Sleater-Kinneys Dig Me out Free

Home , Carrie Brownstein, Corin Tucker, Dig Me Out, Excuse 17, Heavens to Betsy, Janet Weiss

FREE SLEATER-KINNEYS DIG ME OUT PDF

Janet Weiss brought some serious talent with her when she joined Sleater-Kinney, but her suggestion to use The Kink Kontroversy as the template for the cover of Dig Me Out was a stroke of genius. As a self-admitted bass whore, I always listen for a tangible bottom in any genre, and until Sleater-Kinney, I always believed that rock without a bass player was an impossibility on the level of trying to fuck George Costanza after his post-dip-in-the-pool shrinkage. As Carrie Brownstein explained in her memoir Hunger Makes Me a Modern Girlthe vocal stretch was facilitated by an unusual approach to guitar tuning, one that also served to firm up the bottom:. In Sleater-Kinneys Dig Me Out to Betsy, Corin had always tuned her guitar to her own voice. So it was completely arbitrary that when she plugged into a tuner one day in an attempt to coordinate our tuning, her guitar happened to be in C-sharp. We never thought to alter it. The tuning also forced Corin to sing differently—it pushed her into her higher registers, into a wailing, the outer edges. Brownstein, Carrie. Hunger Makes Me a Modern Girl pp. Penguin Publishing Group. Kindle Edition. All quotes below from the Sleater-Kinneys Dig Me Out. So—you have a stripped-down chord with one set of notes or a simple arpeggioa second guitar playing either made-up chords or arpeggiated notes and equally important a singer providing the Sleater-Kinneys Dig Me Out, all conspiring to create tension. The stripped-down chords serve a dual purpose: sometimes they create tension through half-step moves; other times they serve as a basic foundation for the deviations created by the second guitar and singer. Carrie further contributes to tension throughout the song by playing Sleater-Kinneys Dig Me Out notes that may be in the key of the chord in question but not in the chord itself sticking to the B-note when the chord pattern as moved on to C 5, for example. Both Carrie on guitar and Corin on vocals make frequent use of the tension inherent in the 7th note, a half-step away from the major chord root. The tension becomes almost overwhelming in the bridge, where the chords descend by half-steps, Carrie consistently takes advantage of the missing third to wreak havoc on the expected chord content even shifting to the minor key in the initial descent and Corin Sleater-Kinneys Dig Me Out on sticking to the F granted by the opening B5 as the first note in the duplet two-note series even when that note has no business being there according to the laws of music. The rhythm also alternates between single and double-time, and the sheer speed of the transition would likely befuddle most drummers. Awkwardly enough, Corin Tucker wrote the song about her breakup with Carrie Brownstein. Sleater-Kinneys Dig Me Out in love with anyone always entails risk, but falling in love with a person of the same sex multiplies that risk. First, both parties have to overcome the social programming that stigmatizes homosexual relationships. She puts words to those feelings in the awkwardly-constructed phrases of a break-up, uncomfortably combining resolve and loss:. As Carrie shifts from riff to double-time rhythmic support in the two-line bridge, we hear Corin beginning to face the loss as she recalls the emotional memory of the connection—the Sleater-Kinneys Dig Me Out form of intimacy expressed through deep eye contact:. That transition is one great rock-and-roll moment:. Kudos again to Janet Weiss, whose innate sense of compositional structure tells her exactly when to hold back and when to let it fucking rip. Go for it, sister! The music is more akin to the punk you hear on Call the Doctorbut here the bottom fails to make an appearance to give the song some grounding. The juxtaposition of quirky and raw power proves to be quite a pleasurable listening experience, each mode serving to strengthen the impact of the other. I dream of quiet songs I hear the silky sounds Hush, hush and rock Oh give me pretty song Oh let me have that sound Tonight. Those basics have been grounded in rock mythology almost from its inception, as the picture of Elvis singing with all his might while holding that big fat acoustic guitar on the cover of his first album so beautifully demonstrates. Dum dum dee dee dee dum dum dee dum do All the little babies go oh oh I want to Dum dum dee dee dee dum dum dee dum yeah Rock the little babies with one two three. Are you hungry? Did you eat before the show? Ricky must be playing at the sock hop tonight! The role of a woman onstage is often indistinct from her role offstage—pleasing, appeasing, striking some balance between larger-than-life and iconic with approachable, likable, and down-to-earth, the fans like gaping