| | Sleater-Kinney Woods CD Sleater-Kinney Discography of CDs
 (2 Customer Reviews)
The remarkable ONE BEAT seemed to be the culmination of Sleater-Kinney's transformation from three-minute-song riot grrls to post-punk artisans, as the WA trio delivered gloriously wandering, lop-sided compositions reminiscent of the Fall, adorned by thoughtful, willfully obtuse lyrics. However, THE WOODS proves its predecessor to be merely another step, with Carrie Brownstein, Janet Weiss, and Corin Tucker mixing indie rock, punk, arena rock, folk, and even progressive rock into a potent concoction.
Helmed by revered producer Dave Fridmann, THE WOODS opens with "The Fox," a hard-driving, distorted, and sinisterly fun story about forest creatures. The song is as unpredictable as anything that follows; the early S-K punk of "Wilderness" gives way to the barroom rock of "What's Mine Is Yours," which, in turn, steps aside for the art-pop of "Jumpers" and the fuzzy folk of "Modern Girl." The album culminates in "Let's Call It Love," an 11-minute jam that's equal parts Iggy Pop, Fugazi, and Heart. Once again Sleater-Kinney has upped its own musical ante, making THE WOODS an amazingly captivating album.
Audio Mixer: Dave Fridmann.
Recording information: Tarbox Road Studios, Cassadaga, NY (11/2004-12/2004).
Photographer: John Clark .
Sleater-Kinney: Corin Tucker (drums); Janet Weiss, Carrie Brownstein.
Personnel: Corin Tucker, Carrie Brownstein (vocals, guitar); Janet Weiss (drums, background vocals).
Rolling Stone (No. 975, p.70) - 4 stars out of 5 - "[M]ore than any previous Sleater-Kinney record, THE WOODS reflects the classic-rock undercurrent that runs through the punk heroines' live shows..."
Spin (p.60) - Ranked #35 in Spin's "40 Best Albums Of 2005" - "Classic-rock-dude swagger reclaimed with feminine confidence, marked by a Pacific Northwest stamp that entwines rock'n'roll history with manifest destiny."
Entertainment Weekly (p.143) - Ranked #7 in Entertainment Weekly's 'Top Ten Records of the Year' -- "[T]hey're remaking classic rock while holding on to their integrity -- and their witchy-woman shrieks."
Entertainment Weekly (No. 821/822, p.135) - "[THE WOODS] is their hardest and heaviest, yet most varied, album..." - Grade: A-
Magnet (p.52) - Ranked #1 in Magnet's "The 20 Best Albums Of 2005" - "[A] resurrection, the sound of an old band playing like a young band, turning the amps up too loud, missing notes and sounding pissed."
CMJ (No. 912, p.8) - "[B]rims with feedback, oceans of cymbals and fuzz, sweet fuzz..."
Mojo (Publisher) (p.60) - Ranked #12 in Mojo's "The 50 Best Albums Of 2005" - "[T]his was strong stuff, fiercely political, utterly brilliant." Sleater-Kinney Woods Songs Woods Music Review Average Rating: (4 out of 5 stars)   One of S-K's finest efforts.
I've been a fan of S-K since 1996. This new album, "The Woods," is overflowing with energy, and I find it to be one of their most consistent albums. The songs have a crunchy-fuzzy sound, and some have a classic-rock taste to them (continuing the evolution of sound they started on tracks like One Beat's "Light Rail Coyote"). Some tracks are unlike anything they've done before, yet they still somehow have the "Sleater-Kinney sound." Some lyrics are fun, some have bite, and some have both! I have read many positive professional reviews of this album, and they are all well-deserved.
Submitted by Rhea (Chicago, Illinois)
Was This Review Helpful? Yes No
 Great comeback
After years in an independent label,Sleater has returned with a great album with sub-pop.I personally prefer their One Beat album,although this 'The Woods' is also good,but we have to wait for their masterpiece to come,cos they maybe feel shy now theyre on a great label.
Submitted by losangeles32 (Canary Islands)
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Purchase Woods CD To buy, Click on price to add to cart | Sleater-Kinney Dig Me Out CD (1997)
Woods album
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From Olympia, Washington comes Sleater-Kinney, a hard-rocking, stripped-down, punk trio. No, this ain't 1979, but lead singer Corin Tucker does count punk godmother Patti Smith among her major influences, and it shows in this band's often-savage sound. Tucker also claims a debt to Aretha Franklin, and that too comes through in her full-throated vocal attack. Tucker has range on top of range, and she uses her powerful, vibrato-saturated pipes to wail about topics ranging from failed relationships to parents from hell.
