Album: The Woods
Released: May 24th, 2005
Highlights: Jumpers, Modern Girl, Entertain, Rollercoaster
As they grew out of the underground punk rock scene where the band had gotten their start, a few notable elements began to emerge as defining characteristics of Sleater-Kinney’s sound. For starters, slowly but surely, Carrie Browstein and Corin Tucker developed an intertwining pattern of guitar-playing which on its apex, reached in “The Hot Rock” from 1999, recalled that of Television during the “Marquee Moon” era; with the caveat that though equally clean and clashing, the girl’s method was not as technically flashy and – making use of that trait – they used the style to build tracks with a greater pop rock inclination than the ones produced by the New York quartet. Furthermore, as they played their instruments almost like two independent leads, Browstein and Tucker also sang in dissonance, rarely harmonizing and often going for melodic lines that could have easily been used as the base of two different tracks.
It sure was a lot of content to unpack, especially when it came in short yet potent packages of three minutes, but by 2002 that recipe had yielded four albums of great music. And these records, besides being excellent, had allowed Sleater-Kinney to bring their work to an audience that was not there to hear the punk rock gems which were their self-titled debut and its sequel, “Call the Doctor”. However, following such run and maybe realizing that the recipe had gotten slightly tired, the band took a three-year break between new material (their longest one up to that point) and came back into view with a rather retooled musical outlook, producing – in the process – their most widely acclaimed album: “The Woods”.
The seventh studio release by the trio is so jarring that it takes a good while for one to notice that, deep down, there are remains of the old Sleater-Kinney sound under it. To a lesser degree, the band’s two guitarists still play disjointed parts that somehow gel; likewise, they frequently switch lead vocals and occasionally go their separate ways melodically. However, in “The Woods”, the lean punk rock the girls used to do is replaced with a towering powerful pounding of suffocating stature. Strength and ferocity were never absent elements in the Sleater-Kinney formula; they were always there, even if wrapped in the quirky catchy charm of records such as “Dig Me Out”. But here, it seems that the anger that had always driven the trio rose to the surface and gained a visible physical shape of mighty proportions.
Released during an era plagued by excessively loud recordings that caused much of the music to lose its audio fidelity, “The Woods” could be listed as yet another victim of that tendency. Not only does the album bang, but it does so at a volume so extreme that it creates a thick layer of distortion which permeates all pieces that compose it: Browstein and Tucker, drowned in what seems to be a symphony of static, have to either scream to be heard or resign themselves to the fact it is all too much; Janet Weiss, always a masterful tasteful drummer, is forced to hit her kit as if she were part of a heavy metal band that constantly plays in overdrive; and the guitars seem to come out of cheap amplifiers that cannot handle them, with much of their constitution being sheer feedback.
It could be disastrous, but “The Woods”, differently from its contemporaries that stumbled on poor mastering, actually uses loudness as a stylistic choice. While many albums of the era were clean-sounding records whose crispness was lost somewhere in translation, in the case of Sleater-Kinney’s 2005 release that characteristic is actually there by design. Sure, at some point when listening to it one has to wonder how the music would have sounded if “The Woods” took a more controlled approach in relation to volume. However, although it could be argued a few of the tracks would have been improved by a cleaner presentation, the album would likely not be as interesting and strong if that path had been chosen. Corin and her signature vibrato screams would not have to be so fierce; Carrie, always one quite talented in the art of sounding mad, would not take her craft to new heights; and Janet would lose out on a great opportunity to sound trashy and thunderous.
More serious, perhaps, would be how Sleater-Kinney would not be able to explore new perspectives on their songwriting. A track like “The Wolf”, for instance, which opens up the album, has a large plodding riff of a magnitude that is nowhere else to be found in their discography. “Steep Air” is so lo-fi and drowned in feedback that even its vocals are distorted beyond recognition, giving birth to a moment of such untamed noise that groups like The Velvet Underground and Pavement – which are quite familiar with soundscapes of the sort – would blush. And nearly all of the album’s tracks are eventually broken by moments of instrumental freak-out so dizzying that they could be compared to the live assaults of loudness famously carried out by “My Bloody Valentine”; an experiment that reaches its peak in audacity when the girls violently jam to extend “Let’s Call It Love” to the eleven-minute mark.
Contrarily to what its rough presentation may indicate, though, “The Woods” also carries moments when Sleater-Kinney strongly flirts with the mainstream, as if the knowledge they were going to work towards imploding these tunes via an aggressive aesthetic made them free to write for a wider audience. “Jumpers”, which came to life when Browstein read an article about the suicides that take place on the Golden Gate Bridge, has her and Corin harmonizing on the verses over slinky guitars until the tune bursts into a chorus that feels like a cry for help. “Entertain” is a catchy percussive march in which Browstein (sounding more furious than ever) rants against artistic staleness and cheap entertainment. Lastly, “Modern Girl” is a ballad – a rare sight in the Sleater-Kinney catalog – that might as well be the most beautiful and heartfelt song the trio has penned; with a mildly sarcastic tone, the cut wistfully narrates the mundane life of the titular character, and as it becomes increasingly evident that the beauty seen there is both fake and deceiving, the tune is slowly overrun by feedback.
Although in disguise, “The Woods” still presents a handful of tracks that have a more notable Sleater-Kinney signature, like “Wilderness”, “What’s Mine Is Yours”, “Rollercoaster”, and “Night Light”. In tunes such as these, the guitar interplay is more pronounced and instead of pounding mindlessly or flirting with accessibility, they carry speed and energetic bounciness that can easily be related to the previous era of the band; one where they escaped from the confines of underground punk to break past the riot grrrl movement in which they started. Regardless of the songwriting style it is approaching, however, “The Woods” is an album that simply erupts, turning the loudness that was so prevalent in the music around the time of its release into a weapon and giving a physical listenable manifestation to the sheer strength that had always been present in the work of Sleater-Kinney.