The wild, frantic way Corin Tucker repeats the title towards the end is a moment of sheer brilliance that grows even more magnetic and intense when experienced live, as many who didn’t experience before their hiatus may get to now. A lighthearted, new wavy antidote to the protest rock that dominates One Beat, “Oh!” offers up some of the most purely pleasurable hooks in Sleater-Kinney’s entire oeuvre. First Name. B.S. “By the Time You’re Twenty-Five” (“Get Up” B-Side) But the song’s bite is unusually subtle as they choose to internalize most of the lyrical anxiousness that tends to drive most of their tunes. View credits, reviews, tracks and shop for the 2005 Vinyl release of "The Woods" on Discogs. 19. The trio’s relaxed guitar strums and carefree harmonica capture that freewheeling feeling you get when everything’s going just fine, thankyouverymuch. [6] Their second studio album after their reunion, The Center Won't Hold, was produced by St. Vincent, and released in August 2019. The Woods is the seventh and final studio album by the indie rock trio Sleater-Kinney. Corin Tucker opens the final bit of the band’s sixth LP by addressing God — shaky vocals over a rough cowpunk riff — and singing that while she may not be “the best believer,” she’d do anything for the safety of her son Marshall, who was born in the time between 1999’s The Hot Rock and 2002’s One Beat. 21. A big relationship question swirls over their first obvious breakup ballad: “Why do good things never wanna stay?” “Good Things” set the precedent pretty high for their softer moments to come, thanks to Corin Tucker’s emotionally fraught delivery. 'The Woods' is Sleater-Kinney's seventh album following releases going back over a decade: their eponymous debut, 'Call the Doctor', 'Dig Me Out', 'The Hot Rock', 'One Beat', and 'All Hands on the Bad One' (plus drummer Janet Weiss has played with The Go-Betweens and Quasi). The Clash, the Beatles, and Led Zeppelin did not. Corin Tucker, bored of “being led,” asks the object of her affection for “a spark I can look for instead.” Perhaps it’s a challenge to grow up already — night lights are for kids, after all. A.U. 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. [10][11][3] One of the band's early practice spaces was near Sleater Kinney Road. The Woods is the seventh and final studio album by the indie rock trio Sleater-Kinney. This reissue coincides with Sub Pop’s October 21st, 2014 release of remastered versions of Sleater-Kinney’s six other albums, as well … “A Real Man” is the most overtly “riot grrrl” song S-K has ever released, and it plays the part well despite the band’s musical aspirations quickly outgrowing the limitations of the lo-fi aesthetic. A gorgeous ticking bomb of a melody with loads of rising action, it never quite goes off, unless you count truth bombs: “A woman’s pain / Never private, always seen.” D.W. 51. J.M. Opening with a sharp imitation of a bass line, “Rollercoaster” zooms out of the gate with crashing percussion, illustrating that heady, gasp-for-breath high that one reaches in the stomach-tossing throes of passion. The sun-soaked ballad closer from All Hands on the Bad One has pretty low stakes (“They will never understand / How washed up you feel on land”) blown up to widescreen by a small, plaintive guitar and huge pinwheels of three-part harmony. On The Hot Rock, and especially on “Get Up,” the reward is in the wondering. If you can’t relate to this song you should thank your lucky stars. This two-and-a-half-minute firework tucked in toward the end of No Cities to Love is a secret highlight, a surprise of power-pop and crunching guitar chug that, in hindsight, we’ll probably wish we ranked higher on this list. In 2000, all three members of Sleater-Kinney assisted Robert Forster and Grant McLennan of the now-defunct Brisbane indie band The Go-Betweens to record the album The Friends of Rachel Worth. B.C. Nearly half of their longest song extant is consumed by a full-band shred, but when it’s not, Corin Tucker channels the singing performance of Ann Wilson on “Barracuda.” Good god. Corin Tucker delivers Trask’s lines like “Now all I got is a Barbie Doll crotch / I got an angry inch” with even more snarling panache than she typically exudes, while Schneider’s familiar exaggerated phrasing fits the song’s interlude, reciting cheeky lines like “My first day as a woman / And already it’s that time of the month!” with theatrical delight. That the uncomfortable content is couched in a whisper rather than a scream is more evidence of how sophisticated they were from the git. A technophobic Hot Rock highlight that’s heavy on interiority — Corin’s data-overload freakout fights to be heard over the band’s locked-in harmonies — but not heavy-handed. In its place, The Woods featured a denser, heavily distorted