The Long Awaited Sleater-Kinney Masterpost

February 7, 2025

Currently Listening To: Sleater-Kinney, Obviously

Currently Feeling: Vacation Refreshed :)

So, here it is. The Sleater-Kinney masterpost. AKA, Storm's opinions, on blast, for the entire page.

Strangely I feel obligated to say EVERY OPINION ON THIS PAGE IS MY OWN! One more disclaimer: ahead lies unabashed dyke thirst. So, fair warning. This is a shameless blog.

This timing works great, too. I just returned from a vacation with my partner to Portland, OR (home of the band).

Before I really get started on this long-time coming rant, I must get a few house-keeping things out of the way. Firstly, I am officially a part of the Draconic Webring, hosted by Frost Sheridan! The widget is giving me some coding trouble and I am too tired to troubleshoot right now, so in the meanwhile check out the home site while I get the widget up and running on the homepage and all of the dope dragons within the cyber flame circle. Secondly, at the request of a good friend of mine, I also have an RSS Feed up and running. Might also take me a bit of tinkering to really get it working, but am being helped by this handy RSS Feed Guide for Neocities. Updates will hopefully be a bit easier to keep track of now. Finally, I'm really trying to practice my image justifications with this one. I'm using the 'float' property on my image css to get the justifications, as well as coding new figure and figure captions css. So if things look a bit weird, I'm trying it out for the first time. Hopefully with time this will improve.

Why Sleater-Kinney?

Cast yourself to the year 2014: I was but a young dyke, newly out in my sexuality and freshly released from the confines of my parents, living among my peers in a college campus, free to explore and become whatever person I wanted to be. I knew one thing I was absolutely sure of, which was that I was going to find my college's college radio station and become a DJ there. Pretty much everything else was up in the air. This was also the time where CDs were still (barely) in fashion. This was the last year I used itunes. This was the year I got spotify (RIP, but my music collection is still alive, never fear).

My college had a great library (truly some incredible resources and memories contained therein; subject of another post perhaps). They had a rack of CDs in the front room that I would peruse, select one or two, to bring home to rip to my music library. This was right before I became a DJ and gained access to the incredible music library at the station. I got my grubby hands on everything I could. Anyway, I found myself drawn to an album. One Beat.

I wish I could remember if I knew that Carrie Brownstein (guitarist 1/2, see Exhibit A) was on Portlandia, and also before that in the rock band Sleater-Kinney, or if I just grabbed the CD without knowing that connection. Soon thereafter (as a wikipedia conneseuir) learned immediately of the connection. Either way, I popped the CD in and heard the incredible drumming, raw energy and dripping sexual power of the trio of hardcore former riot-grrl women, Carrie Brownstein, Corin Tucker (guitarist 2/2, see Exhibit B), and Janet Weiss (drummer, 10 years older, yes, of the same name as the other Janet Weiss, see Exhibit C) bursting open with a sonic push for energy exploding like the sun.

I was hooked.

Dyke History Necessary.

As I am often wont to do when discovering a new obsession of mine, I quickly turned to the wikipedia article for Sleater-Kinney. At the time, there were 7 albums out: Sleater-Kinney, Call the Doctor, Dig Me Out, The Hot Rock, All Hands on the Bad One, One Beat and their 'final' album as far as we were all aware at the time, The Woods. This excludes the work both Carrie Brownstein and Corin Tucker did as part of their respective riot-grrl bands, Excuse 17 and Heavens to Betsy (we'll circle back to this momentarily). This is a rather overwhelming discography to work with for someone first getting into a band, but I knew immediately I loved their sound and it was a matter of time before I worked my way through each and every album. The subject of my opinions on each of these works (and the ones that have come out since they got back together, and then Janet subsequently leaving the band) will be the back half of this blog post. But first, some history of the band formation.

Riot Grrl, for those unfamiliar, was a musical-philosophical-punk movement very closely intertwined with third-wave feminism in the early ninetines. Though it spawned a number of incredible bands, including indirectly influencing Nirvana, and pushed forward a feminist agenda, Riot Grrl is not without its faults. Namely, the women it was empowering tended to be middle-class white women, women who already carry a lot of societal privilege outside of patriarchal sexism.

