Sleater-Kinney

奧林皮亞市的贊美詩，華盛頓州的三人女子朋克組合Sleater-Kinney是由Heavens to Betsy和Excuse 17的前成員組成，這正是最早掀起Riot Grrrl運動浪潮的兩個樂隊。 主音吉他Corin Tucker和Carrie Brownstein最早認識是在1992年，當Tucker還是二人樂隊Heavens to Betsy的成員，Brownstein則是一個經(jīng)受專業(yè)古典音樂訓練的鋼琴手，她從Tucker和其他女性音樂家比如Bikini Kill和Bratmobile那獲得很大的靈感，于是自己組了Excuse 17。
一年后Sleater-Kinney得到這個名字，猶如高速公路始出坡道般，最初是從Tucker和Brownsteinin的一些合作計劃計劃開始，1994年底，澳大利亞出生的Lora MacFarlane就成為樂隊的鼓手，就在這件事發(fā)生后的兩星期內(nèi)，她們就自己錄制了同名專輯（1995年）。樂隊強烈的震撼力同時打動了聽眾和樂評界，強烈?guī)в姓胃星樯实母柙~，激情的演繹，加上內(nèi)省的旋律，無疑打響了樂隊的名聲和確定樂隊今后保持不變的品質(zhì)。
1996年的Call the Doctor是Sleater-Kinney精彩的再續(xù)，這次她們將尖利轉(zhuǎn)向了性別歧視和兩性不平等，用戶至上主義以及在Indie-Rock界無可爭辯的男人專權（啊...Indie男？我厭惡透頂），評論再次為她們喝彩（我也為她們喝彩），她們向世人證明女權主義的浪潮時刻繼續(xù)著它頑強艱難的移動，并非隨時代的變化，物質(zhì)的再度不斷膨脹而逐漸消亡，而是愈演愈烈，這一事實也為她們的作品打上有深度的烙印。
Dig Me Out是她們同新鼓手Janet Weiss合作的作品，在1997年發(fā)行，她們繼續(xù)著占領樂評人的心，這張專輯是那年最受推崇專輯之一。
兩年后The Hot Rock推出，緊接著在2000年的春天，All Hands on the Bad One就面市了，這兩張專輯還是堅持著她們不變的堅定立場，始終帶有女性發(fā)自內(nèi)在的反抗意識，我只知道這幾張專輯都是Amazon的年度推薦，雖然說我不是最喜歡這個風格，甚至并不愛聽（叛逆期過了都），但令人無比感動的，是這些女權人士們不懈的努力和堅強的意志。
說到樂隊最溫和，最動聽的專輯，非2002年發(fā)行的One Beat莫屬，如果你是女性，你一定會明白這“突如其來”的轉(zhuǎn)變，像是洗衣服時添加了柔順劑一般，衣服干了之后還帶有一種欲罷不能的清香。
去年她們發(fā)行了The Woods，實際上她們有下賭注的感覺，依然是非常有魄力，但不乏一些發(fā)明性在里面；談到朋克，個人認為最震懾人心的是70年代其強烈的政治色彩，縱觀進入新世紀這幾年的美國政治，很明顯她們的意圖是在探討這些年美國政府的政治思潮和動向——如果能說的過分難聽點，不顧一些朋友的臉面，那些Pop-Punk真的該去死了。
有時回想起這個浮華又有些腐化的世界，腦中不斷會有這樣那樣的奇怪念頭，帶有一些自私的實驗色彩，但始終不及將想法付諸行動的人，或許多一些大膽的創(chuàng)意和改變世界的勇氣，女性們才能真的在男權社會中更主動一些。
The anthemic Olympia, WA-based punk trio Sleater-Kinney formed from the ashes of Heavens to Betsy and Excuse 17, a pair of groups that rode the first wave of the riot grrrl movement. Singer/guitarists Corin Tucker and Carrie Brownstein first met in 1992, when Tucker was one half of the duo Heavens to Betsy; Brownstein, a classically trained pianist, was so inspired by Tucker and other grrrl musicians like Bikini Kill and Bratmobile (not coincidentally Tucker's own influences) that she formed her own band, Excuse 17, a year later. Sleater-Kinney, which earned its name from a local freeway off-ramp, initially began as Tucker and Brownstein's side project; in late 1994, Australia-born Lora MacFarlane signed on as the group's first permanent drummer, and over the course of the following two weeks, the trio recorded its self-titled 1995 debut for Team Dresch bassist Donna Dresch's Chainsaw label. Upon its release, the album earned widespread acclaim for its visceral intensity as well as the group's provocative, politically charged lyrics, passionate vocals, and intricate melodies. With 1996's brilliant Call the Doctor, Sleater-Kinney garnered even greater media exposure and critical applause on the strength of their incisive rants against gender inequity, consumerism, and indie rock's male-dominated hierarchy. Their Kill Rock Stars label debut, Dig Me Out, recorded with new drummer Janet Weiss from Quasi, followed in 1997, and was again among the most acclaimed releases of its season; The Hot Rock appeared two years later, and in the spring of 2000, Sleater-Kinney resurfaced with All Hands on the Bad One. In August of 2002 the group returned with its most musically accomplished record yet, One Beat. Sleater-Kinney upped the ante again with 2005's powerful, inventive The Woods, which was released by Sub Pop, was produced by Dave Fridmann, and was inspired by, among other things, the political climate of the mid-2000s and the freedom of the improvised parts of their gigs supporting Pearl Jam on their 2003 tour. In summer 2006, the group announced they were going on an "indefinite hiatus" after they finished the remaining dates on their tour.