, remains one of the best of the decade. Its raw look at survival and heartbreak might seem despairing on paper but (the album) is full of optimistic and guidance; brilliant sounds and this incredible band interplay. It was the debut of drummer Janet Weiss: she came in and added something to the band’s dynamic and gave them possibilities they did not have before. Maybe there was more energy and a different type of beat but Sleater-Kinney upped their games and hit new heights. Influenced by Blues and bands like The Rolling Stones and The Beatles, their success has continued to this day and it is amazing to see Sleater-Kinney still performing. The forthcoming album, The Center Won’t Hold, is a bit bittersweet as it is the last one featuring Weiss. This New York Times article shows how the sound has altered slightly since their earlier work:

“Weiss, 53, declined to comment for this article. In the statement announcing her choice, she said, “The band is heading in a new direction and it is time for me to move on. I will never forget the heights we reached or the magnificent times Corin, Carrie and I shared. We were a force of nature.”

PHOTO CREDIT: Rozette Rago for The New York Times

They wanted the album to sound “really gross,” Tucker, in contrasting lacy white, said, as her collaborators mmm-hmmmed in affirmation. “Like, disgusting, dirty, gross, dusty.” She went to a Depeche Mode show and got absorbed by synths; Clark and Brownstein saw Nine Inch Nails, and heard industrial.

The three or so weeks they spent in the studio with Clark were, to hear Brownstein and Tucker tell it, transformative. Choruses and bridges were revised; major keys were introduced; Tucker, whose raging vocals have helped define the group’s sound, sometimes sings two octaves higher than normal”.

Every act is going to alter and try something new but, in the case of Sleater-Kinney, they are getting some flak from certain corners. One cannot call their new music ‘Pop’ but there is definitely something new in the fold. Maybe the vocals are higher-pitched or the music is a little different to what we remember. I think any criticism levelled at them is wrong because people expect artists to sound the same all the time and scold them if they dare to do something new. Janet Weiss actually suggested working with Annie Clark (St. Vincent) – she has produced their new album. Clark, as a hugely successful artist, has brought some of her own ideas in but the core is very much the same Sleater-Kinney we all know and love. I do like the fact that they have broadened their sound and tried something different on their ninth studio album. The single Hurry on Home has been named one of the best Queer Rock tracks of 2019 and there is a sexiness/coolness that was missing from some of their past work. The band wanted something quite intense and scuzzy and, actually, I think their music sounds dirtier and more gravelled than their classic albums. The production is not as raw as it could have been but I think Sleater-Kinney have mixed experimental steps and new layers with their reliable foundation to create something incredible exciting and nuanced – the songs, I guarantee, will stay in the head and come back to you time and time again.

IN THIS PHOTO: St. Vincent/PHOTO CREDIT: Jenna VonHofe

Annie Clark has been mentioned a few times when talking about the departure of Janet Weiss. I, like many, was very excited when it was announced Clark was working with St. Vincent. I am a big fan of St. Vincent and I feel she is one of the finest artists of our generation. The amazing songs from Annie Clark have thrilled and excited but, as a producer, how would that work? It is interesting when one big artist works with another like this – I mooted we need more of these high-profile collaborations. Not many people can complain about St. Vincent’s current material and I know The Center Won’t Hold will get some great reviews; rank alongside the best albums from this year and please fans old and new. There was this theory that, when Weiss announced her departure, that it was because of the addition of Clark as producer and her role. In fact, as Weiss suggested her and it would be silly to do that and get bothered by Clark’s presence, I think it was a natural end for her – having been in the band for a couple of decades. The sessions with Clark were really productive and she brought something fresh into the camp. It was not a case of Clark making Sleater-Kinney sound more like St. Vincent; she added her own vision and dimensions but allowed the band free reign. The Center Won’t Hold might sound political but there is more of the personal in there; discussions about sexuality, gender and empowerment. This interview from The Guardian talked about the themes explored and what it was like having Annie Clark in the studio.

“But Broken aside, The Center Won’t Hold isn’t explicitly political. “If people thought Sleater-Kinney was gonna put out some loud, anti-Trump record, they would be misguided,” says Brownstein. The restaurant has closed, so we perch outside. Sleater-Kinney have already written those songs, she laughs. “We’ve been addressing the #MeToo movement and shitty patriarchal systems of injustice and subjugation since 1995!”

