Sleater-Kinney started out as a side project for a couple of musicians in Olympia, Washington’s riot grrrl scene in the early to mid-’90s. Yet here are Corin Tucker and Carrie Brownstein, as revered as ever and still going strong three decades later. Despite going on hiatus from 2006 to 2013, Sleater-Kinney has released 11 albums, three of which have placed in the Top 5 on Billboard’s Independent Albums chart. The band’s sound has evolved with each new album—never repeating what came right before nor looking backwards at earlier eras.
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The one-time trio, reduced to a duo with the departure of drummer Janet Weiss in 2019, may not look back. But that’s precisely what we’ll do here. Here’s how their albums stack up, ranking them from worst (or, actually, least-good) to their greatest.
The Bottom 3
11. The Center Won’t Hold (2019); 10. Sleater-Kinney (1995); 9. Path of Wellness (2021)
The Center Won’t Hold is the last of the band’s seven albums with Weiss, and their only album produced by St. Vincent. Its glossier sound represented a bold change of direction, but the new vibe didn’t suit every track equally.
Sleater-Kinney’s self-titled debut was recorded in one day while Tucker and Brownstein were spending a few months in Australia. It’s their rawest, most immediate album, and it also shows the first glimpses of the duo’s knack for writing songs that are both melodic and searing.
Path of Wellness was their first post-Weiss album, and its more subdued sound represented yet another experiment that worked better for some songs than for others.
The Middle 4
8. One Beat (2002)
It’s ironic this was Sleater-Kinney’s first album in six years that didn’t feature a single, because it includes some of their hookiest songs. “Oh!,” and “O2” are still among Sleater-Kinney’s biggest earworms, and the one beat that runs through “One Beat” provides the foundation for the album’s hypnotic opener. With “Step Aside,” Sleater-Kinney branches out with a horn-infused Motown-style tune. The flip side of One Beat’s eclecticism is that it’s one of Sleater-Kinney’s least cohesive albums.
7. All Hands on the Bad One (2000)
All Hands feels like it’s one of a piece with One Beat, as Sleater-Kinney’s compositions were more straightforward on these albums than on their prior work. With Weiss now providing backing vocals, there was more harmonizing and less competition between vocal lines. All Hands has its fair share of pop-rock nuggets, like “You’re No Rock n’ Roll Fun,” “Leave You Behind,” and the title track. Though “Youth Decay” is a throwback to the rougher sound of their first two albums.
6. Call the Doctor (1996)
It’s stunning how much more developed the songs are on Sleater-Kinney’s second album than on their debut. Brownstein’s eardrum-piercing screams on the title track are just one of the many signs that Sleater-Kinney didn’t mellow on their sophomore effort. Still, that track, plus “Good Things,” “I Wanna Be Your Joey Ramone,” and “Hubcap,” are simply great melodic compositions.
5. No Cities to Love (2015)
This was Sleater-Kinney’s comeback album after having broken up in 2006, and it was made in the middle of Brownstein’s eight-year run as the co-star and co-producer of the sketch comedy series Portlandia. All three members are in top form on No Cities to Love, and Brownstein and Tucker’s vocals really shine, especially on the title track and “No Anthems,” respectively. The first eight tracks may be the best extended run of consecutive tracks on a Sleater-Kinney album.
The Top 4
4. Little Rope (2024)
Fans of Sleater-Kinney’s earlier work might have been disappointed by their sonic explorations on The Center Won’t Hold and Path of Wellness, but they shouldn’t write off this follow-up to those albums. It’s not a return to their ‘90s sound, but it is their most consistent set of hooky bangers since that decade.
Much of the album deals with grief, as it was mostly written and recorded in the aftermath of the untimely deaths of Brownstein’s mother and stepfather. So there is nothing as carefree as “You’re No Rock n’ Roll Fun.” Tracks like “Small Finds” and “Six Mistakes” evoke the bile of “Call the Doctor” but also feature memorable Brownstein riffs. If you like big choruses, they don’t come much bigger than that of “Untidy Creature.”
3. The Woods (2005)
After opening for Pearl Jam after the release of One Beat, Sleater-Kinney wanted to write more songs that would work well in larger venues. With this goal in mind, they recorded The Woods. Not coincidentally, it’s their biggest-sounding album. Every individual track is a powerhouse, and the sequencing is brilliant. The one-two-three punch of “Jumpers,” “Modern Girl,” and “Entertain”—three of their signature songs—occurs right in the middle of the track listing, and the rest of the songs flow perfectly into and out of the album’s core.
2. Dig Me Out (1997)
Sleater-Kinney’s breakout album starts with Brownstein’s most recognizable riff, followed by the first emphatic snare hit of Weiss’ tenure in the band. Then Tucker joins in on rhythm guitar and, a few moments later, with her powerful vocals. Sleater-Kinney kicks off the leadoff and title track totally locked in, and they stay that way for the remainder of the album’s 36 minutes.
1. The Hot Rock (1999)
Dig Me Out might be the better listen for when you’re in an energetic mood. But The Hot Rock is the more contemplative of the two. It’s also a step forward in terms of the compositions. “Get Up” is deceptively simple at the start, but quickly gets turned around by Weiss’ quirky beat. “The End of You” turns life in a rock band into the stuff of ancient mythology. And the album’s closer, “A Quarter to Three,” shows a more vulnerable side. While it’s not the only Sleater-Kinney album that’s close to perfect, it’s the one that feels the most like an emotional journey.
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