Both Corin Tucker and Carrie Brownstein got their start in Riot Grrl, but I would argue Sleater-Kinney isn't really a Riot Grrl band, the movement having mostly wrapped up by the time they came on the scene. Nevertheless, Heavens to Betsy and Excuse 17 frequently toured together. Sweaty musicians moshing in the pit together, hair whipping, spit flying, getting all hot and bothered...Corin and Carrie ended up getting together.

Shortly thereafter, they decided to start a then-declared side project, what would become Sleater-Kinney, writing up a handful of songs and recording in a frantic, single-night session while on a trip to Australia. The resulting eponymous debut proceeded to turn a few critic's heads, making more waves than either expected. Pretty soon thereafter, their respective 'main' projects dissolved, and Sleater-Kinney took the stage for the next decade and a half. Once Janet Weiss was recruited as the drummer, the band exploded, becoming one of the most influential rock bands of the late 90's, and basically batting home-run after home-run album chronicling everything from Carrie and Corin's breakup to 9/11 until their hiatus after the Woods. The band didn't go away, however--after a number of personal projects, including the filming of the show Portlandia, the band got back together for another run of albums. What I consider 'Sleater-Kinney 2.0'. So let's get into it.

Sleater-Kinney (1995)

My bias is immediately obvious--I tend to favor the 'central' albums of SK's run in the late 90's and early 00's. Sleater-Kinney is fine. You can really hear the Riot Grrl influences in this one, especially the Kathleen Hanna-esq vocals in Don't Think You Wanna and How to Play Dead. These types of themes carry through most of this album, the 'push back against the patriarchy' 'I don't wanna suck your dick' 'I don't want to be your mother' etc. There is a rawness that permeades this album (especially in the soaring highs that Corin is able to achieve with her lead vocals) that I think garnered the critical attention--as well as the hints of what SK would bring to the table in Her Again (inventive and impressive riffs, only get better with time) and The Day I Went Away (Carrie and Corin trading vocals--they'll really get this magic locked in in an album or two).

For having no bass, the album has pretty impressive oomph to it, which is immediately apparent if you've ever seen the band (at least in their former trio form) live. Both Carrie and Corin are extremely high-energy players, Carrie especially famous for doing these 'high kicks' when she plays guitar. The drumming is fine, though if you know what's to come, you'll know it gets about 100000x better. And, the power of nostalgia may be the biggest force in the love of this album--Corin and Carrie feel it too. The first era of SK--I'll call it the 'Feet Under Us' era. The start of something special for sure.

Call the Doctor (1996)

This one is a lot of riot grrl's favorite albums. This is basically SK over again, but more ironed-out, sharp and clean, maintaining their status as cult-fave, dual vocal-dual guitar hard rock hitter. I Wanna be Your Joey Ramone is the big hit of the album, and still gains decent play on the set-lists to this day. Don't worry, Corin, I have photos of you on my bedroom door (I don't physically, but I have pictures of them as my desktop background, which is the digital equivalent).

Other faves on this one: the gay angst of Good Things, the My So Called Life-esq angst of Anonymous and once again, the vocal-trading in Taste Test are definitely highlights for me. You can really hear Carrie and Corin developing this wonderful trade--Corin's soaring and belting highs mixed with Carrie's really gruff and scratchy alto. I would have loved to see Janet Weiss's taken on, for example the really fun harmonies and rhythms of Hubcap, because there are moments where I see a lot of potential. They're still growing. Let's also put a pin in Stay Where You Are for later analysis.

Dig Me Out (1997)

Inimitable. The Fan Fave. The Hard Hitter. The Game Changer. The Gay Bitch Album for Simps. For casuals, this is usually the only album they've heard. This one is different.

I must be honest first and foremost: while I am aware that this one is the fan fave and also the critical fave, it is not personally my favorite. Not to say I dislike it, but I personally think they've done better work than this one. That being said, this one is a head-banger kick your teeth in hell of an album. We now enter into the second era of SK--the 'We've Got Janet' era.

