Sleater-Kinney

奥林皮亚市的赞美诗，华盛顿州的三人女子朋克组合Sleater-Kinney是由Heavens to Betsy和Excuse 17的前成员组成，这正是最早掀起Riot Grrrl运动浪潮的两个乐队。 主音吉他Corin Tucker和Carrie Brownstein最早认识是在1992年，当Tucker还是二人乐队Heavens to Betsy的成员，Brownstein则是一个经受专业古典音乐训练的钢琴手，她从Tucker和其他女性音乐家比如Bikini Kill和Bratmobile那获得很大的灵感，于是自己组了Excuse 17。
一年后Sleater-Kinney得到这个名字，犹如高速公路始出坡道般，最初是从Tucker和Brownsteinin的一些合作计划计划开始，1994年底，澳大利亚出生的Lora MacFarlane就成为乐队的鼓手，就在这件事发生后的两星期内，她们就自己录制了同名专辑（1995年）。乐队强烈的震撼力同时打动了听众和乐评界，强烈带有政治感情色彩的歌词，激情的演绎，加上内省的旋律，无疑打响了乐队的名声和确定乐队今后保持不变的品质。
1996年的Call the Doctor是Sleater-Kinney精彩的再续，这次她们将尖利转向了性别歧视和两性不平等，用户至上主义以及在Indie-Rock界无可争辩的男人专权（啊...Indie男？我厌恶透顶），评论再次为她们喝彩（我也为她们喝彩），她们向世人证明女权主义的浪潮时刻继续着它顽强艰难的移动，并非随时代的变化，物质的再度不断膨胀而逐渐消亡，而是愈演愈烈，这一事实也为她们的作品打上有深度的烙印。
Dig Me Out是她们同新鼓手Janet Weiss合作的作品，在1997年发行，她们继续着占领乐评人的心，这张专辑是那年最受推崇专辑之一。
两年后The Hot Rock推出，紧接着在2000年的春天，All Hands on the Bad One就面市了，这两张专辑还是坚持着她们不变的坚定立场，始终带有女性发自内在的反抗意识，我只知道这几张专辑都是Amazon的年度推荐，虽然说我不是最喜欢这个风格，甚至并不爱听（叛逆期过了都），但令人无比感动的，是这些女权人士们不懈的努力和坚强的意志。
说到乐队最温和，最动听的专辑，非2002年发行的One Beat莫属，如果你是女性，你一定会明白这“突如其来”的转变，像是洗衣服时添加了柔顺剂一般，衣服干了之后还带有一种欲罢不能的清香。
去年她们发行了The Woods，实际上她们有下赌注的感觉，依然是非常有魄力，但不乏一些发明性在里面；谈到朋克，个人认为最震慑人心的是70年代其强烈的政治色彩，纵观进入新世纪这几年的美国政治，很明显她们的意图是在探讨这些年美国政府的政治思潮和动向——如果能说的过分难听点，不顾一些朋友的脸面，那些Pop-Punk真的该去死了。
有时回想起这个浮华又有些腐化的世界，脑中不断会有这样那样的奇怪念头，带有一些自私的实验色彩，但始终不及将想法付诸行动的人，或许多一些大胆的创意和改变世界的勇气，女性们才能真的在男权社会中更主动一些。
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.