Sleater‐Kinney | ||
| Allmusic Biography : Like many a great band, Sleater-Kinney inhabited their time so thoroughly it took an extended hiatus to realize the extent of their legacy. In many respects, they were the defining American indie rock band of the second half of the 90s, the group that harnessed all the upheaval of the alt-rock explosion of the first part of the decade and channeled it into a vigorous mission statement. It was not incidental that Sleater-Kinney were an all-female band -- prior to S-K, co-leaders Corin Tucker and Carrie Brownstein both started playing music in Northern Pacific riot grrrl bands and their feminism and queercore roots were deeply embedded in their rock & roll -- but calling them the best female rock band of their generation is too confining. By every measure, Sleater-Kinney were one of the best bands of their time, capturing the tenor of their times and then expanding at a rapid clip, delivering record after record that redefined their music without abandoning their punk rock (or political) ideals. Their hot streak began once drummer Janet Weiss joined for 1997s Dig Me Out and it ran until 2005s The Woods, after which they entered an "indefinite hiatus" that lasted nearly a decade. During those ten years of silence, Tucker pursued a solo career, Weiss drummed with ex-Pavement leader Stephen Malkmus new-millennial band the Jicks, and, most surprisingly, Brownstein turned into a mainstream star due to her starring role on Portlandia, the comedy sketch show she created with fellow indie rock refugee Fred Armisen in 2011. Portlandia helped push Brownstein and Sleater-Kinney into a mainstream they had never known, so when they returned in 2015 with the brand-new full-length album No Cities to Love, it was welcomed by their largest audience yet. Such a large audience was unthinkable back in 1992, when Corin Tucker and Carrie Brownstein first met. Tucker was then half of Heavens to Betsy and Brownstein played in Excuse 17. The pair formed a strong bond, one that was for a time romantic, but more notably led to the formation of Sleater-Kinney in 1993. Named after an Interstate 5 intersection in Lacey, Washington, the band was initially planned as a side project but the recording of its debut album in an all-night session in Melbourne, Australia with drummer Lora MacFarlane in early 1994 turned the group into a full-time endeavor. A year after its recording, Sleater-Kinney saw release on Chainsaw, a label run by Team Dresch bassist Donna Dresch. The debut gained acclaim but its speedily released 1996 sequel, Call the Doctor, is where the group gained momentum. Aided by rave reviews, the record spread like wildfire throughout the American underground and placed at number three on The Village Voices yearly Pazz & Jop critics poll. By that point, former Quasi drummer Janet Weiss had replaced Lora MacFarlane and the band signed to Kill Rock Stars, which released Dig Me Out in the spring of 1997. Dig Me Out followed a similar trajectory, earning great reviews, and the group was slowly adopted by a wider audience. With Weiss aboard, Sleater-Kinney began to make rapid musical advances, something that was quite evident by 1999s The Hot Rock. Simultaneously darker and less raw than its predecessor, it was no less visceral and it heralded a streak of successively more ambitious albums. All Hands on the Bad One showed up quickly, appearing in the spring of 2000, and it showed an increasing facility with pop and musical complexity. The band didnt abandon this layered musicality when it went deliberately political on 2002s One Beat, a record partially written in response to the terrorist attacks of 9/11. Sleater-Kinneys exposure increased once they accepted an opening slot for Pearl Jam in 2003. After nearly eight years, Sleater-Kinney departed Kill Rock Stars for Sub Pop in 2005. This wasnt the only departure that year. They teamed with Dave Fridmann, the former Mercury Rev member who gained fame as the producer of the Flaming Lips Soft Bulletin, to create the