From the opening beat drop of the first and title track, it is extremely apparent and obvious how much of a difference there is between a fine drummer and an excellent drummer. To me, this is the purest SK--the complete trio, Janet-Carrie-Corin. Even though Janet has since left the band and SK will always be centrally Carrie-Corin, TO ME they are incomplete. Anyway. Janet slays, and without her I don't think the band would have gone nearly as far as they went.

The other major development of the band: Corin and Carrie break up, detailed throughout this album but pretty exclusively in SK's gayest song to date, One More Hour (don't mind those teardrops--I'm just crying over the dyke yearning present in this song). This begins a contentious time for the band--they skyrocket to notoriety thanks to the critical acclaim Dig Me Out is met with, culminating in Carrie being outed to her family by Spin magazine (BOO! GRR!! I AM SO SORRY CARRIE!).

Outside of the first two tracks, however...the rest of the album is fairly fine for me. I quite enjoy Turn it On (particularly the breakdown at the end--yum yum). Not What You Want and Heart Factory (featuring Janet playing a space heater as an instrument) are both memorable tracks. Pretty sure Things You Want is also about Carrie/Corin. And of course, Buy Her Candy is another sweet little gay piece at the end.

Excellent album, I appreciate its space in the cannon and everything it did for SK, but I personally think that this was only the start of the peak SK era. They keep getting better with time, babes!

The Hot Rock (1999)

Album two in the 'We've Got Janet' era, my babies finally take a year off and calm down with the album-a-year breakneck release pace they had until this point been maintaining. This one is famous for being 'dark and moody' and more 'experimental' than their former album...I don't think this is entirely true? I think people were just mad they didn't make Dig Me Out 2. I like this one, again, not my fave but definitely as good as Dig Me Out for different reasons. The title track is easily my favorite on the album, really showcasing Corin's vocals and how hard they can go for still not having a bassist!

Much like Dig Me Out though, this is not an album I feel personally connected to. A couple things to point out. Remember when I said like three paragraphs ago that Carrie and Corin would get their vocal trading totally ironed out? Listen to Burn, Don't Freeze, which is probably the first song that really struck me with out inextricable the dual-guitarist dual-vocalist the two of them make. The whole clitch of this song is that it's basically two songs in one. God I love the chorus: "I ain't gonna listen to you no more (fire, water)/Breakin' outta this place, throwin' open the door (fire, baby baby puttin' me out)"...AUGH. Another one of my faves: The Size of Our Love (pin this, we'll circle back to this one as well).

I think, though, the thing that strikes me over all about this entire album is how packaged it is. It's no coincidence that the album I linked up in the top is this one and not any of the others. As a listening experience, rather than plucking singular songs out for playlists, for example, this album is probably the most solid pick, moreso than any of their others. It holds steady through the whole thing, indeed, darker and moodier in a way compared to a teeth gritter like Dig Me Out (but in a GOOD WAY! I like it!!) It doesn't exactly get 'hate' comparatively, but I definitely think it deserves a better reputation than it has.

All Hands on the Bad One (2000)

Hello we've reached my string of faves. I like to call this the start of era three, aka 'Peak Sleater-Kinney'. This time around, we're going to be doing some analysis to previous songs we've pinned. Also, importantly, Janet not only drums on this album but this marks the first time she sings as well.

Up until this point SK was still kind of making a name for themselves. Basically after The Hot Rock kind of got (relatively speaking) panned, they were like okay fine. Well, what if we don't give a fuck anymore. And we get All Hands. Oh and by the way, if you're curious what's going on on the album cover, the band went to a dance party and Carrie (dressed in a bunnysuit³) apparently got so worked up on the dance floor that she passed out, and the photo is her bandmates hauling her off while bystandards guffaw. Or so legend tells.