PHOTO CREDIT: Getty Images

Sexual empowerment is in a state of hyper-evolution: now it would be the writer decrying Brownstein’s knickers who would be considered a traitor. “Gender as a construct is now like a mesh bag,” says Tucker, with relief. “It used to be so rigid,” says Brownstein. “The queering of the culture and the deconstruction of gender identity has freed up a lot of things for women.” She thinks her queerness challenges the idea that middle age is a sexual wasteland.

It’s all in the album’s best lyric: “There’s nothing more frightening and nothing more obscene than a well-worn body demanding to be seen,” Brownstein yelps on the euphoric Love, a love letter written by Sleater-Kinney to themselves, and to resistance through collaboration. It sounds a bit different now that Weiss has left – rallying cry turned eulogy.

But the criticism was misplaced. It had, in fact, been Weiss’s idea to work with Clark, who says she felt no fear about pushing Sleater-Kinney even though she was once a teenage worshipper of the band, whose posters were on her bedroom wall. After their 2006 farewell gig in New York, Clark was “so amped up that I kicked over a newsstand in excitement”. “Now,” she thinks, “there’s a lot of ways to move people’s hearts and make them wanna kick things over and scream.”

The group abandoned their original plan to work with multiple producers after their trial week with Clark in Los Angeles really took off. After that, Weiss didn’t return until the last two days of recording. She was busy, Brownstein laments in Portland. (Weiss works as a film and TV location manager, a career that started on Brownstein’s Portlandia.) There is a personal cost of being in a band, especially when each member has a very different economic reality: Brownstein a celebrity, Tucker a working mum, Weiss developing a new career”.

I do not believe Clark had anything to do with Weiss’ departure from Sleater-Kinney and, rather than see the former as a bad influence, let’s recognise her production talents and the fact she has created something new and exciting. Nobody can say Sleater-Kinney have abandoned their roots or sound foreign. They are still hitting hard and true to themselves but I think their palette is broader; their performances more rounded and the result deeper and more varied.

PHOTO CREDIT: Jonny Cournoyer

I will talk about Sleater-Kinney’s future very soon because, right now, they have tour dates and they need to get a new drummer on board. I want to side-step and look at women in music this year. This is something I bring up in a lot of reviews – as I am reviewing more women than men at the moment – but I feel it deserves repetition. Not only have the best albums of 2019 been made by women but I feel they are displaying greater range than the men. I am not dismissing male artists and feel they are vital but I am hearing female artists of the moment and they are more eclectic and original. Little Simz is one of Hip-Hop’s biggest names whilst there is great Folk from Julia Jacklin; some passionate anthems from Lizzo and, with Sleater-Kinney releasing new material, some great Punk/Pop-Punk. I do think this year has been especially strong for women and I am not sure why. It is no bad or strange thing but, compared with previous years, we have seen this explosion. The year is not yet done and I just know there are going to be other titanic albums from female artists. Sleater-Kinney’s The Center Won’t Hold will be among the best releases of this year and there is a lot of talk about Lana Del Rey’s forthcoming record, Norman Fucking Rockwell. Maybe it is this determination (from female artists) to be taken seriously or show that, in an industry where there is sexism in every corner, now is the time for change. I am not sure but I am amazed by the sheer quality coming through. I think this will continue for a few years and there are so many great new female artists emerging. I do believe 2019 is one of the strongest years for music we have seen for a very long time indeed. Women are definitely leading and it is high-time the industry reacted and actually made some big steps.

PHOTO CREDIT: Getty Images

Bands like Sleater-Kinney are discussing inequality and imbalance but I do not think the messages are resounding with the bosses and festival organisers. One will forgive me for repeating myself here but I do feel like the quality we are seeing from female artists is not being translated onto the stage and rewarded. Maybe next year will be the year when equality is closer and we will actually see change. I will move on to a new subject in a minute but I want to stay with equality and women in 2019. Sleater-Kinney are at the front of the charge and they are proving why we all need to be aware of the fantastic women in the industry. Maybe it will take a bit of time before there is true equality but we are still in a position where women are overlooked as headliners; their music is played less on the radio and we have to have these conversations. Maybe the next couple of years will get us on an even footing but I still have that fear things will be as they are now then. The rest of the year looks like it will be pretty special in terms of releases but, so far, we have seen this bounty from women in all genres. There are albums to come, as I said, from Lana Del Rey and Sleater-Kinney but take a look at the best albums so far this year – articles from various press sources – and you will see the embarrassment of female riches. I wanted to get that off my chest again but, moving on, one should be excited about new Sleater-Kinney material. They are a band who have inspired so many to get into music and will continue to do so for many years to come. There is always a danger, when you have played for years, that you’ll lose that touch and the spark that made you. So many acts go off the boil and they seem far less relevant as the years go by.

