Sleater-Kinney
No Cities to Love
Grade: A
It’s not the riot grrrl that’ll make you denounce religion, government and sexism, but Sleater-Kinney’s return to music after a 10-year hiatus carries the same wit, emotion and alternative guitar tuning that made it hugely influential in the ’90s.
Sleater-Kinney formed in Olympia, Wash., in the midst of the feminist punk rock riot grrrl movement. Progressive and left-leaning, the movement generally promoted equality, but had its share of anti-authoritarianism. By the start of the 21st century, riot grrrl started crawling and dying out, becoming less pertinent in the music and art scenes, but Sleater-Kinney remained in action until 2005.
After its exhausting run of touring and recording, the band needed a break to raise kids, work on side projects and film one of the decade’s most successful sketch comedy shows (Carrie Brownstein’s “Portlandia”). Although Sleater-Kinney’s rise to power looked trailblazing at the time, its hiatus left a massive void in female-centric rock. Now the band is back to remind everyone about the awesomeness of girl-powered rock music with its eighth studio album, No Cities to Love.
The album dives right in with an industrial and experimental piece called “Price Tag” — and it’s definitely not the pop song by Jessie J. It’s a diluted, antagonistic spiel against consumerism, Puritan work ethic and the devil. Utilizing some moody guitar and heavy tom-drums, it’ll pound its way right into your brain.
“Fangless” continues the slowed-down, mechanical craft with a subdued hint of dance pep, a definite ode to some of Sleater-Kinney’s earlier work and co-frontwoman Corin Tucker’s elaborately ranged and impeccable vocals. Tucker doesn’t scream and thrash, but she instead delivers a matured and important lecture about the danger of worshipping an idol. Similarly, “Surface Envy” lets the guitars take over and jam a bit, sporting fluctuating riffs and a kicky chorus.
The titular “No Cities to Love” actually strips everything down, removes the white noise and presents a pretty straightforward rock song. Its continually evolving chorus, “It’s not the cities/ It’s the weather we love/ It’s not the weather/ It’s the nothing we love/ It’s the people we love,” will hook you with its recurrence.
“No Anthems” controls its assault through a deadpan, minimalist and ambient verse that trickles and whispers, but the song revisits Sleater-Kinney’s past in its aggression-fueled bridge, “Seduction/ Pure function/ It’s how I learned to speak,” and chorus: “I’m not the anthem/ I once was an anthem/ They sang a song of me.” The overflow of rapacious emotion makes this one innately memorable — plus its swing and scintillation in tone, tempo and volume speak musically for a band that’s been on break for 10 years.
The 10-song album tops at 32 minutes, averaging three-and-a-half minutes per song in standard old-school punk style, so it’s a brief time commitment and the perfect mix of ass kicking and determination to accompany workouts or street brawls.
The tracks don’t let up for a second — they’re super tight and excellently produced by John Goodmanson. It is very much an older, wiser Sleater-Kinney skilled with instruments, keys and sounds to make for a cohesive and clear-eyed approach.
The album begins closing out with its most melodious tune, the penultimate “Hey Darling.” Perfectly tuned with equal amounts of rock, lyricism and Blondie-sensibility to encourage sing-alongs, it makes you smile before the stormy, melancholy closer, “Fade.”
“Fade” finishes with a small dose of auto-tuned vocals, echoing cries and sentimental wah-wah mixed with earned overprocess. It has a strangling feeling, as if it were going to drown its listeners and suffocate them in the message. “Oh what a price that we paid/ My dearest nightmare/ My conscience/ The end,” Tucker croons mournfully, reminiscing on the band’s trajectory.
The last track aptly summarizes the plight of post-riot grrrl bands, signaling their descent and decline, but Sleater-Kinney’s return is utterly inflexible, highly conscious and constrained — exactly the sort of thing we didn’t know we needed.
The best team in Pitt volleyball history fell short in the Final Four to Louisville…
Pitt volleyball sophomore opposite hitter Olivia Babcock won AVCA National Player of the Year on…
Pitt women’s basketball fell to Miami 56-62 on Sunday at the Petersen Events Center.
Pitt volleyball swept Kentucky to advance to the NCAA Semifinals in Louisville on Saturday at…
Pitt Wrestling fell to Ohio State 17-20 on Friday at Fitzgerald Field House. [gallery ids="192931,192930,192929,192928,192927"]
Pitt volleyball survived a five-set thriller against Oregon during the third round of the NCAA…