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Produits fréquemment achetés ensemble

  • All Hands on the Bad One
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  • The Hot Rock
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  • Dig Me Out
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Détails sur le produit

  • CD (2 mai 2000)
  • Nombre de disques: 1
  • Format : Import
  • Label: Mis
  • ASIN : B00004RD8V
  • Autres éditions : CD  |  Album vinyle  |  Téléchargement MP3
  • Classement des meilleures ventes d'Amazon: 395.698 en Musique (Voir les 100 premiers en Musique)
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Descriptions du produit


Power Girl. Les trois Américaines (de Seattle pour être exact) qui forment le groupe S-K depuis déjà quelques années semblent faire d'immenses progrès, album après album (nous en sommes déjà au cinquième, mine de rien). Autant les deux premiers étaient quelque peu brouillons, autant les suivants ont affiché une volonté délibérée de s'affranchir de cet incessant mur du son et de survoler d'autres contrées un peu moins sauvages, sans pour autant tomber dans une soupe ou une guimauve fadasse ; rassurez-vous, nous restons en Territoire Électrifié ! -- Compact

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Amazon.com: 94 commentaires
26 internautes sur 29 ont trouvé ce commentaire utile 
Now Is The Time To Invent 24 juin 2000
Par John Orfield - Publié sur Amazon.com
Format: CD
It's been a fun ride over the past few years, watching the evolution of Sleater-Kinney from a fairly standard riot grrrl group (still, it was always easy to spot the talent) to the absolute indie pop rock masters they are today. And here's the really amazing thing about Sleater-Kinney: their sound isn't all that revolutionary. There's a lot of Sonic Youth in here, and at times Carrie's Rickenbacker gives the songs a strange R.E.M./Pylon feel. So, no, they're not reinventing the wheel, but they play with such passion that you can't help but take notice. Janet's one of the best drummers around, Carrie's easily my favorite guitarist today and Corin-- Ah, Corin-- she just wraps her voice around words, turning them inside out, twisting two syllable words into six. They just compliment each other perfectly...
The lyrics have improved with each album an not coincidentally it seems like each album has been better than the last (although I still count The Hot Rock as my favorite S-K album). All Hands On The Bad One has all the feel of that last warm-up album before all hell breaks loose and Sleater-Kinney takes over the entire country the way Nirvana did in the early 90's. Maybe that's too much pressure to put on them, but All Hands proves they may be ready for it. It expands on the pop hooks they've honed over Dig Me Out and The Hot Rock, adding hand claps and more harmonies and, in the process, coming dangerously close to Veruca Salt territory on pop gems like You're No Rock In Roll Fun, the title track, and Leave You Behind.
Other highlights (for me): The sexy Milkshake n Honey building to a knee-quivering climax, the relentless Ironclad asking the musical question "What would you kill to make a heart stand still?", the social #1 Must Have lamenting today's music culture ("Watch me make up my mind instead of my face"), and the near-lullaby The Swimmer which is the most fragile song S-K has ever recorded, with the possible exceltion of The Hot Rock's The Size Of Our Love.
You know, I hope my enthusiasm for Sleater-Kinney has come across in this review. We're really witnessing something pretty special here, folks. Don't miss it.
10 internautes sur 10 ont trouvé ce commentaire utile 
burn don't freeze 4 décembre 2001
Par Tom Madigan - Publié sur Amazon.com
Format: CD
There's a big difference between taking risks and indulging weaknesses, and Sleater-Kinney spend their fifth album dodging more bullets than you're comfortable with from the best band in rock.
They've always written too much about music and their place in it, and this time they overload with a half-dozen self-referential harangues about feminism in rock. The musical setting they choose all but abandons the deliberacy of 1999's awesomely strange The Hot Rock -- a few notable exceptions aside, this is a return to their riot grrrl roots, no less powerful but a bit less ambitious.
So the gods of disaster began sharpening their knives. But All Hands on the Bad One is not a disaster or even a misstep. It's actually one more step forward for a great band that hasn't stopped improving yet.
The trick is that Sleater-Kinney has indeed learned from The Hot Rock. Carrie Brownstein and Corin Tucker came of age then as guitarists, weaving in and out of each other's path with no bass player to mediate, and their playing on All Hands is wonderfully nonlinear. Some songs are relay races ("Ironclad"); others are tangles (the exquisite "Was it a Lie?" and the shimmery "The Swimmer"). Double-jointed guitar breaks that were fun at half the speed last time are thrilling now.
Both guitarists benefit from the sharpest production of their career, but not as much as drummer Janet Weiss -- with more room in the mix, she's more than ever the pivot, finding creative ways to shape the beat no matter how abruptly Brownstein and Tucker shift. Like Charlie Watts or Dave Grohl, she's the rare drummer who can give a tune body, even one as breakneck as the title track.