PHOTO CREDIT: Getty Images

Sleater-Kinney have grown and changed since their start in the 1990s but one cannot accuse them of settling and waning. They have remained incredibly relevant, powerful and daring. St. Vincent’s Annie Clark has ensured that fire and intensity remains but she has brought new elements into the mix and given them a new lease. I do hope she works with them again but, at the very least, I know there will be many more albums from Sleater-Kinney. They are amazing and influential and we definitely need Sleater-Kinney in music right now. I think all the speculation and gossip that is around them right now is quite upsetting. Not only do we know Annie Clark has been a positive force and not the reason Janet Weiss is leaving the band but their upcoming album promises to be very special and interesting. All the rumours and chat threatens to overshadow the album and I do hope people listen to The Center Won’t Hold and not think about Weiss’ split and look for reasons why; listening to the songs and thinking Clark had anything to do with it. The band has set the record straight but I do think a lot of press outlets will mention the album in terms of Clark’s introduction. She has done a stellar job and I feel other musicians will be keen to have her on board as a producer. Sleater-Kinney are this magnificent force of nature and one has to respect them. To many of us, they are shining examples of artists who can transition through the decades and remain true to themselves yet willing to evolve. At their centre, as I said, is that true sound that has lasted for years, but they have mixed in something new. I will get to the new song from Sleater-Kinney, Can I Go On, in a bit but it is worth finishing on the point regarding Sleater-Kinney and their longevity. I loved them in the 1990s and they represented something illuminating, thrilling and wonderful. Look at the reviews their albums have accrued - and here is a group who have not lost a step through the years. They seem to get stronger as time goes by and that is down to their unwillingness to stand still and copy what is around them.

PHOTO CREDIT: Konstantin Sergeyev

The opening of Can I Go On is fascinating. There is this lovely combination of guitar and bass; a tapestry that has a sense of groove and brightness but there is a rawness underneath. The production allows the notes to shine and pop but there is a murkiness lingering underneath. When the vocals come in, one notices this sharp contrast. The electricity and potency of the delivery is a lot harder and sharper than the introduction. Our heroine talks about everyone she knows being tired and wired up to machines. There are toothy and growling strains from the electric guitar; some nice wordless backing vocals and Weiss at the back leading the song on and producing this steady heartbeat. You do need to spin the track a few times because it is quite busy and full. The composition is exciting and brings out emotions of its own. The song talks about friends being happy but, ironically, they are napping; the heroine cannot find her thrill and half the day is wasted away. When I listened to the song the first time around, I was thinking about the Internet and social media. Perhaps we all seem happy online because we are hiding behind screens and it is hard to tell. Perhaps we do waste a lot of time on computers and that creates social dislocation, anxiety and fatigue. I am not sure what the exact inspiration behind the song is but that is what I thought when listening. The chorus is this fulsome and catchy thing that asks whether they want to go on and whether, given these contrasts and themes being tackled, there are clear answers. Many have stated how Annie Clark has brought some St. Vincent to Sleater-Kinney and, in a way, she has. By that, I mean the chorus has a Pop edge but there is something there are major keys and something lighter. Sleater-Kinney still sound pumped and alive but there is one can detect a slight change in sound.