dense, thorny The Woods, their heaviest record and most sonically ambitious. During the records supporting tour, the group members announced theyd be going on an "indefinite hiatus" upon the completion of their scheduled dates. Weiss was the quickest of the trio to resurface after the disbandment, popping up in Stephen Malkmus post-Pavement group the Jicks in 2007. Corin Tucker was next, launching the Corin Tucker Band in 2010. The next year, Carrie Brownstein unexpectedly teamed with Saturday Night Live veteran Fred Armisen in 2011 for the IFC sketch comedy series Portlandia. This television show, more than any of the recordings in the Sleater-Kinney universe, helped push the band toward the mainstream, as the show became a cult sensation. After its second season, Brownstein reteamed with Weiss in Wild Flag, a pseudo-supergroup that also featured Mary Timony of Helium, and around the time of Wild Flags release the pair and Tucker started to play together as Sleater-Kinney once again. A few dates in 2013 were followed by two years of writing and rehearsal. It was an open secret: they didnt publicize the reunion nor did they deny it, so when the first evidence of it surfaced via a 7" of "Bury Our Friends" included as part of the limited-edition career-encompassing box set Start Together, it came as a genuine surprise. Soon, Sleater-Kinney announced the reunion and that a full-length called No Cities to Love would appear in January 2015, followed by a supporting tour. A souvenir from that tour, Live in Paris, was released in January 2017. | ||
 | Album: 1 of 12 Title: Sleater-Kinney Released: 1995-06-25 Tracks: 10 Duration: 22:46 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Don’t Think You Wanna (01:54) 2 The Day I Went Away (03:05) 3 A Real Man (01:04) 4 Her Again (02:20) 5 How to Play Dead (02:07) 6 Be Yr Mama (02:53) 7 Sold Out (01:16) 8 Slow Song (02:00) 9 Lora’s Song (02:30) 10 The Last Song (03:37) |
| Sleater-Kinney : Allmusic album Review : Sleater-Kinneys 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. | ||
 | Album: 2 of 12 Title: Call the Doctor Released: 1996-03-25 Tracks: 12 Duration: 30:04 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Call the Doctor (02:30) 2 Hubcap (02:25) 3 Little Mouth (01:44) 4 Anonymous (02:29) 5 Stay Where You Are (02:24) 6 Good Things (03:10) 7 I Wanna Be Your Joey Ramone (02:37) 8 Taking Me Home (02:34) 9 Taste Test (03:00) 10 My Stuff (02:33) 11 I’m Not Waiting (02:21) 12 Heart Attack (02:12) |
| Call the Doctor : Allmusic album Review : Sleater-Kinneys masterful sophomore effort Call the Doctor fulfills all the promise of the groups 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 Tuckers 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 Tuckers 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 trios music -- Call the Doctor is pure, undiluted punk, and its brilliant. | ||
 | Album: 3 of 12 Title: Dig Me Out Released: 1997-04-08 Tracks: 13 Duration: 36:31 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Dig Me Out (02:40) 2 One More Hour (03:19) 3 Turn It On (02:47) 4 The Drama You’ve Been Craving (02:08) 5 Heart Factory (03:54) 6 Words and Guitar (02:21) 7 It’s Enough (01:46) 8 Little Babies (02:22) 9 Not What You Want (03:17) 10 Buy Her Candy (02:02) 11 Things You Say (02:56) 12 Dance Song 97 (02:49) 13 Jenny (04:02) |
| Dig Me Out : Allmusic album Review : 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. | ||
 | Album: 4 of 12 Title: The Hot Rock Released: 1999-02-23 Tracks: 13 Duration: 41:40 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Start Together (02:38) 2 Hot Rock (03:17) 3 The End of You (03:20) 4 Burn, Don’t Freeze (03:19) 5 God Is a Number (03:44) 6 Banned From the End of the World (02:09) 7 Don’t Talk Like (03:34) 8 Get Up (03:47) 9 One Song for You (02:49) 10 The Size of Our Love (03:12) 11 Living in Exile (02:31) 12 Memorize Your Lines (03:10) 13 A Quarter to Three (04:03) |
