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Musica alternativa e indie - Uscito il 11 giugno 2021 | Mom+Pop

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Musica alternativa e indie - Uscito il 08 aprile 1997 | Sub Pop Records

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Musica alternativa e indie - Uscito il 17 luglio 2019 | Virgin Music UK LAS (S&D)

Weeks before the release of The Center Won't Hold, Janet Weiss left Sleater-Kinney -- a departure that clouded the record's reception, suggesting that the drummer perhaps wasn't happy with the trio's decision to collaborate with producer St. Vincent on the 2019 LP. Carrie Brownstein and Corin Tucker countered this perception by insisting it was Weiss' idea to work with St. Vincent, and the fact that the drummer is hardly buried in the mix suggests there may be no animosity among the various camps. Still, with Weiss' absence, the very title The Center Won't Hold seems prescient for the future of Sleater-Kinney, but it's also true the album is designed to suggest that the world is unmoored. In the age of Trump and Brexit, such a notion isn't far-fetched, and Brownstein and Tucker frequently allude to the roiling political tensions of the late 2010s, but they spend just as much of the record lamenting personal dissociation -- the alienation that arrives when too much time is spent time staring into tiny screens. To that end, teaming with St. Vincent is a bit of a conceptual masterstroke. Annie Clark encourages Sleater-Kinney to approach their songs from a sideways angle and dress the arrangements in retro synths; they're adding explicit post-punk artiness to their punk roar. Coming on the heels of the galvanizing guitar rock of No Cities to Love, this shift in direction is especially bracing, particularly when combined with the apocalyptic undercurrents of the lyrics. Some of these words may be a bit on the nose, but when heard as part of a web of retro synths, echoey guitars, and tightly controlled rhythms, the effect is powerful: it's an album that forces the listener to abandon nostalgia and accept that things are different now. It's not a comforting notion, and it's one that may sit awkwardly for listeners who prize raw guitars over refined aesthetic, but The Center Won't Hold demonstrates what a fearless band Sleater-Kinney is. © Stephen Thomas Erlewine /TiVo
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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. 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-Kinney's most mature and experimental album to date, but unlike most mature and experimental albums released by bands entering their second decade, it doesn't forget to rock like a beast. The album's opening salvo, "The Fox," is shockingly feral, an onslaught of heavy, angry, spiralling guitars, ridiculously loud drums, and Corin Tucker's inimitable, love-them-or-hate-them vocals. It's so crushingly dense that it's hard to believe it came from Dave Fridmann's studio; reportedly, The Woods' sessions were challenging for band and producer alike, but from the results, it's 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, it's easy enough to hear that The Woods is quintessential Sleater-Kinney. This may be the band's most self-assured sounding work yet -- their music has never lacked confidence and daring, but now they sound downright swaggering: "What's Mine Is Yours" is a subversive nod to Led Zeppelin and also captures Sleater-Kinney's own formidable power as a live act. 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. © Heather Phares /TiVo
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Musica alternativa e indie - Uscito il 27 gennaio 2017 | Sub Pop Records

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Musica alternativa e indie - Uscito il 08 aprile 1997 | Sub Pop Records

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Dig Me Out pushes Riot Grrrl out of the basement and onto rock ’n’ roll's main stage. Clocking in at under 37 minutes, the album has two gears: intense and more intense. Carrie Brownstein's stinging guitars (as inspired by classic rock as art punk), Corin Tucker's gale-force wail and Janet Weiss's monster drums veer deceptively close to mania on songs like the title track and "It's Enough" but are actually tense, tight and totally in control. "Turn It On" is a masterpiece of dynamics; an ascending squall drops to a low rumble and then flies into a frenzy. Instead of harmonies, Brownstein and Tucker stick to conversation, offering push-and pull sides of a breakup on "One More Hour" and an ironic examination of women's work on "Little Babies." “It’s everything,” Tucker spits on “Not What You Want,” and it truly is — the sound and fury of a young band at the height of their power. © Qobuz
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Musica alternativa e indie - Uscito il 19 gennaio 2015 | Sub Pop Records

Delivered after a nine-year hiatus, Sleater-Kinney's eighth album finds the trio more technically proficient but with a revitalized vigor. Delving into post-punk dance beats following a flirtation with classic rock, the band veers closer to their Riot Grrrl roots without sounding childish, churlish or stuck. Forward momentum is the theme, as in how can we all do better, be better? Edgy opener "Price Tag" laments the heavy costs of fast fashion and other seeming capitalist bargains, while "Fangless" is a pre-#TimesUp strike against idol worship. But there's plenty of fun to be had, especially with the shout-along chorus of the title track and "Hey Darling," which finds Tucker coming on like Chrissie Hynde fronting a super-charged Pretenders. ("Gimme Love," meanwhile, unleashes the full force of her hurricane wail.) And, as always, the band stuns when Tucker and guitarist Carrie Brownstein trade vocals, as on "Bury Our Friends" — an interplay of harmonies circling and chasing each other in a march-worthy rallying cry: "We're wild and weary but we won't give in." © Qobuz
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A souvenir of Sleater-Kinney's 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 2015's 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 group's muscle and passion keep this from feeling like nostalgia. Instead, this is a celebration, both of the group's past and its inspired present, and that is more than enough to make this a worthwhile live album. © Stephen Thomas Erlewine /TiVo
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Musica alternativa e indie - Uscito il 02 maggio 2000 | Sub Pop Records

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