The anthemic Olympia, WA-based punk trio Sleater-Kinney formed from the ashes of Heavens to Betsy and Excuse 17, a pair of groups that rode the first wave of the riot grrrl movement. Singer/guitarists Corin Tucker and Carrie Brownstein first met in 1992, when Tucker was one half of the duo Heavens to Betsy; Brownstein, a classically trained pianist, was so inspired by Tucker and other grrrl musicians like Bikini Kill and Bratmobile (not coincidentally Tucker's own influences) that she formed her own band, Excuse 17, a year later. Sleater-Kinney, which earned its name from a local freeway off-ramp, initially began as Tucker and Brownstein's side project;

The anthemic Olympia, WA-based punk trio Sleater-Kinney formed from the ashes of Heavens to Betsy and Excuse 17, a pair of groups that rode the first wave of the riot grrrl movement. Singer/guitarists Corin Tucker and Carrie Brownstein first met in 1992, when Tucker was one half of the duo Heavens to Betsy; Brownstein, a classically trained pianist, was so inspired by Tucker and other grrrl musicians like Bikini Kill and Bratmobile (not coincidentally Tucker's own influences) that she formed her own band, Excuse 17, a year later. Sleater-Kinney, which earned its name from a local freeway off-ramp, initially began as Tucker and Brownstein's side project; in late 1994, Australia-born Lora MacFarlane signed on as the group's first permanent drummer, and over the course of the following two weeks, the trio recorded its self-titled 1995 debut for Team Dresch bassist Donna Dresch's Chainsaw label. Upon its release, the album earned widespread acclaim for its visceral intensity as well as the group's provocative, politically charged lyrics, passionate vocals, and intricate melodies. With 1996's brilliant Call the Doctor, Sleater-Kinney garnered even greater media exposure and critical applause on the strength of their incisive rants against gender inequity, consumerism, and indie rock's male-dominated hierarchy. Their Kill Rock Stars label debut, Dig Me Out, recorded with new drummer Janet Weiss from Quasi, followed in 1997, and was again among the most acclaimed releases of its season; The Hot Rock appeared two years later, and in the spring of 2000, Sleater-Kinney resurfaced with All Hands on the Bad One. In August of 2002 the group returned with its most musically accomplished record yet, One Beat. Sleater-Kinney upped the ante again with 2005's powerful, inventive The Woods, which was released by Sub Pop, was produced by Dave Fridmann, and was inspired by, among other things, the political climate of the mid-2000s and the freedom of the improvised parts of their gigs supporting Pearl Jam on their 2003 tour. In summer 2006, the group announced they were going on an "indefinite hiatus" after they finished the remaining dates on their tour. ~ Jason Ankeny, All Music Guide