FEATURE:
A Buyer’s Guide
IN THIS PHOTO: Corin Tucker (left) and Carrie Brownstein of Sleater-Kinney in 2019/PHOTO CREDIT: Suki Dhanda/The Observer
Part Thirty-Seven: Sleater-Kinney
___________
FOR this A Buyer’s Guide…
IN THIS PHOTO: Sleater-Kinney in 2015 (with Janet Weiss, centre)/PHOTO CREDIT: Danny Clinch
I am spotlighting Sleater-Kinney. The iconic American Rock band that formed in Olympia, Washington, in 1994. The current line-up features Carrie Brownstein (guitar and vocals) and Corin Tucker (vocals and guitar) - following the departure of long-time member, Janet Weiss (vocals, drums, and harmonica) in 2019. Sleater-Kinney rose during the Riot Grrrl movement, and they have since become a vital part of the American Indie Rock scene. Even though they went on hiatus in 2006, they reunited in 2014 - and, through their career, have barely dropped a step! I am going to recommend the four essential albums, in addition to an underrated album and a book that is a helpful companion – I will also highlight their current studio album. If you need a guide to Sleater-Kinney, then I hope that this guide will…
PHOTO CREDIT: Anthony Pidgeon/Redferns
PROVIDE useful and informative.
______________
The Four Essential Albums
Call the Doctor
Release Date: 25th March, 1996
Label: Chainsaw
Producer: John Goodmanson
Standout Tracks: Call the Doctor/I Wanna Be Your Joey Ramone/Taking Me Home
Buy: https://www.discogs.com/sell/release/2033697?ev=rb
Stream: https://open.spotify.com/album/3ULIRcAOMyaT6K4gIhX8aJ?si=wtMMjG2PRLaXveOO4bF1sg
Review:
“This album's true brilliance lies within the lyrics. Call the Doctor is a triumph in feminist writing. Each and every lyric is so intensely intended. As I discussed earlier, the primary motif behind Call the Doctor is to draw attention to the absurd notion of fixed gender roles in society, which is the central theme of the majority of songs here. Often this is explored through compelling metaphors and comparisons from different perspectives, such as on aforementioned 'Stay Where You Are' where Carrie sings 'stuffed in the corner, little girl lost. I claw and I scratch and I beg and I scream, I just need you to save me this time' which plays on the idea of women as mysterious 'others' in need of male guidance and safety. Further, Sleater-Kinney draw attention to this patronizing ideology on 'Anonymous' where Corin sings 'feel safe inside, inside these well drawn lines; boyfriend, a car, a job, my white girl life' where the repetition of 'inside' emphasizes the domesticated experience of how women are expected to live and behave in a patriarchal society. You can draw direct parallels between these 'well drawn lines' and the masculine nature of the Punk scene which the band emerged from, which is discussed more directly in the roaring 'I Wanna Be Your Joey Ramone'. It isn't just the words themselves that makes the lyricism here so powerful, a lot of it comes from the ability of both vocalists to pour a mass of absolute emotion and conviction into every single line. It's as-if the motivation behind each word they belt out is as true to the original intention of Punk in its emergence, more so than any other 90s act.