Anyway this album totally and completely slays. Picking a fave out of the next four is so damn difficult...they constantly vascillate. I would say this one spends more time in the slot than others as my personal fave, though in terms of the critically best other albums probably win out. Some of my absolute all-time favorite SK songs are on this album--Ironclad (duh), Youth Decay, and (!!! Corin Tucker cumming on air or something whatever that's what it sounds like) absolute gem Milkshake n' Honey (look, I just love whenever Corin and/or Carrie pretend to be men and sing about women, okay?). The Swimmer is my favorite album closer, period. Quarter to Three comes close, as does the Woods closer if you count the last two songs as part of the same song, but The Swimmer is on my current rpg character playlist (no higher honor). The title track is just a plain ripper (also a frequent inclusion on current set lists).

Let's also circle back to a song we pinned--Stay Where You Are. SK likes to do this--the first several songs of their albums tend to be the 'singly' sort of songs, big and blistery, and the b-side of the albums tend to be a little calmer and more introspective (see Little Babies on Dig Me Out, for example). Let's compare Stay Where You Are to Youth Decay. Niether song were released as singles, but both occupy the same sort of spot on the album--faster paced in the front half, more punky. Stay Where You Are is a fine song, but you can really see the growth of the band in terms of these sorts of isolated album tracks--Youth Decay is just so much more slick and blistering than Stay Where You Are. No shade, but instead highlighting how much growth is really apparent here.

On that note, songs like Be Yr Mama and How to Play Dead have now evolved to songs like #1 Must Have (commentary on the misogyny and rapes of Woodstock '99), Ballad of a Ladyman (in response to music organizers who labelled their room at a festival as the 'ladymen' room) and the sexism of the music industry in the Professional and Was it a Lie (ahem...see my recent blogpost about similar topics in science). I could go on, but I do really think that the band caring way less about what other people think about them makes all the difference, and the resultant package is slick, sarcastic, biting, gay...just an absolute solid album from cover to cover.

One Beat (2002)

So, as stated in the beginning of this post, this is the album that got me into SK. If you ask me, this is the album to start with over Dig Me Out (oft cited as the place to start). I just think the sound is slicker and the drums bigger and the ideas louder. This is the album that reminds me oh yeah things also sucked during the Bush Era and everyone hated that pretty much. 47 is not uniquely horrible, as painful as it is for me to admit that; I want to say that the cheeto man is especially bad but unfortunately this country has been a white supremasist, colonizing millitary cess-pool of garbage like basically since it was conceived. Listening to art by dykes in the 00's reminds me that not that long ago, things were pretty bad, and also you couldn't even get gay married about it. That being said 47, you are mortal like the rest of us, so chew your peanuts carefully because karma's got its kiss for you.

Anyway this is their 9/11 album, explicitly detailed in Far Away in one of the most blistering SK guitar solos to date. 9/11 is also indirectly alluded to in probably the most famous song from this album, Combat Rock: "Since when is skepticism un-American?/Dissent's not treason, but they talk like it's the same" remains relevant TO THIS DAY. This song itself is a reference to another old school punk fave, the song of the same name by the Clash, which was of course--reminding the listeners of their rights.

Like All Hands, this album also contains several of my all-time favorite SK songs: Light Rail Coyote, their love letter to Portland, OR ("Coyote crosses the tracks/And hops on the Light-Rail Max"), sassy nerd anthem Prisstina and disco-tinged Step Aside.

Now, a quick retrospective with Funeral Song⁵. Just as a revisit compared to our previous to 'album filler slash punky' songs, this one continues to build on that thread, only here for the first time Janet is prioritized over the guitars. I reaaaaally think the drums make this one an absolute banger, moreso than it would be otherwise (see Hubcap) without her.

This one, of all the others, is probably the most historical and I do spin this one when 47 is making me want to grind my teeth into oblivion. This one's good for finishing your sprint kick on the treadmill, or deadlifting (activities I have started doing in 2025).