One can dance and sing along to the chorus but there is ample power and drive that will please the existing fanbase. Our heroine talks about everyone being funny but, as it seems, jokes do not make us money. There is still this sense of us being trapped and things needing to change in the world. Sleater-Kinney have said The Center Won’t Hold is not political but I cannot help but link their latest single with the state of affairs. We are living through a time when there are gulfs around the world and so much to be done. The severity is pronounced in America and, led by President Trump, one cannot help but listen to Sleater-Kinney and think some of their anger is directed at him. In a wider sense, one feels this tiredness and the observation that many people are floored and lacking energy. That might be a reaction to political situations or the way we conduct a lot of our daily deeds online. Modern life, it seems, is a bit rubbish and the band wonder whether they can go on and what the point is. That might sound grim and defeatist but it is not really. The vocal is incredible strong and impassioned throughout; this sense of defiance in the face of hardship and a strength that gives Can I Go On a definite buzz and appeal. The band sound incredibly tight throughout and I do love the fact there are nice little touches throughout (the buzzsaw guitar and some straining strings; backing vocals and nice little breaks here and there). The song is very busy, as I said, so you will want to come back and give it a listen after the first spin. Sleater-Kinney have kept their heartbeat traditional and reliable but, with Clark offering guidance and new elements, they have injected all these strands and sounds into their blend which is exciting indeed. Some purists might not like the new direction but I think songs like Can I Go On are phenomenal. If the rest of the tracks on The Center Won’t Hold sound like this then few can have complaints; the reviews will be strong and it will be another triumph for Sleater-Kinney. Maybe one listens to the music and wonders why Janet Weiss left the band and whether she was unhappy – I have already stated how, when it comes to Annie Clark, that appointment was one she endorsed. If you have not heard Sleater-Kinney’s latest jam then make sure you check it out. It is a wonderful thing and shows that they are one of the most important and enduring bands of the past couple of deacdes.

PHOTO CREDIT: Suki Dhanda

It seems like Sleater-Kinney will be heading to the U.K. early next year to play but they are busy with U.S. dates at the moment. The Center Won’t Hold is out in a couple of weeks and it will acquire a lot of debate, interest and fondness. I do hope people can get beyond the changes in the ranks and the fact Weiss has left. I think Annie Clark has done a terrific job on The Center Won’t Hold and we have to give her respect for that. She is an amazing producer and has uncovered something new from Sleater-Kinney. I do know there are gigs but, without Weiss, it means there will be this transition. It is sad the long-serving drummer is not with Sleater-Kinney anymore but we cannot overlook her time in the band and how much she gave. It will be strange not seeing her on the stage but it is an opportunity to add someone new to the line-up and that will give Sleater-Kinney a new impetus – as Weiss did when she joined in the 1990s. Not all change is bad and, whilst it seems odd at the moment, it will be okay. Of course, there are no immediate plans for Sleater-Kinney to slow down or split so one can expect to see them releasing material for years to come. Carrie Brownstein and Corin Tucker are still leading from the front and I know they will be okay. It is an eventful time for Sleater-Kinney none the less and we all need to look forward to The Center Won’t Hold. It will be, as I have predicted, among the best-received albums of this year and the reaction to their new material has been very strong. I shall end things in a minute but I wanted to encourage people to get behind Sleater-Kinney and listen to their new track. Go and pre-order their upcoming album (the link is at the top of this review) and follow them on social media (the links are at the very bottom).

PHOTO CREDIT: Rozette Rago for The New York Times

Even if you did not grow up around Sleater-Kinney, you have to admit that they are among the very best and most relevant acts around. Since their eponymous debut in 1995, Sleater-Kinney have provided stunning songs and, to many, a voice. So many have been caught up in the gossip and rumours regarding Janet Weiss and Annie Clark and forget about the music. We need to respect Sleater-Kinney because they have inspired other artists and their music has enriched and empowered lives. There are not too many artists who can make that sort of difference so, in ending, let us salute this wonderful group. The future will be very different for them and things will settle down soon enough. I do know they will be alright and their new drummer will settle in fine. Fans might need some time get their heads around it all but that is something they’ll have to do. Now, Sleater-Kinney are priming a new album and we should all look forward to that. Maybe The Center Won’t Hold is not the political explosion some were hoping for but it is rich with interesting songs that discuss empowerment and the personal. The compositions are broader and different to what we experienced on the last couple of Sleater-Kinney albums but I actually think there is a richness and nuance that was not there before; perhaps something more accessible to those not familiar with Sleater-Kinney. I love everything they do and it has been great reviewing Can I Go On. Some might look at the title and think it is a declaration from Janet Weiss but, no, it is not! Make sure you buy The Center Won’t Hold and show Sleater-Kinney a lot of love. They are a band who have experienced a bit of loss and separation but, even though they have lost a sister, they will carry on and continue to make inspiring music…