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Jan 7, 2011Seth Lorinczi provides the right shades of darkness‑-sometimes enticing, sometimes engulfing‑-as Sleater-Kinney fans long for a bright and cleansing breakout. They get one as "Handed Love" goes out, when Corin shouts her desperation and rips off a riff, then tops the outburst with the even more rousing "Doubt."
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Dec 21, 2010It's a deeply felt, lively record that stands tall on its own merits, and further proof that Tucker's talent is bigger than that which can be expressed through one band's sound.
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Shorn of Brownstein's intricate guitar playing, Weiss' wonderfully impatient drums and her USP: The Tool, The Voice, Tucker is operating at brave distance from her comfort zone. In doing so she's unveiled a whole lot of other things she's good at.
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Comparisons to SK will doubtless arise but the production here is sparser, with more focus on intricate oddities.
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1,000 Years is an uplifting album, despite some of the painful imagery. Sometimes wallowing in the past isn't such a bad thing, especially when, like it did for Corin Tucker, it moves you forward.
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1,000 Years, Tucker's solo debut, shows a remarkable amount of growth both as a songwriter and a performer from the loud guitar maelstrom that punctuated Sleater-Kinney some years back.
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Alternative PressWhen she and bandmates Sara Lund and Seth Lorinczi kick into distorted overdrive on searing tracks like "Pulling Pieces" and "Doubt," it only makes Tucker's return more welcome. [Nov 2010, p.116]
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Under The RadarShe's a staggeringly talented musician, and taking a break from Sleater-Kinney has seemingly inspired her to audaciously push the boundaries of her sound. [Fall 2010, p. 64]
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1,000 Years avoids mining the past; more than anything, it sounds like a confident statement of purpose from an artist who has aged gracefully since she was a riot-grrrl cause celebre. Here's hoping less time elapses before she follows it up.
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1,000 Years is a determined effort to go beyond a somewhat burdensome past--and a statement that Tucker is eager to express what's both beautiful and difficult about full adulthood.
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Dec 22, 2010Relatively minor misdemeanours aside though, 1,000 Years is a respectable and rejuvenated return to the fray for Corin Tucker's febrile talents.
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She's not shredding the awesome vocal cords so much, but she gets fierce in other ways, trying on cellos and piano ballads. When she finally cranks it up Sleater-Kinney-style on "Doubt," it feels earned: a cry of self-determination, as inspiring as ever.
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A study in how to be settled without settling, this album is a very welcome return.
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This is a record with a staggering perspective, one that Tucker has earned over the years and doesn't sound forced or self-righteous in any way.
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This album's strengths-- its intimacy, its containment, its subtlety-- are not the qualities that made Sleater-Kinney great, but it would be ungenerous to dismiss this because it's not as thrilling, confrontational, or exuberant.
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1,000 Years--the record Sleater-Kinney might have made at the very beginning if they'd been ambivalent about whether to turn up the volume and the attitude--is a meditation on age, timelessness, and nostalgia that could elicit a glass-half-full/half-empty decision from fans.
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While 1,000 Years isn't a bad album in comparison to other how-the-might-have-fallen spectacles (it's hardly the catastrophe of, say, Liz Phair's Somebody's Miracle), it simply lacks the edge and bite of Tucker's work with Sleater-Kinney.
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Corin Tucker's voice--always so uniquely emotive in the punkier contexts of S-K--looms uncomfortably over songs that sound scrapbooked from other '90s-centric acts (Liz Phair, Pavement) but never take on a form of their own.