The Woods (2006)

When this album was released, the band thought it would be their last (hence the red curtains on the cover). Boy howdy were they planning on going out with a bang. I do think, after careful consideration, this is their best album. This is a no-skips album, which I don't think quite can be said about any of their other albums (at least for me personally). This album is also home to quite a few of SK's MOST iconic songs: Modern Girl (which shares the same name as Carrie Brownstein's memoir about the band), Entertain, which is a frequent set-ender for the band, and of course (remember the vocal duality I talked about?) What's Yours is Mine. Jumpers, was of course, featured on the L-Word but it is NOT TO BE FOUND on youtube, so sadly you'll just have to take my word for it.

This is the album where the blistering guitar solos really become apparent. Their skill at this stage is so beyond expert that it is laughable to me that people don't count them among the greatest rock bands of all time. This is really where you can appreciate how far they've come since Sleater-Kinney (1995), or honestly even Dig Me Out (1997). This album just reaches such high heights in terms of musicality, composition, lyric relevancy, all of it. This is the full package. This is Sleater-Kinney.

Here, I'd like to return to another piece we had pinned-- The Size of Our Love. Let's compare and contrast to Modern Girl. Two of SK's best ballads, both deeply depressing, both deeply embedded in this idea of 'love'--what does it mean, how does it change over time, where do our notions come from about it, and how do they affect how we feel about it? I say this not to say these songs are direct mirrors of each other, but instead to demonstrate that even early on, SK was unafraid to tackle these really big themes, and do it in a way that struck straight to the core. This has always been the way for them.

I can't talk about the Woods without addressing what is often my favorite SK song of all time (difficult to maintain over time, but this one at least continually impress me even if my 'favorite' swaps out often): Let's Call It Love, an eleven minute masterpiece, often improvised live, showcasing everything about the band that we love: Corin's insane vocals (suck it, haters of the banshee wail: it ROCKS), Carrie's now expanded vocal range (what I'll describe as...hiccuppy (affectionate)) ripping beneath, dual guitars battling to the top and all the way down, and Janet's impeccable drumming. God it's so good, and on the album it directly segways straight into Night Light (hence my earlier hedge of what we consider the 'closer', because if it came down to it, Let's Call It Love beats out the Swimmer). Here I am linking a live performance, because how could I not. This was their final performance before the hiatus; perhaps not the best of all time, but definitely a good one and either way a piece of history. Unfortunately Lollapalooza bleeps out Carrie's iconic line 'I've waited such a long time/waited all my fucking life' which is a shame because "waited all my fucking life" goes so fucking hard. I think they should have made an exception for that one. Come on, the sun had gone down! This version also gets a little blusy, and a little psychedelic during its improv section (yum yum yum). Anyway, go watch the entire set. Despite the terrible and unfortunate mid 00's fashion on full display, the set blisters, claws and teeth out, slashing and biting and bloody and delicious. Especially the no-pause transition straight to Entertain: "They are lying, and I am lying too/All you want is entertainment/Rip me open, it's freeing, yeah".

And for the next 9 years, pretty much everyone thought that was it. The bandmembers all moved on to different projects, and though they were technically on hiatus, they had no plans to return (indefinite...haunting me--never say never!). Until...

No Cities To Love (2015)

The album no one saw coming, and the album that vies for the other best album in their discography. Why do post-hiatus albums always go so much harder than you'd ever think? Maybe all of the unresolved simmering tension is finally ready to burst. Or something.

Despite being post-hiatus, I actually consider this album part of era 3 (Peak SK), as the formation of the band does not change, and more importantly the format of the band remains the same (we'll circle back to this shortly). And it really is just another all-timer. This is the other place I recommend people start, despite being so late in the discog, pretty much all of the great bits and deliciousness of the Woods remains the same, only slightly more toned down and a little bit slicker. I think probably the best way to introduce this album is through the music videos, because this album actually has excellent music videos. The title track is simply adorable. SK just asked all their friends to sing along, and then stitched them all together in what is probably one of the cutest music videos of all time. And yes, Gerard Way (famous fan of SK) makes an appearence.

