Sub Pop Records

Joshuah sez: No big huge drug addled story here. I ordered the Sliver/Dive single around 1992 and immediately had to hear more... (on A Form of Paying Attention November 2009 )
fudge packing sez: the second time I saw them was a 'surprise' show at Western Washington University ...it was a Mudhoney concert but... (on A Form of Paying Attention November 2009 )
fudge packing sez: I bought Bleach in 1989...I was 15 years old. Around the same time I discovered K Records via the Fallout... (on A Form of Paying Attention November 2009 )
smelly sez: that's the kid who's porking taylor swift. (on Obits on Late Night with Jimmy Fallon: Thursday, Nov. 19th! )
deleteme sez: In the 5th grade, my friend and I used to hole up in his room and listen to this album... (on A Form of Paying Attention November 2009 )
deleteme sez: In the 5th grade, my friend and I used to hole up in his room and listen to this album... (on A Form of Paying Attention November 2009 )

BIO

Carrie Brownstein-Guitar, Vocals
Corin Tucker-Vocals, Guitar
Janet Weiss-Drums, Backing Vocals

Hometown: Portland, Oregon

The Woods was produced and engineered by Dave Fridmann

On Sleater-Kinney:

They came from the Pacific Northwest! They were young, and they had things to say. At first, it appeared that the weaponry, the system, the strategy, consisted of a lead singer who had an uncanny urgency to her voice, more so than anyone since Patti Smith, enough to make the hair on the back of your neck stand up. That was the first part of the weaponry, this lead singer, and the second part consisted of a remarkable chemistry between the two guitar players, viz. Carrie Brownstein and Corin Tucker. One guitar seemed on occasion to finish the other’s lines, and vice versa, as if they were performing the medieval form called the hocket. Initially, these were the strategies. It was urgent, it was fierce.

They came from the Pacific Northwest! The second album, Call the Doctor, did things that could not be done on the first. Suddenly there were two voices, not just the amazing lead singer. There was the second voice, with its urbane, sexy drawl, fitted exactly around the first in a kind of contrapuntal exercise that was precisely calibrated to what the guitars were already doing. The noise got noisier. Where the songs had orbited around a certain feminist rage on the eponymous first album, the message got deeper as the noise got noisier, especially on “I’m Not Waiting,” and “Good Things,” and “Taste Test.” Sleater-Kinney wasnâ€™t waiting to make the transition from promising girls to women, they were taking, and they were allowed.

They came from the Pacific Northwest, but they were beginning to sound like they weren’t…