mouths, hungry for more of you. Hunger Makes Me a Modern Girl p. But while I think Carrie was painting with too broad a brush, the expectation of women to be caretakers is baked into our cultural norms, and it remains something that women still have to deal with. Corin is reacting to the modern low-grade fever that never seems to go away. In keeping with the enormity of the angst attached to such a situation, the band expresses the depth of the frustration by leaving it all on the playing field. In addition to the sheer power of the song, I love the way Janet Weiss handles the cymbals, giving us a beautiful balance between shimmer and crash. The music provides an effective backdrop for the internal monologue captured in the lyrics, where the narrator fantasizes about their female celebrity crush. Corin jumps straight to the point in the first verse, where she Sleater-Kinneys Dig Me Out to enlighten her partner on the deleterious effects of self re-invention:. Oh, the layers and layers we create to avoid unmasking our true feelings! It is one desire Burning hot and bright It could fill the sky It could fill me up. The music supports the duality presented in the song, with the rhythm choppier in the verses and hard-driving in the chorus. Chalk up my commentary to intensely personal critical bias and leave it at that. Sleater-Kinney has continued to produce critically-acclaimed albums over the years, each Sleater-Kinneys Dig Me Out another step in their musical Sleater-Kinneys Dig Me Out. Apparently, their recent collaboration with St. Vincent took things a bit too Sleater-Kinneys Dig Me Out for Janet Weiss, who left the band last year. I love LOVE this band, this album, and this review. Like Liked by 1 person. Like Like. You are commenting using your WordPress. You are commenting using your Google account. Sleater-Kinneys Dig Me Out are commenting using your Twitter account. You are commenting using your Facebook account. Notify me of new comments via email. Notify me of new posts via email. This site uses Akismet to reduce spam. Learn how your comment data is processed. Email Address:. Independent music reviewer on altrockchick. And I look great Sleater-Kinneys Dig Me Out leather. Blog at WordPress. Rubber Soul Revolver Sgt. Sorrow Stand! As Carrie Brownstein explained in her memoir Hunger Makes Me a Modern Girlthe vocal stretch was facilitated by an unusual approach to guitar tuning, one that Sleater-Kinneys Dig Me Out served to firm up the bottom: In Heavens to Betsy, Corin Sleater-Kinneys Dig Me Out always tuned her guitar to her own voice. Well, the guys wrote those laws, too, so fuck it. Like this: Like Loading Todd Kunkler June 24, at pm Reply. Cancel reply Enter your comment here Fill in your details below or click an icon to log in:. Email required Address never made public. Name required. Search by artist, album, genre, whatever Search. Need a Translation? A: We Are Devo! Follow Blog via Email Enter your email address to follow this blog and receive notifications of new posts by email. Join 1, other followers. Blog Statshits. Post was not sent - check your email addresses! Sorry, your blog cannot share posts by email. By continuing to use this website, you agree to their use. 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This week the legendary Sleater-Kinney returned with a new song, "Bury Our Friends", and word of a forthcoming album. The records have lost none of their visceral power. She was, in all likelihood, alluding to the mainstream-affixed mantra of Seattle's blown-up Sleater-Kinneys Dig Me Out scene, which her own band's roots in the nearby punk-feminist community of Olympia opposed. Like Bikini Kill and Fugazi before them, Sleater-Kinney would never succumb to the beckoning of major labels. And inwith their crass punk insurrectionism, the idea of mass success was laughable. Of course, Brownstein's reputation for regional parody on "Portlandia" now precedes her. From toSleater-Kinney seemed to have it all. The trio of Brownstein, singer-guitarist Corin Tucker, and from '96 on drummer Janet Weiss created and then fervently revised one of the most distinctive sounds in rock: The friction of their overlapping voices—Brownstein's monotone speak-sing anchoring Tucker's wild vibrato—had an ecstatic, unusual beauty. The expressive longing of Tucker's alone was a gift, like Kathleen Hanna 's hardcore holler aspiring to the quasi-operatics of Iron Maiden 's Bruce Dickinson. Tucker is perhaps the first punk singer to attempt such a thing Sleater-Kinneys Dig Me Out worshipping the enormity of, say, Aretha Franklinchanneling lessons from the Queen of Soul into her own singing, holding onto moments for dear life and then Sleater-Kinneys Dig Me Out them to the heavens, becoming Queen of Rock. In practice, Sleater-Kinney were humble, imageless indie-rockers; in song, they demanded icon