The other music video of all time is of course, A New Wave, where the band gets Bob's-Burgers-ified to the delight of everyone involved. Both of these tracks, of course, rip. (One of my fave moments in A New Wave: "And every time I climb a little higher/Should I leap or go on living, living?"--a reference to one of their previous songs, Jumpers). I do consider A New Wave the central thesis of the album ("No one here is taking notice/no outline will ever hold us/it's not a new wave it's just you and me"), once again featuring the dual vocality of Carrie/Corin (five ever, forever and ever...they may not be together any more but they will always be together if you know what I mean).

No Cities is also best enjoyed as a complete package, and how I WISH I had caught up with my getting into them in time to see them on tour for this album (how I wish how I wish how I wish).

Sleater Kinney 2.0

As much as I sort of hate to do this, I am going to lump the last three albums together for two major reasons. The first: Janet Weiss leaves the band (foolish of Carrie and Corin to fumble like that IMO, but I respect Janet and if that's what she wanted I shan't be a little bitch about it). She was technically a part of the making of their 9th album The Center Won't Hold (2019), but her spirit was no longer a central part of the band (hence her leaving). The second: SK starts playing with BASS (:P). I can't believe they give up their roots like that! Up until this point SK was always a trio, even if Janet wasn't drumming, and I just don't think they are truly the same band in their current formation. Yes, I know SK will always and forever be Carrie/Corin and if one of them is not in the band it straight up isn't SK but I'm going to be a little bitch about this one. Janet, go in peace. Bass, fuck off. This is SK. We don't have bass. We tune our guitars down one and a half steps and do it ourselves. NYEHHH.

St Vincent, aka Annie Clark (:3) produced this one, and it is...extremely apparent. Now. I love St Vincent. Carrie Brownstein and Annie Clark even dated for a while there (linking one of my favorite articles of all time to explain that whole situation). However...I don't want my St Vincent and my SK to mix. It's contributing to the SK playing with Bass thing, which is really just shorthand for their sound changing (yes I am being a total little bitch about this--my blog, etc). I love that they love it, but it's not my personal favorite. That being said, Hurry On Home makes me think extremely dirty thoughts⁶ ("Hair grabbable?" Excuse me, Carrie!?). Also, the music video I linked references above said dyke drama between Carrie Brownstein and Annie Clark. And is also just...fucking hilarious. Anyway.

This was the last album that I took the time to spend with. This is also the first (and last) time I saw SK live (in one of my favorite venues of all time--DC's The Anthem). IDK if I will see them in their current form. They continue to make good music, but see above re bitching. How I wish I had been an early 20 something dyke during the release of All Hands...god I would have FUCKED that tour up. I mean FUCKED it up. I'll give a shout out to LOVE, which is like...what if SK still sounded like SK with just hints of the St Vincent production. It's extremely catchy. Same with The Dog/The Body, which again, feels lyrically very much like an SK song (I'm just a sketch, I'm just an outline tonight/I am the dog, I am the body, alright). I shall also say--Corin's vocals in SK 2.0 are a lot fuller. The range is still there, but the wail has been tempered, it's a bit brassier. So goes the old saying of taking care of a voice makes it better with time. See The Future is Here

Next up is Path of Wellness (2021), what can only be described as an album about the Covid-19 pandemic, released pretty much in the height of the pandemic, right when vaccines were becoming available to the public. I don't totally hate this album. It's jazzier for sure, with a lot more funky guitar noodles, and as previously alluded to, Corin's vocals are honestly incredible in this album (see High in the Grass for the prime example). The music video for Worry With You is extremely cute, and also notably gay, which I love to see. TBH, those are the highlights for me.

Finally, we have Little Rope (2024), the album I have spent the least amount of time with. I do think this album is more of a return to form for SK (see Say It Like You Mean It), and also one about grief, having been interrupted by a deadly crash involving Carrie's parents. Corin also carries a lot of the vocals of this album (see Untidy Creature). I may spend a bit more time with this one after the once-over I gave it today, finally returning to their new work for this very blog post.