| The Hot Rock : Allmusic album Review : Expectations for Sleater-Kinneys 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 isnt 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, theres 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 groups 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-Kinneys most progressive and experimental work, as well as their darkest. | ||
 | Album: 5 of 12 Title: All Hands on the Bad One Released: 2000-05-02 Tracks: 14 Duration: 40:21 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 The Ballad of a Ladyman (03:10) 2 Ironclad (02:34) 3 All Hands on the Bad One (02:57) 4 Youth Decay (02:29) 5 You’re No Rock n’ Roll Fun (02:37) 6 #1 Must Have (03:03) 7 The Professional (01:31) 8 Was It a Lie? (03:15) 9 Male Model (02:32) 10 Leave You Behind (03:27) 11 Milkshake n’ Honey (02:54) 12 Pompeii (02:43) 13 The Swimmer (03:46) 14 Maraca (03:15) |
| All Hands on the Bad One : Allmusic album Review : 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. Thats partly due to a renewed assurance in craft -- the arrangements here are the most refined of the groups 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 Brownsteins 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 shouldnt 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 isnt as desperately cathartic as their previous records, theres 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 "Youre 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-Kinneys most consistent overall set of songs since Call the Doctor, its also evidence that the band has taken that philosophy to heart. | ||
 | Album: 6 of 12 Title: One Beat Released: 2002-08-20 Tracks: 14 Duration: 49:22 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 One Beat (03:08) 2 Far Away (03:44) 3 Oh! (03:56) 4 The Remainder (03:36) 5 Light Rail Coyote (03:08) 6 Step Aside (03:44) 7 Combat Rock (04:47) 8 O₂ (03:29) 9 Funeral Song (02:47) 10 Prisstina (03:30) 11 Hollywood Ending (03:18) 12 Sympathy (04:14) 1 Off With Your Head (02:26) 2 Lions and Tigers (03:28) |
| One Beat : Allmusic album Review : 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 theres 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 Tuckers 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 Brownsteins vocals can be a bit precious at times, and the pointed 9/11 observations make the occasional feminist sloganeering sound like nothing the group hasnt done better elsewhere. All of which is to say that if youve never understood the cultish adoration surrounding Sleater-Kinney, One Beat isnt likely to change your mind. But if youre already on board with their idiosyncrasies, One Beat is another triumph from a band that seems to produce them with startling regularity. | ||
 | Album: 7 of 12 Title: The Woods Released: 2005-05-24 Tracks: 10 Duration: 48:08 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 The Fox (03:25) 2 Wilderness (03:40) 3 What’s Mine Is Yours (04:58) 4 Jumpers (04:24) 5 Modern Girl (03:01) 6 Entertain (04:55) 7 Rollercoaster (04:55) 8 Steep Air (04:04) 9 Let’s Call It Love (11:01) 10 Night Light (03:40) |
| The Woods : Allmusic album Review : 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 Jams 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-Kinneys most mature and experimental album to date, but unlike most mature and experimental albums released by bands entering their second decade, it doesnt forget to rock like a beast. The albums opening salvo, "The Fox," is shockingly feral, an onslaught of heavy, angry, spiralling guitars, ridiculously loud drums, and Corin Tuckers inimitable, love-them-or-hate-them vocals. Its so crushingly dense that its hard to believe it came from Dave Fridmanns studio; reportedly, The Woods sessions were challenging for band and producer alike, but from the results, its 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, its easy enough to hear that The Woods is quintessential Sleater-Kinney. This may be the bands most self-assured sounding work yet -- their music has never lacked confidence and daring, but now they sound downright swaggering: "Whats Mine Is Yours" is a subversive nod to Led Zeppelin and also captures Sleater-Kinneys own formidable power as a live act. Tuckers voice and viewpoints are as thoughtful and fierce as ever, and as usual, shes even better when aided and abetted by Carrie Brownsteins 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 holes the size of the entire world"), while Tucker and Brownsteins 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 "Lets 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-Kinneys 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. | ||