Call the Doctor provided a necessary stepping stone for both Sleater-Kinney and the Riot Grrrl movement, inspiring a storm of female artists to form bands to make a change. I'd personally argue that it isn't their most creative album, no that comes next. What this album is though is a hard-hitting collection of songs from a group of newcomers, which even the most distinguished punk acts could've only dreamed to make. Sleater-Kinney add melody to punk music more flawlessly than any other group I've had the pleasure of listening too and lyrically they've crafted an anthology of brilliant poetry which continues to sticks with me, even when I'm not listening to the album. Thus, the puzzle was complete” – Sputnik Music
Choice Cut: Stay Where You Are
Dig Me Out
Release Date: 8th April, 1997
Label: Kill Rock Stars
Producer: John Goodmanson
Standout Tracks: Dig Me Out/Turn It On/Little Babies
Buy: https://www.discogs.com/sell/list?master_id=64435&ev=mb
Stream: https://open.spotify.com/album/3tshnNFNhHrO6NUQ0BHw42?si=_CVhLXJqRzyoUbhf7cqtIw
Review:
“Then, behold: Janet Weiss. She joined on 1997's breakneck Dig Me Out, an all-time great American punk statement, giving Sleater-Kinney the most crucial muscle a drummer can offer: not sheer force, but heart, taking the momentum to a new plane. Sleater-Kinney released their next four records with the larger Olympia feminist label, Kill Rock Stars, but none distilled the band's sound and attitude like Dig Me Out: sometimes brutal heartache, sometimes a menacing threat, always intelligent and extreme, there are enough hooks architected into these two- and three-minute songs to span several albums, but even the added dum-de-dum sugar seems as though it must be raw Portland agave.
"Little Babies" critiques stereotypes of motherhood, "Heart Factory" roars over synthetic emotions of the Prozac Nation, and the instantly classic "Words and Guitar" is an ode to rock that just feels necessary. At the peak of "The Drama You've Been Craving"—Tucker's "Kick it OUT!"—there are practically fireworks bursting on either side. Really, Dig goes from 0-to-100 within seconds of its opening salvo of a title track, which begs for transcendence from worldly oppression, "Outta this mess/ Outta my head." Unlike so much in the trajectory of punk, there is no nihilistic self-destruction in the face of chaos. More than skepticism, anti-consumerism, or the glories of tattoo art, punk teaches empathy, a principle Sleater-Kinney practiced with nuance. This is why Sleater-Kinney's music shines a light despite its loudness, why it is easy to be alone with the songs and feel protected. Sleater-Kinney would never forego the optimism to believe their songbook could make us smarter, angrier, more tender and hopeful. Dig Me Out dreams of a better future, clawing itself up with every note” – Pitchfork
Choice Cut: One More Hour
The Woods
Release Date: 24th May, 2005
Label: Sub Pop
Producer: Dave Fridmann
Standout Tracks: The Fox/Modern Girl/Let's Call It Love
Buy: https://www.discogs.com/sell/list?master_id=64414&ev=mb
Stream: https://open.spotify.com/album/73ctstwnbNifu5U902X2zL?si=UVajihwATIezjBjSXG6_GA
Review:
“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” – AllMusic
Choice Cut: Wilderness
No Cities to Love
Release Date: 20th January, 2015
Label: Sub Pop
Producer: John Goodmanson
Standout Tracks: Price Tag/No Cities to Love/Hey Darling
Buy: https://www.discogs.com/sell/list?master_id=785249&ev=mb
Stream: https://open.spotify.com/album/7HDcY3h70X3zLjceUO874A?si=4rDXiHT7RjO29bOQG9RQoQ
Review:
“Their hiatus saw them veer ~off in different directions: Brownstein formed Wild Flag and created (and stars in) the TV series Portlandia; Weiss became the drummer for The Shins and Stephen Malkmus and The Jicks (among others); and Tucker started the Corin Tucker Band.
Their new record is a testament to so many of the things they have always represented: left-leaning, feminist, intelligent and playful. Brownstein’s guitar playing remains vital, Tucker’s voice is still strong and true, and Weiss’s excellent drumming keeps everything from toppling over.
After their celebrated collaboration with producer Dave Fridmann on 2005’s classic rock-infused The Woods, the band went back to their roots, and to longtime producer John Goodmanson, who takes great care of their old conceits and new experiences..
This is crucial, exciting music, with an ear towards melody – as evidenced on album closer Fade – and mature reflection. There is honest self-examination on Bury Our Friends, and meditation on pointless consumerism on Price Tag. Fangless could have been made at any time in their evolution, with the singular guitar and furious drum intro, and the chorus on Surface Envy is one that will be sung back to them concert after concert, and in bedrooms all around.