The songs are edgy, revved-up aural attacks. Drums churn along at circa-1979 speeds, guitars are fuzzy and fast, and whatever ...
| | VH1 Presents The Corrs Live In Dublin CD (2002)
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This audio document of The Corrs' Dublin homecoming concert has pretty much everything fans of Irish pop could wish for, including an appearance from Bono in his earthly incarnation, fresh from an audience with President George W. Bush. It's to the band's credit that the charismatic singer fails to steal the show, despite creditable efforts via an anthemized version of Ryan Adams' beautifully downtempo "When the Stars Go Blue," and a great, leering rendition of Lee Hazlewood and Nancy Sinatra's "Summer Wine."
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| | Arcade Fire Funeral CD (2004)
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This Montreal ensemble's fiery debut is marked by surging guitars, soulful strings, driving drums, brilliant bass lines, and the quavering vocals of married couple Win Butler and Regine Chassagne. The group's song structures careen through a vast territory of musical and personal history, with lyrics warm with memories of childhood neighborhoods and deceased loved ones, resulting in an alternating current of joy and sadness.
Favorably compared to the Flaming Lips, Mercury Rev, and Broken Social Scene, the Arcade Fire's sound seems to come from a lifetime of listening to the Cure, Talking Heads, Elvis Costello, and many others--even a dose of soul gets worked into these grand anthems. Chassagne delivers some spellbinding vocals on "Haiti," while the tinkling piano and strings on "Crown ...
| | Bright Eyes I'm Wide Awake, It's Morning CD (2005)
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In early 2005, young indie icon Conor Oberst (AKA Bright Eyes) unveiled two full-length albums--I'M WIDE AWAKE, IT'S MORNING and DIGITAL ASH IN A DIGITAL URN. Whereas the latter proved to be a departure into electronic music, the former sticks to Oberst's established sound, which combines the urgency and heart-on-the-sleeve sentiment of emo-rock with twangy, down-home feel of alt-country and folk music.
I'M WIDE AWAKE begins with Oberst telling a story that morphs into "At the Bottom of Everything," a jangly, upbeat tune featuring My Morning Jacket's Jim James on backing vocals. Throughout the record, Oberst reaches nearly hysterical peaks, seemingly overcome with emotion as his wavering voice, which often recalls ...
| | Dredg Catch Without Arms CD (2005)
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Early on, critics often described Dredg as a metal group. However, the quartet has since matured into a hard-edged indie-rock ensemble that seeks diversity and refinement in its music. On CATCH WITHOUT ARMS, the band favors highly orchestrated parts, dense guitar riffs, ...
| | TV On The Radio Return To Cookie Mountain CD (2006)
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On its 2006 album, RETURN TO COOKIE MOUNTAIN, the Brooklyn-based post-punk group TV on the Radio manages ...
| | Univers Zero Heatwave CD (1986)
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For years after its release, Heatwave was presumed to be the Univers Zero group finale, until the band re-emerged over a decade later with The Hard Quest in 1999. On Heatwave, the transition from acoustic chamber music to electric rock is complete, and the somewhat uncertain steps of Uzed, Univers Zero's previous release, have become purposeful and confident. Almost all the Uzed musicians have returned for this date, together with Andy Kirk on keyboards and original Univers Zero violist/violinist Patrick Hanappier. Perhaps the only criticism that could be levied against the first three tracks on the CD is that they fall a little too comfortably into the prog rock genre, although they compare favorably to the best (and darkest) of King Crimson. However, Andy Kirk's long final track, "The Funeral Plain," is something else altogether, and demonstrates that the band was still capable of stunning originality. Kirk opens with some eerie alien raspings on synth, followed by high-pitched drones and then a quiet but relentless two-note piano pattern. Hanappier joins in with a pensive viola melody, as does Dirk Descheemaeker on clarinet and then Hanappier on violin. Daniel Denis and Christian Genet weigh in with some ponderous unison drum and bass work, tension builds, the tempo increases, and then everything stops. The original alien scrabbling returns, except this time with a relentless, clock-like rhythm, new themes are introduced, and tension builds once more through the skilled use of unresolved chord progressions, continually changing key signatures, and the ultimate wild wailing of synths and electric guitar. The tempo changes to a dirge, then staccato bursts, and finally subsides with the desolate sound of dripping water. Kirk ...
| | Zuco 103 Outro Lado CD (2000)
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Zuco 103's music is, like its lineup, a unique and wonderful Euro-Brazilian hybrid. Dusky-voiced Lilian Viera is supported by keyboardist/programmer Stefan Schmid and drummer/programmer Stefan Kruger, and the music they make is a highly successful fusion of samba, bossa nova, trip hop, jazz, funk, and drum'n'bass. ...
| | Young Ginns CD (1998)
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| | Richard "Groove" Holmes Timeless CD (2003)
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| | Lou Reed Animal Serenade CDs (2004)
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Though the two-disc ANIMAL SERENADE is the sixth live Lou Reed album, it never feels like a rehash of what's come before. This is partly because of its delightful focus ...
| | Electro Punk'D CD (2004)
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| | Geoff Farina Already Told You CD (2005)
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| | How To Swim Littlest Orgasm CD (2006) (Import) Import
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