 | Album: 8 of 12 Title: Live at Lollapalooza 2006 Released: 2006-09-12 Tracks: 3 Duration: 12:35 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 The Fox (04:19) 2 Entertain (05:03) 3 Turn It On (03:13) |
 | Album: 9 of 12 Title: Start Together Released: 2014-09-02 Tracks: 83 Duration: 4:19:44 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic Wikipedia AlbumCover | 1 Don’t Think You Wanna (01:54) 2 The Day I Went Away (03:05) 3 A Real Man (01:04) 4 Her Again (02:20) 5 How to Play Dead (02:07) 6 Be Yr Mama (02:53) 7 Sold Out (01:16) 8 Slow Song (02:00) 9 Lora’s Song (02:30) 10 The Last Song (03:37) 1 Call the Doctor (02:30) 2 Hubcap (02:25) 3 Little Mouth (01:44) 4 Anonymous (02:29) 5 Stay Where You Are (02:24) 6 Good Things (03:10) 7 I Wanna Be Your Joey Ramone (02:37) 8 Taking Me Home (02:34) 9 Taste Test (03:00) 10 My Stuff (02:33) 11 I’m Not Waiting (02:21) 12 Heart Attack (02:12) 1 Dig Me Out (02:40) 2 One More Hour (03:19) 3 Turn It On (02:47) 4 The Drama You’ve Been Craving (02:08) 5 Heart Factory (03:54) 6 Words and Guitar (02:21) 7 It’s Enough (01:46) 8 Little Babies (02:22) 9 Not What You Want (03:17) 10 Buy Her Candy (02:02) 11 Things You Say (02:56) 12 Dance Song 97 (02:49) 13 Jenny (04:02) 1 Start Together (02:38) 2 Hot Rock (03:17) 3 The End of You (03:20) 4 Burn, Don’t Freeze (03:19) 5 God Is a Number (03:44) 6 Banned From the End of the World (02:09) 7 Don’t Talk Like (03:34) 8 Get Up (03:47) 9 One Song for You (02:49) 10 The Size of Our Love (03:12) 11 Living in Exile (02:31) 12 Memorize Your Lines (03:10) 13 A Quarter to Three (04:03) 1 The Ballad of a Ladyman (03:10) 2 Ironclad (02:34) 3 All Hands on the Bad One (02:57) 4 Youth Decay (02:29) 5 You’re No Rock n’ Roll Fun (02:37) 6 #1 Must Have (03:03) 7 The Professional (01:31) 8 Was It a Lie? (03:15) 9 Male Model (02:32) 10 Leave You Behind (03:27) 11 Milkshake n’ Honey (02:54) 12 Pompeii (02:43) 13 The Swimmer (03:46) 1 One Beat (03:08) 2 Far Away (03:44) 3 Oh! (03:56) 4 The Remainder (03:36) 5 Light Rail Coyote (03:08) 6 Step Aside (03:44) 7 Combat Rock (04:47) 8 O₂ (03:29) 9 Funeral Song (02:47) 10 Prisstina (03:30) 11 Hollywood Ending (03:18) 12 Sympathy (04:14) 1 The Fox (03:25) 2 Wilderness (03:40) 3 What’s Mine Is Yours (04:58) 4 Jumpers (04:24) 5 Modern Girl (03:01) 6 Entertain (04:55) 7 Rollercoaster (04:55) 8 Steep Air (04:04) 1 Let’s Call It Love (11:01) 2 Night Light (03:40) |
| Start Together : Allmusic album Review : Sleater-Kinneys groundbreaking discography gets the deluxe treatment with Start Together, a limited-edition box set that collects all seven of the groups remastered albums -- which spanned and reconfigured sounds as far-reaching as Motown, the Kinks, and post-punk while never letting the bands passion waver -- as colored vinyl LPs. Along with the bands pioneering body of work, the set also includes a 44-page hardcover book featuring previously unreleased photos and a limited-edition print and the new song "Bury Our Friends." A beautiful collectors piece commemorating one of Americas most vital indie bands. | ||
 | Album: 10 of 12 Title: No Cities to Love Released: 2015-01-20 Tracks: 12 Duration: 38:57 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover | 1 Price Tag (03:54) 2 Fangless (03:34) 3 Surface Envy (03:06) 4 No Cities to Love (03:05) 5 A New Wave (03:38) 6 No Anthems (03:19) 7 Gimme Love (02:16) 8 Bury Our Friends (03:23) 9 Hey Darling (02:25) 10 Fade (03:37) 1 Heavy When I Need It (03:13) 2 The Fog and Filthy Air (03:22) |