To say that I have complicated feelings about their new work would probably fade into the background of what Carrie and Corin have to say about their more recent work. People change, bands change, and often times changing is necessary. Best work comes out of experimentation, forging forward with new, rather than trying to recapitulate what's already been done. They do that by playing their huge, gigantic repertoire in their live sets. On the albums is where they have to continue to find newness in their craft. I do hope they keep making new music in the future. I hope they continue to find joy in their music.

Ranking the Albums

Okay, here's what you've been waiting for: the critical ranking of SK albums from 'worst' to blistering best. Now that my brain is absolutely swimming with SK lore and critical music analysis.

• 11. Path of Wellness (2021)
• 10. Little Rope (2024)
• 9. Sleater-Kinney (1995)
• 8. The Center Won't Hold (2019)
• 7. Call The Doctor (1996)
• 6. The Hot Rock (1999)
• 5. Dig Me Out (1997)
• 4. All Hands On The Bad One (2000)
• 3. One Beat (2002)
• 2. No Cities To Love (2014)
• 1. The Woods (2006)

Sleater-Kinney's MOST ICONIC SONGS

Now, one more list. We've got eleven albums and (approximately) ten billion songs to work through. Where the hell should I start??? Fear not, dear reader. Even if you don't want to listen through each and all of these albums, here before you stand the ten most iconic songs of their discog:

• 10. A New Wave (No Cities To Love)
• 9. Combat Rock (One Beat)
• 8. Milkshake n' Honey (All Hands On The Bad One)⁸
• 7. Entertain (The Woods)
• 6. No Cities To Love (No Cities To Love)
• 5. Jumpers (The Woods)
• 4. Modern Girl (The Woods)
• 3. Dig Me Out (Dig Me Out)
• 2. I Wanna Be Your Joey Ramone (Call The Doctor)
• 1. One More Hour (Dig Me Out) ^{just stfu juuuuust stfu fuck fuck fuck}

Collected for your listening pleasure right here.

And one more bonus playlist if you're still reading this, this is a quick evolution of the Carrie/Corin dual-vocality brilliance that is this band as well.

WOW. If you're still here after reading all of that...DM me. We should talk lmao. Love and peace on this planet earth in the year of our lord 2025. Let's get through this together, with community, with care and compassion, with critical evaluation of the messages around us (They are lying/and I'm lying too). I'll come in thru with another blog post, but I'm taking this year to do some long-distance hiking come March, so this blog will likely be a bit radio silent for a while. I'll come back, I swear. In the meanwhile...methinks a post on the Haunting of Hill House (#it's always halloween), and then we shall see what comes thereafter. xoxo Storm

¹Carrie what the hell are you doing in this cover. You are DRIPPING dyke swagger. Bro...the fucking PENCIL SKIRT BUSINESS SUIT? Your little hip cock??? brO you are not fooling ANYONE gURL. Jesus C hris t.

²Carrie SHUT THE FUCK UPPPPPPP SHUT UPPPPPP OH MY GODDDDDDD fuck me

³Carrie ummm if you're reading this ummm why the hell were you in a bunny suit? DM me please

⁴I wanted to feature the rear cover as well because of two reasons: Corin's cute little outfit, and also how dyky Carrie looks compared to everyone else. Yes she is bisexual but also bisexuals are allowed to have dyke swagger. See this example before your eyes. It is really funny to me to examine queer fashion by watching Carrie's outfits evolve over the years. I think this is entering peak 00's dyke fashion (an unfortunate era for all involved, but also every so often someone was able to pull off the like business casual-vest-situation that was really popular during this time (idk I was 4; Carrie is a skinny white girl, obviously she looks good in slacks and a vest but this is my blog I'm allowed to rant about how good Carrie looks in slacks OKAY)

⁵Carrie PLEASE tell me about the dyke drama this song was written about. IDC if it was written about a man, it's still dyke drama to me.

⁶I am aware these footnotes are chronicling my deep-seated crush on Carrie Brownstein. Whatever. It's about her. The Thoughts are about her.

⁷Bro the tie? Seriously? Bro.

⁷People love this song, and I personally love this song for the following lyric: "I've always been a guy with a sweet tooth/And that girl was just like a king-sized candy bar".