A New Wave, with its discordant melody, has Tucker and Brownstein singing about inventing their “own kind of obscurity”, a sense of defiance which is also present on No Anthems and Gimme Love” – Irish Times
Choice Cut: Bury Our Friends
The Underrated Gem
Sleater-Kinney
Release Date: 1995
Label: Chainsaw
Producers: Tim Green/Sleater-Kinney
Standout Tracks: Don't Think You Wanna/How to Play Dead/Be Yr Mama
Buy: https://www.discogs.com/sell/list?master_id=170728&ev=mb
Stream: https://open.spotify.com/album/4BT2qMQcDmjNIIyLHik2lM?si=qzLEV5h5SoOpU6WjzIxgYg
Review:
“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” – AllMusic
Choice Cut: A Real Man
The Latest Album
The Center Won’t Hold
Release Date: 16th August, 2019
Label: Mom + Pop
Producer: St. Vincent
Standout Tracks: The Center Won't Hold/Can I Go On/Ruins
Buy: https://www.discogs.com/sell/list?master_id=1590913&ev=mb
Stream: https://open.spotify.com/album/0UMuX8pRsyfSkv0gPJMipQ?si=uuz98RO2QeODUPuRXn2hEg
Review:
“This sense of sex being perhaps the only palliative in our fractious, disconnected world is essayed even more powerfully by Tucker, who has an innately more serious voice, an ideal foil for the sly goofball Brownstein. On The Future Is Here, her day begins on her phone, looking at the news, and ends on it too, perhaps looking at messages or photos from a decaying relationship. “You can cover me, just come over here and give me everything”, she promises, a sext of pure need, for orgasm, intimacy, protection. Age, too, plays its part: on The Dog/The Body, Brownstein admits she’s now “just the trick without the magic”, a wonderfully wry, smutty double meaning, while on Love she says she’s “done with being told that this should be the end” and celebrates “a well-worn body demanding to be seen”. Brownstein is singing about being on stage, but it’s also a credo for the boardroom, pavement and indeed bedroom.
The album closes on Broken, a piano ballad about doggedly existing through trauma, beautifully sung by Tucker – another brand new and intense flavour for the band. Losing Weiss will be a trauma in itself, but Sleater-Kinney have announced that they are survivors, making fires out of friction” – The Guardian
Choice Cut: Hurry On Home
The Sleater-Kinney Book
Hunger Makes Me a Modern Girl: A Memoir
Author: Carrie Brownstein
Publication Date: 20th October, 2015
Publisher: Riverhead Books
Synopsis:
“Fury sparks off the page in the chapter when Brownstein and her Sleater-Kinney bandmate Corin Tucker are summarily outed by Spin magazine, when their families did not know the two had had a brief relationship, and the journalist had not touched on the subject during the interview. (Tucker is now married, with children; Brownstein rejects the need for pat definition.)The slog to be perceived as musicians, rather than as female musicians (let alone sexually fluid feminist musicians), is a never-ending tightrope act. Brownstein rolls her eyes at positive write-ups full of unconscious internalised sexism, and tries to pin down how Sleater-Kinney staked out their difficult terrain. You can often hear Evergreen College – Olympia, Washington’s hotbed of DIY indie and radical feminism – in her more erudite, analytical passages, but her plain-speaking is more refreshing: “We have not talked about that night in Brussels since.”
Some mysteries remain, as they must. Sleater-Kinney is, essentially, a long, shifting dialogue between the interlocking guitars of Brownstein (mostly lead) and Tucker (mostly rhythm; there is no bass). Exactly how this complicated music is hammered out remains elusive. Also, although Brownstein sings on S-K’s later albums, why does the book’s cover photo find this sublime rock guitarist holding a microphone, not swinging her axe?” – The Guardian
Order: https://www.amazon.co.uk/Hunger-Makes-Me-Modern-Girl/dp/1594486638