Call The Doctor was something else. If you ever want to get me riled up, feed me some drinks and ask me about what Dave Fridmann did to the band on The Woods.
But hearing Call The Doctor for the first time, it was clear that Tucker was the force powering this whole enterprise, at least early on. She sounded like a trapped animal, or like an angel of retribution. There was so much need and strength and fear and anger in her voice. There was technique to it, too. The most immediate moments were the ones where Tucker sang about being a woman and feeling trapped. And they were starting to figure out how to layer their voices over each other, to turn each song into a conversation.
Instead, they leveled up. They wrote cleaner, sharper, more intricate songs. Setting aside the gender politics that statement brings up and the fact that they didn't have any dub influences, I tend to agree, if only for one reason: Like Fugazi, Sleater-Kinney are incorruptible. They never needed mainstream support, toured like crazy, kept dropping one hot shit album after another to the point that we took it for granted, broke up before they got stale but still left behind a generous, rocking discography.
Sleater-Kinney equals Batman. The band could have broken up then and there after drummer Lora Macfarlane left and still had a legacy. There are certain elements that define Sleater-Kinney.
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