The riot grrrl movement which began in Olympia, Washington and spread globally was a flame that burned bright in the early to mid '90s, leaving an indelible mark on punk and indie rock. Sadly, however, most of the bands that spearheaded the movement burned out before the end of the decade. Sleater-Kinney, however, were the exception.
Unconventional even within a nonconformist genre, their music continues to evolve and change without ever losing the rough edges of their punk beginnings. On either side of a decade-long hiatus, they have released a thrilling body of work that illustrates why Corin Tucker and Carrie Brownstein managed to survive the burnout. Here's our guide to their catalogue, ranked worst to best.
represents a new beginning for Sleater-Kinney. It was the first album after longtime drummer Janet Weiss’ departure and the first that they produced completely independently. The high vocals and stripped-down guitar lines of hold onto some of that classic Sleater-Kinney charm, but, perhaps understandably under the circumstances, it’s one of their few albums that feels unsure of itself.
primary downfall is perhaps its position between two much more memorable records.The nimble hooks are still present in and , but the more introspective-leaning lyrics lack the bold statements that we know Sleater-Kinney are capable of. come close to the feminist themes they cut their teeth on as a young band, only without the bite that we’re used to.
Sleater-Kinney’s self-titled.
