Wo! Magazine

Not here to entertain

The news of the recent Sleater-Kinney split caused heartbreak amongst hardcore fans. Brenden Hills reports on the raw energy and brilliance of the all-girl punk-rock trio.

Sleater Kinney (from left) Carrie, Janet and Corin. Photo from SK website.

To see Sleater-Kinney live in full flight was an unrivalled experience. More than just an innovative sound, the band was significant – from the clothes that they wore (irony laden little girls skirts, girl power t-shirts) – to the feminist meetings they organised alongside their shows. The band was a living, breathing demand for immediate political and cultural change. Then there was the music of course. Driven by dueling guitar lines, the interplay between Corin Tucker’s enormous wail and Carrie Brownstein’s punchy vocals delivered a schizophrenic intensity to their sound. Held together by the robust militant drumming of Janet Weiss, a Sleater Kinney show was a wall of sound – with no bass.

During the lifespan of the band, Sleater-Kinney emerged as the visible leaders of the post-Riot Grrrl era. The band’s innovative and aggressive punk-rock styled DIY approach to songwriting perfectly encapsulated the liberated feminist spirit emanating out of America’s North Western states of Oregon and Washington.

Flash forward to 27 June 2006. The band posts a message on their website which reads: "After eleven years as a band, Sleater-Kinney has decided to go on an indefinite hiatus. The upcoming summer shows will be our last. As of now, there are no future plans for future tours or recordings."

It is yet unknown as to why Sleater-Kinney decided to call it a day. The band has refused to be interviewed on the subject, meaning that it may be a while before the truth surfaces. This leaves only speculation that Corin’s commitment to her son Marshall, and comments made by the band about their unwillingness to go through a recording process that pushed each member to near breakdown, as the reasons for the break.

The girls have previously taken sabbaticals only to return soon afterwards, so for fans there is hope of a reunion.

The absence of Sleater-Kinney will leave a void in the music industry and culture in general. The instant classic I Wanna Be Your Joey Ramone, where the girls jeer the patriarchal ‘boys club’ rock industry was a paradigm shifter. And their surging swansong Entertain gave a left-hook to a pop culture climate where creative expression is not afforded much breathing space. Rock/culture movements like the Riot Grrrls aren’t cultivated overnight.

The Riot Grrrl movement, from which Sleater-Kinney was born, was a woman friendly DIY punk subculture centered on organising all female bands, female-centric music festivals, group meetings and independent publications. Bands such as Bratmobile and Bikini Kill became cornerstones of the movement along with magazines Girl Germs, Fantastic Fanzine, Ms. America, Satan Wears a Bra and Quit Whining. The movement was also responsible for organizing national conventions in Washington D.C, and the Pussystock festival held in New York.

The idea was to create a subculture which was a pure female experience. The cornerstones of Riot Grrrl culture included organized shows at which women felt safe, and the production of magazines which portrayed a real image and experience of femaleness. Based around a musical style, Riot Grrrls sought to break the inherited patriarchal restrictions placed on the female performance. A subculture based on explicit connections between music and feminist politics was formed.

In 1993 Carrie Brownstein formed Excuse 17 with Becca Albee and CJ Phillips. Around the same time Corin Tucker played bass and vocals with drummer Tracy Sawyer in Heavens to Betsy. Both groups, being part of the Riot Grrrl movement found themselves touring together and appearing on Riot Grrrl compilations.

Tucker and Brownstein struck up a friendship during this time, and began dating. They formed what was initially intended to be a side-project known as Sleater-Kinney. The band was named after Sleater-Kinney Road in Lacey Washington, the location of one of their early practice spaces.

They put out their first self-titled album in 1995. After only three albums prominent rock critic Greil Marcus had labeled them ‘the best band in the world’.

Even as industry darlings Sleater-Kinney made a staunch pledge to independent record labels. Committing to the Chainsaw Records and Kill Rock Stars labels, who were active in promoting Riot Grrrl lifestyle, ensured that a vibrant subculture flourished.

Their first self titled album (1995) and its follow up Call the Doctor (1996) were put out through Chainsaw Records. The following four: Dig Me Out (1997), The Hot Rock (1999), All Hands on the Bad One (2000), and One Beat (2002) were released on the aptly titled Kill Rock Stars label. In 2005 the band put out a lone release for Sub Pop – The Woods.

By choosing to remain ‘underground’, the band stood in opposition to requests that they tone down the hard edge of their music, with sexier, market friendly images and haircuts in order to sell records.

Sleater-Kinney and the Riot Grrrls brought credibility to the ‘Girl Power’ image that was cheapened by a string of self proclaimed ‘empowered’ pop girl groups - half dressed, and in search of money and fame.