status. Sleater-Kinney was consciously about rock'n'roll. Lou Reed sang for Jenny whose life was saved by rock; Ramones told us how Sheena became a punk. Sleater-Kinney turned the machismo of hippie-blooded '60s and '70s rock on its head: covers of Springsteen and CCR, homages to Kinks and the Clash, Brownstein's Pete Townshend windmills and shin-kicking swagger, Tucker's defiant declaration that "I make rock'n'roll! Sleater-Kinney stole from men what men had in turn stolen from the margins: electrified blues that all still made girls scream. The first Sleater- Kinney practice was in March of It was the spring that Kurt Cobain died. Hindsight paints it clear: Cobain's desire for a future-rock made by women dispersed into the universe. Brownstein and Tucker did Sleater-Kinney as a side-project to their respective bands, the queercore power-chord screams of Excuse 17 and soul-baring punk of Sleater-Kinneys Dig Me Out to Betsy. Sleater-Kinney fused these politicized sounds, but as they grew—with affection for B's shimmy and Sonic Youth cool—they never let the punk rulebook limit their vision. There's a song about how much sucking dick sucks, called "How to Play Dead"—it began Sleater-Kinney's mission of showing how society can silence women and minimize their problems. Call it clit-rock, I guess; over hard-style riffs, Tucker makes it clear she won't wait "to cum every time. It improved their Sleater-Kinneys Dig Me Out punk convictions in every way: more complex guitarwork, more distortion to intellectualize, more aggression and profound sadness. Tucker's fierce and vulnerable depictions of unconventional love marked the title track, where the dueling vocals first exploded. This bolt of lightning had gone from my chest to hers. Then, behold: Janet Weiss. More than skepticism, anti-consumerism, or the glories of tattoo Sleater-Kinneys Dig Me Out, punk teaches empathy, a principle Sleater-Kinney practiced with nuance. This is why Sleater-Kinney's music shines a light despite its loudness, why it is easy to be alone with the songs and feel protected. Sleater-Kinney would never forego the optimism to believe their songbook could make us smarter, angrier, more tender and hopeful. Dig Me Out dreams of a better future, clawing itself up with every note. There are complex feelings near clear ones, which is what break-ups are: someone wants to untangle Sleater-Kinneys Dig Me Out mess, someone wants to snip it apart. Tucker, Brownstein, and Weiss had never sounded so introspective, existential, and dark, so aesthetically poetic and conventionally pretty. The album's interlocking parts were influenced by Sleater-Kinneys Dig Me Out gentle alterna-pop of Go-Betweens and Yo La Tengo ; voices intertwine gracefully, as if braiding together dreams and wounds. It's the Sleater-Kinney record you're most likely to play on a train while gazing out the window and getting lost in thought. Brownstein and Tucker sang of personal becoming, the uncertainties of adulthood, dying relationships and technological paranoia—it was, after all, the year before tin-foil Y2K Bugs would signal the end civilization—sometimes with abstract metaphors. The sun, ocean, and cosmos build the imagistic single, "Get Up". Tucker works through primal desires—"Do you think I'm an animal? Am I not? Sing-song guitar-pop turned up alongside plainspoken take-downs of sexism in music, and hints of new wave, girl-groups and Go-Gos mixed cohesively, too with some of their hardest whiplash-rippers. These songs Sleater-Kinneys Dig Me Out the national headspace as selflessly as any act of using someone's tragedy for art allows. Tucker questioned the all-or-nothing patriotism sweeping the U. That possessed orchestra- of-rhythm translated. Zep riffs abound. But embedded in the soft twinkle is a critique of the consumer culture Sleater-Kinney resisted. Sleater-Kinneys Dig Me Out despised the new proposition of a career-shifting iPod commercial. Little is concrete in rock'n'roll—at the Sleater-Kinneys Dig Me Out least, its pivotal moments have often been shrouded in discrepancy and myth. Sister Rosetta Tharpe was the first guitar hero; no, Robert Johnson. Pete Sleater-Kinneys Dig Me Out guitar-smashing was auto-destructive art; no, Townshend's wrecked guitar was privilege. Elvis is dead; Elvis is in Las Vegas. Punk started in London—no, New York—girls started punk rock, not England. But there are unequivocal truths of Sleater-Kinney's career. Objectively, the trio was born of riot grrrl, an underground band that started with two girls together in a living room and became the movement's greatest critical success and so much more: an initial seven-album streak worthy of setting in stone eternal. In reality, the band was only just beginning. Skip to content Search query All Results. Pitchfork is the most trusted voice in music. Share on Facebook Share on Twitter Open share drawer.