| No Cities to Love : Allmusic album Review : Perhaps it was inevitable that Sleater-Kinney would reunite. They parted ways in 2006 claiming that it was a hiatus, not a dissolution, thereby leaving the door open for a comeback -- a comeback that arrived nearly ten years after the group faded away. Smartly, Sleater-Kinney dont pick up the threads left hanging by the knotty, roiling The Woods. They acknowledge the decade they spent apart, a decade where all three members pursued very different paths: Corin Tucker turned toward domesticity then founded her own punk-blues band, drummer Janet Weiss played with Stephen Malkmus before re-teaming with Carrie Brownstein in Wild Flag, an indie supergroup that provided Brownstein a breather from her newfound fame as a television star. In short, all three spent ten years living their lives and those lives can be felt throughout No Cities to Love, a record that neatly balances urgency and maturation. Purposefully short -- the album weighs in at barely over a half-hour -- and conspicuously bereft of slow songs (the slow churn of the closing "Fade" is the only contender), No Cities to Love feels breathless but it also finds room to breathe. Previously when Sleater-Kinney stretched out musically, they were assisted by an outside producer -- they hired Roger Moutenot for The Hot Rock, Dave Fridmann for The Woods -- but here, they reunite with producer John Goodmanson, who helmed every other one of the trios records, and that familiarity is a key to the success to No Cities to Love. Sleater-Kinney worked on these ten songs over the course of two years, deliberately ditching songs that recalled the past ("Hey Darling" comes closest to evoking the old rush), a move that often results in complex syncopated rhythms (more than the group flirt with a disco-rock pulse) and rich, multi-layered melodic hooks in the guitars and vocals. Its a bright, openhearted call to arms, an antidote to The Woods, and a furious and cloistered record that found the band retreating whenever they decided to look on the outside world. Which isnt to say Tucker and Brownstein are happy with the state of affairs in 2015: No Cities to Love attacks contemporary politics as directly as One Beat did in 2002, teaming with anger, anxiety, and unresolved questions. Despite this internal tension, the first and lasting impression of No Cities to Love is one of joy, a joy that emanates from a group who realized the purpose and pleasure of being in a band during their extended absence. | ||
 | Album: 11 of 12 Title: Live in Paris Released: 2017-01-27 Tracks: 13 Duration: 47:34 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Price Tag (04:08) 2 Oh! (03:59) 3 What’s Mine Is Yours (04:24) 4 A New Wave (03:34) 5 Start Together (02:34) 6 No Cities to Love (03:11) 7 Surface Envy (03:06) 8 I Wanna Be Your Joey Ramone (02:35) 9 Turn It On (02:47) 10 Entertain (05:16) 11 Jumpers (04:30) 12 Dig Me Out (04:07) 13 Modern Girl (03:17) |
| Live in Paris : Allmusic album Review : A souvenir of Sleater-Kinneys reunion tour, Live in Paris features a concert recorded at La Cigale on March 20, 2015. The 13-song album opens with "Price Tag," the same song that kicks off 2015s No Cities to Love, and the group understandably pushes the record rather heavily, putting "No Cities to Love" and "Surface Envy" into the set list. Sleater-Kinney touch on many major songs from throughout their career, yet the groups muscle and passion keep this from feeling like nostalgia. Instead, this is a celebration, both of the groups past and its inspired present, and that is more than enough to make this a worthwhile live album. | ||
 | Album: 12 of 12 Title: The Center Won’t Hold Released: 2019-08-16 Tracks: 11 Duration: 36:19 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 The Center Won’t Hold (03:04) 2 Hurry On Home (02:48) 3 Reach Out (03:30) 4 Can I Go On (03:30) 5 Restless (02:41) 6 Ruins (05:18) 7 LOVE (02:16) 8 Bad Dance (02:45) 9 The Future Is Here (03:00) 10 The Dog/ The Body (04:22) 11 Broken (03:02) |