Gabriel Lubell

A brief introduction for the fifth annual Granfalloon

In multiple senses, Sleater-Kinney has always been an uncommonly strong band. Evidence of this fact is overwhelming, and stretches back to the first moments of their existence. Though typically framed in the context of riot grrrl, a feminist punk movement of the early ‘90s, co-founders Corin Tucker and Carrie Brownstein were quick to establish an identity apart from that world. They had things to say that transcended what was an insular sphere; far more minds could be reached beyond an increasingly rarefied subculture. Breaking away from this scene was perhaps their first show of remarkable strength. It revealed an indefatigable will to define themselves on their own terms, fueled by a demand to be heard.

            But riot grrrl gave them more than a beginning; its musical language was distinctive. In contrast with other (male-dominated) branches of rock, chords did not provide the default bedrock. Sleater-Kinney in particular developed a sophisticated contrapuntal style – interlocking melodies and riffs provide the momentum to much of their music. This is true of their oft-formidable vocals as well as their guitar playing. Eschewing the electric bass, both Corin and Carrie are master co-creators of melodic lines. And they’re loud! By 2003, then backed by the inimitable drummer Janet Weiss, they had earned a spot as the opening band for Pearl Jam’s arena tour. Access to these unforgiving venues led to an alchemical command of volume and noise. Their subsequent album, The Woods from 2005, is one of the greatest rock albums of all time.

            Listen to their music closely, though, and you’ll discover that there’s far more to this band than amps and distortion. The women of Sleater-Kinney are brilliant thinkers who match a virtuosic sensitivity to the world’s challenges with the wit to make us care anew. If their music is sometimes a little thorny (and other times arrestingly beautiful) it is to dramatize the nuanced positions they take on many topics: parenthood and commodification; societal pressures, sexism and misogyny; friendship, love, and desire; gender and sexuality. These aspects of the band members’ identities and lived experiences go beyond lyrics to deeply inform their music and mission. Expressive authenticity in rock music is rarely as apparent as it is with the musicians of Sleater-Kinney, who, even in their non-autobiographical songs, imbue frank and heartful subtext within every note and syllable. This exquisite directness has helped create a joyously inclusive space – one that gives voice to frustrations, offers the support of a vibrant community, and projects a vision of the future that is optimistic yet grounded. Their music is purposeful.

            Sleater-Kinney’s resolve and acumen is impressively effective. The work they began continues unabated, and has influenced countless other musicians. Younger groups, like the Linda Lindas (who recorded a cover celebrating the 25^th anniversary of Sleater-Kinney’s 1997 breakthrough album Dig Me Out), are clearly carrying on the mission. And Sleater-Kinney themselves persist in sustaining that initial propulsive drive. Theirs is a discography that abhors stagnation; the band’s art is far from done. The vitality they bring to their records and the stage makes plain just how true that is.