Tucker's singing shows the most growth. Now that she's mixing more real-life pain (as opposed to rock-song pain) into her lyrics, she's unlocking new range and nuance in her voice -- you can actually hear her shift gears from calm to crazy. On paper, "Youth Decay" could be about oral hygiene, teen angst or maybe bulimia, but on record, Tucker adds the possibility of incest just by swooping into the line, "Daddy says I got my mama's mouth."
Tucker's increasing skill as a multilayered songwriter is undercut by her more polemic moments. There's nothing wrong with her rage against corporate image control -- in fact, I'm with her -- but her overtly feminist rants are aimed at the wrong targets in the wrong arena. Such screeds as "Male Model" ("You always measure me by him") are so personal they seem to indict Tucker's immediate community -- an indie world that long ago accepted Sleater-Kinney's musical ability regardless of gender and that has never seen more women playing key roles in good bands. And it's never flattering for a band to brag on record that it won't sell out, especially one with bigger issues on its mind.
Smart reformers should aim higher. Tucker would do better asking why teen girls made a comeback as a pop commodity less than five years after the media declared a women's revolution in music. Maybe Tucker could even ask her male fans -- she's got plenty.
The only two mediocre tracks on All Hands are the preachiest one and the dumbest parody. If you have more tolerance for base awareness than I do, they won't drag down the album. Me, I started playing this record over and over once I realized that my misgivings couldn't keep the songs from rattling around my head all day. For all its shortcomings, this is still an album a best band in rock can be proud of.
8 internautes sur 8 ont trouvé ce commentaire utile 
All Hands Together for this 'Bad' One 3 mai 2000
Par John W. Florendo - Publié sur Amazon.com
Format: CD
Terrific, dynamic and fun album. Sort of a culmination of their last three albums... Some songs confrontational like "Call the Doctor", others emotional, propulsive releases like much of "Dig Me Out" (still probably my favorite), and still others resemble the more reflective pieces of "The Hot Rock"... great sounding stuff, and much better mixed/engineered then the slightly washed out sound of "Hot Rock" to these ears. Great fusion of elements...which is partly what makes this band appealing in the first place. Corin Tucker's lead vocals are all over the place, being more seemingly playful than usual. First song, "Ballad of Ladyman", sets the mood perfectly: both coy and explosive, direct and wayward, with a great driving riff that comes together for a memorable finale (in less than three minutes?). Love this band, and after three listens, love this album. Another potential pop/punk masterwork from S-K.
6 internautes sur 6 ont trouvé ce commentaire utile 
A new standard for women in rock 1 juillet 2000
Par alison fields - Publié sur Amazon.com
Format: CD
I don't know what to say about this band that hasn't already been said. With 1997's "Dig Me Out," Sleater-Kinney were admitted into an increasingly elite circle of indie/punk artists whose critical acclaim and extremely vocal fanbase was matched by their musical promise. Being a critical darling is tough enough without the added complications of hipster fickleness, punk rock politics, and a public still insisting, even quietly, that women in music belong in high heels and bustiers or in the center of the self-indulgent acoustic group-grope that is the Lillith Fair. Three years later, following 1999's disjointed "Hot Rock," Sleater-Kinney ditches experimentation for what seems at first blush, an extremely tight, unapologetic punk rock record. This is a fine synopsis, but despite catchiness and erstwhile declarations in "Ballad of a Lady Man" of "I gotta rock . . ," "All Hands On The Bad One" offers more than just power chords and grrrl anger. What separates S-K from the vast majority of their post-riot grrrl peers (and in fact, many of their labelmates) is their reluctance to sacrifice increased musical prowess for a affected ineptitude and the paired down aesthetic that subverts any real lasting impression on listening public. It is the fullness of "All Hands on the Bad One," the subtle complications in simple sounding songs, and the very fact that Sleater-Kinney has matured technically that makes this album so unique. There's a fairly even balance of tongue in cheek rock songs--"You're No Rock and Roll Fun," "All Hands On The Bad One," to slighty more politicized material "Was It A Lie?" And a couple of highly infectious tunes ("The Professional") that may owe more to Elastica than Bikini Kill. It's hard to find fault here. If you're looking complicated, feminine rock and roll, repeated listenings to this record can significantly decrease damage done by the insipid warbles of boring Lillithites everwhere. I double dare you not to get chills when Corin Tucker asks, in "Ballad of a Lady Man," if she's "breaking you apart." This is the best thing I've heard in a very long time.
6 internautes sur 6 ont trouvé ce commentaire utile 
Excellent! 3 mai 2000
Par Amazon Customer - Publié sur Amazon.com
Format: CD
Sleater Kinney challenge and entertain on every release. They're one of the few artists that I anxiously wait for, and I haven't been disappointed. On first listen, The Hot Rock didn't have the driving power of Dig Me Out, but then I was fascinated by its twists and turns and complex structures. On first listen, All Hands... seemed to miss that complexity, but then I fell in love with the songs and was struck by the new and varied narrative voices and the spin on trad pop devices. Great, fun stuff.
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