sound that drew on classic rock as its inspiration. Discover more music, concerts, videos, and pictures with the largest catalogue online at Last.fm. A.U. 76. The group opened for Pearl Jam at many North American shows beginning in 2003, and the band cited the experience of playing to large arenas as part of the inspiration and motivation for the music found on their seventh album, The Woods. When the ride inevitably ends, she craves the rush anew: “Rollercoaster, want to go back to the way things were / I’m on a rollercoaster / Want to get back on the Tilt-A-Whirl,” wails Carrie Brownstein. “Steep Air” (The Woods, 2005) “And then you watched me fall / With no expression at all,” she sings, capturing the same state of loss-stricken shock as the rest of nation as the World Trade Center caved in. Over a snapping riff that sounds like music from a Mega Man II level, Corin yells a great parting shot on this thorny rose from The Hot Rock’s latter half: “Drop little boy crumbs you could follow back / When you get lost becoming a man.” But “One Song for You” isn’t really a kiss-off, it’s a memory of doing it on the DL with someone who’d leave a “lovesick bruise.” Still, she ends up wishing the best to someone she can’t live for. “Slow Song” (Sleater-Kinney, 1995) This is especially the case on thewindward sides of the islands, which first receive and condense themoisture from the atmosphere. This served as the lead single for The Center Won't Hold, released in August 2019. The band's current lineup features Corin Tucker (vocals and guitar) and Carrie Brownstein (guitar and vocals), following the departure of longtime member Janet Weiss (vocals, drums, and harmonica) in 2019. 26. The B-side to their first single is actually catchier than the A, and — if you squint through the lo-fi static — not entirely unlike Weezer’s “Surf Wax America.” But one giveaway line signaled the better things to come: “I don’t care if you hurt me.” D.W. 102. The Who came back, sort of. The title song is the new album’s most swaggering, danceable sing-along, despite the presence of a “ritual emptiness” and a supposed lack of support for regionalism. In a patriarchy that forces women to live one day at a time, you can’t exactly blame her for basking in sunshine one minute, and scowling up a storm the next. Dig Me Out has no shortage of triumphs — scroll further down this list for proof. Jazzy guitars unspool over a cha-cha-cha beat as Corin Tucker again laments where love went wrong (“It’s like going to pieces to fix everything”). And yes, it’s love. B.S. The thunder keeps rolling through some anatomically confrontational lyricism (“Get into your sores, get into your things / Do you get nervous watchin’ me bleed?”) that never lets up. There’s an actual solo constructed from some of the prettiest guitar figures that Carrie Brownstein has ever doodled. “Youth Decay” (All Hands on the Bad One, 2000) “The End of You” (The Hot Rock, 1999) Sleater-Kinney were always on the noisier side of indie rock (understandably, given the band’s punk background) but on The Woods, they really bring the noise. It was the group’s first to crack the Billboard Top 100 as well as its first for Sub Pop Records. View credits, reviews, tracks and shop for the 2005 CD release of "The Woods" on Discogs. “How to Play Dead” (Sleater-Kinney, 1995) One comic touch proves a brilliant one, as Janet and Carrie serve as Greek chorus of “ooh-ahh!” to end each thought in the refrain. Sleater-Kinney (/ˌsleɪtərˈkɪniː/ SLAY-tər-KIN-ee[1]) is an American rock band that formed in Olympia, Washington, in 1994. [37], The band's name appears in the lyrics of the Le Tigre song "Hot Topic. “Maraca” (“You’re No Rock n’ Roll Fun” B-side, 2000) “Little Babies” (Dig Me Out, 1997) Not a classic, but intriguingly curious. Working along with Tucker on her solo album was Unwound's Sara Lund and Golden Bears'/Circus Lupus Seth Lorinczi. They’d long been well-oiled noise-and-song machines for a decade already; the studio merely gave Corin Tucker access to the heavy equipment that would finally allow her one-of-a-kind, banshee-eating-a-ghost-pepper roar to turn the world to crumbling static around her — or at least a binaural simulation. 70. Anyone who was hoping they’d go further in the acid-rock direction of The Woods will love the phase-shifting guitar at the end. B.S. “Turn It On” is a swift sucker punch to the gut. “The Remainder” (One Beat, 2002) But S-K aren’t passing judgement; from the narration’s perspective, they appear to be closing their eyes and counting to four as they brace for impact. “Surface Envy” (No Cities to Love, 2015) J.M. In a documentary about riot grrrl, Tucker revealed that her vocal style has always been intentionally harsh to suit the band's message and to demand focus from the listener,[34] and her vocals have been described by AllMusic critic Heather Phares as "love-them-or-hate-them vocals. D.W. 90. D.W. 16. One of their instantly engrossing riff songs, The Hot Rock’s “Living in Exile” walks forwards and backwards down a blues scale before Corin erupts into a “Big Mama” Thornton howl on the chorus. Critics Greil Marcus and Robert Christgau have each praised Sleater-Kinney as one of the essential rock groups of the early 2000s. “The Last Song” (Sleater-Kinney, 1994) J.M. “The Drama You’ve Been Craving” delivers exactly what it promises, filling the lyrics with comparably onomatopoeic allusions to bombs and fire. K.M. [8] Tom Breihan of Stereogum called them the greatest rock band of the past two decades in 2015. View credits, reviews, tracks and shop for the 2005 CD release of "The Woods" on Discogs. In 2008, Tucker collaborated again with Vedder on a cover of John Doe's The Golden State on Doe's Golden State EP. It was produced by Dave Fridmann and recorded from … Their next few albums (The Hot Rock, All Hands on the Bad One) pushed the band towards mainstream listeners, culminating in 2002's One Beat. B.S. “The Professional” (All Hands on the Bad One, 2000) The group's name derives from Sleater Kinney Road, in Lacey, Washington, where signs for Interstate 5 exit number 108 announce its existence. Sophistication suits them just fine it turns out, though eventually they pressed self-destruct and returned to blunt, kale-and-potatoes hard rock anyway. D.W. 36. “Damaged goods, damaged goods,” is all she can caution, though it may already be too late D.W. 35. 2015 Tour! “Gimme Love” (No Cities to Love, 2015) D.W. 29. 7. In April 2010 Tucker announced she was recording a solo album for Kill Rock Stars to be released in October 2010. Listen free to Sleater-Kinney – The Woods (Modern Girl, Jumpers and more). 33. View credits, reviews, tracks and shop for the 2014 Vinyl release of "The Woods" on Discogs. This is one way to quell those moronic cries of “sellout”: take your reunion album’s opener as an opportunity to trash consumerism itself. A forgettable “You’re No Rock ‘n’ Roll Fun” B-side that meanders in a few directions too many, “Maraca” is in fact, no rock’n’roll fun. “The Size of Our Love” (The Hot Rock, 1999) No Cities to Love’s greatest strength and biggest weakness is its consistency — rather than discrete songs, the constant flow of riffage and angular detours just sounds like each successive song is a deeper-peeled layer from the one before. “Oh, let me have that sound tonight.” We should all be so lucky. B.S. Carrie Brownstein’s pissed-off hyena shrieks supplementing the chorus are a mini hit-and-run every time she opens her mouth. Darkly discordant with minor-key melodies, it’s Carrie Brownstein who shines on this 1996 panic attack. 86. Throughout their career, the band … The only Sleater-Kinney song defined by Laura McFarlane’s unusual drumbeat. That’s one way to enjoy it. Running into an ex is awful, but imagine having to harmonize with them every night. The Woods is the seventh studio album by American indie rock band Sleater-Kinney. “Start Together” (The Hot Rock, 1999) Brownstein has other thoughts: “Please remember me.” D.W. 53. “Everything” (“Entertain” single, 2005) D.W. 107. But it’s slight enough that we’ll wait for the reevaluation. I was already a fan of this crew, just from jumping aboard the love train for Dig Me Out , which I got just because I liked the album cover. 62. The industrial riffs that come hurtling from “No Anthems,” which wouldn’t sound out of place on a Nine Inch Nails album, set the tone for lyrics about overcoming inner demons. Corin Tucker’s vocals often crashed and clanged against the instrumentation on early S-K records, but her vibrato has rarely been deployed to more unsettling effect on “Taking Me Home” as she sings about a stalker-suitor who perceives sex as a transaction. The result resembles Midwest emo of the era more than anything else S-K has released since. K.M. They were never particularly fast, but boy could Corin shred her larynx. Been there, girl. 10 tracks (48:09). D.W. 18. “Not What You Want” (Dig Me Out, 1997) It’d also give Carrie and Corin a live jam that buys Janet a few minutes on the bench, if they could remember how it goes. SUBSCRIBE ON APPLE MUSIC . D.W. 78. It represents a stylistic shift … The Center Won’t Hold, Sleater-Kinney’s ninth album, is about ambition, desire, and fear. Nearly 40 years after Creedence Clearwater Revival released “Fortunate Son” in the midst of Vietnam, a new generation’s fiercely political voice brought it back as a plea for change as the second Bush presidency neared its shameful end. “Words and Guitar” (Dig Me Out, 1997) Maybe even draw a little blood. “Her Again” (Sleater-Kinney, 1995)

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