The Woods

  • Record Label: Sub Pop
  • Release Date: May 24, 2005
User Score
8.4

Universal acclaim- based on 177 Ratings

User score distribution:
  1. Negative: 20 out of 177

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  1. Apr 25, 2012
    4
    There are some really great moments here. Sleater-Kinney show great cohesion and some really tight guitar work here at the end of their run. Still, I find the album too slow and too abrasive at points to truly enjoy. Download "Jumpers", "Entertain", and "Steep Air" but do not purchase the entire album.
  2. GregA
    Jun 2, 2005
    5
    Why does this band automatically get great reviews everytime they put out another complicated sounding, yet completely boring album? i can have my computer put out random noises and it will sound complex but that doesnt mean its great music. just listen to the first track, that gives you pretty much the idea of what they are going for. honestly I dont think this band has had a hit since Why does this band automatically get great reviews everytime they put out another complicated sounding, yet completely boring album? i can have my computer put out random noises and it will sound complex but that doesnt mean its great music. just listen to the first track, that gives you pretty much the idea of what they are going for. honestly I dont think this band has had a hit since The Hot Rock, so if you really want to hear some good music spend your money on that. but then again most of the people who review/buy/download this sub-par release are scenesters who just need the latest music so they can namedrop to their scenester clones. oh well. Expand
  3. SteveB
    Aug 9, 2005
    4
    As a Sleater-Kinney fan, I can't help but be disappointed by this album. I wanted to like it, especially after reading a few reviews. But the songs just don't stick in my head like they do on previous albums. They got louder, which is fine, but they left the melody at home, which they didn't have to do. I do give them credit for trying something new. Unfortunately, all the As a Sleater-Kinney fan, I can't help but be disappointed by this album. I wanted to like it, especially after reading a few reviews. But the songs just don't stick in my head like they do on previous albums. They got louder, which is fine, but they left the melody at home, which they didn't have to do. I do give them credit for trying something new. Unfortunately, all the good press might cause them to continue to follow down this path. There is nothing wrong with melody, ladies! You three know how to make melodic hard rock without pandering. Please continue to do that! Expand
  4. jeff--
    May 31, 2005
    5
    I'm a huge sk fan, so i'm really disappointed in what has to be one of the most boring records ever recorded by a great band.. The only salvation for me is the middle section from jumpers to rollercoaster which actually allows us to hear corin, carrie and janet apart and together - the in the red production is a joke that apparently attempts to make up for the lack of energy and I'm a huge sk fan, so i'm really disappointed in what has to be one of the most boring records ever recorded by a great band.. The only salvation for me is the middle section from jumpers to rollercoaster which actually allows us to hear corin, carrie and janet apart and together - the in the red production is a joke that apparently attempts to make up for the lack of energy and urgency and most of all fun lacking in the material here. just so boring. Expand
  5. IanE
    Jun 21, 2005
    5
    It took me four tries to get all the way through this album. I really wanted to like this album, and I kept looking for something to enjoy about it, but I can't stand it. First off, it's loud. It's not hard to imagine producer Dave Fridmann's work in producing The Woods: just turn every knob as high as it will go. Even with the volume turned low, The Woods sounds It took me four tries to get all the way through this album. I really wanted to like this album, and I kept looking for something to enjoy about it, but I can't stand it. First off, it's loud. It's not hard to imagine producer Dave Fridmann's work in producing The Woods: just turn every knob as high as it will go. Even with the volume turned low, The Woods sounds distorted. This may have been an attempt to make the songs sound more visceral and energetic, but it Expand
  6. RStJ
    Nov 15, 2005
    5
    Ok, first of, you people giving this mess a "10" need to wake up. This album has major problems, not least of hich is the almost unlistenable mi/mastering. I'm t a total loss to explain this as nything other than some catostrophe occurring in the studio which had to be covered by superheating the mix to the point where you focus on the distortion rather than the frequently inept song Ok, first of, you people giving this mess a "10" need to wake up. This album has major problems, not least of hich is the almost unlistenable mi/mastering. I'm t a total loss to explain this as nything other than some catostrophe occurring in the studio which had to be covered by superheating the mix to the point where you focus on the distortion rather than the frequently inept song takes. Next, you people giving this a "0" need to snap out of it too, since very few bands will ever be able to record a song as terrifyingly good as Jumpers. I'm pretty sure this is what the entire album was supposed to sound like as Jumpers is tight, well-rehearsed, and clearly a finished product unlike over half of the other songs. It also sounds much like SK's best work in the past, just updated a bit with a strong sense of rock c. 1991. Sadly, the vibe reminds me very much of late period Nirvana and we all know how that ended up. The cancellation of the November tour dates is an ominous sign. I hope Brownstein is OK. If she's the first person "I" of Jumpers then she might not be. The song really should have been called "Jumper" (singular) since there is only one person in the song and it is not a meditation on why people jump in general, but why one person in particular jumps--a profound and hopeless sense of loneliness. On the strength of this one song, I give the record a "5." I hope it's not the end for the band, but I think it probably will be. Expand
  7. Gazcomsat
    Nov 22, 2005
    4
    As a fan of Sleater Kinney, I have to say I just don't get this album nor for that matter the majority of the reviews on this site. The songs are certainly heavier than previous offerings but mainly because they are so incredibly distorted. Take "Modern Girl" as an example. Everything starts out fine, melodic, nice vocals then you hit 2 minutes into the song and all hell breaks As a fan of Sleater Kinney, I have to say I just don't get this album nor for that matter the majority of the reviews on this site. The songs are certainly heavier than previous offerings but mainly because they are so incredibly distorted. Take "Modern Girl" as an example. Everything starts out fine, melodic, nice vocals then you hit 2 minutes into the song and all hell breaks loose. Nothing actually changes much as far as the band themselves are concerned but someone in their infinite wisdom thought it might add something to the track by pushing the distortion levels to the max rendering it virtually unlistenable. Why? What was the point? Nothing good was added to the song but it certainly makes for uncomfortable listening. Sleater Kinney aren't Led Zepelin nor do I want them to be. Corrin Tuckers voice is unusual enough to keep Sleater Kinney one step ahead of the pack without having to resort to this type of "experimentation". I don't see how the band could have actually listened to the album prior to it actually being pressed and think that it was ok. For me, this isn't going to be "a grower" because frankly, it's just plain bad. Unbelievably disappointing. Expand
  8. JasonL
    May 25, 2005
    6
    hugely disappointing album that, for the most part, goes back on everything that made sleater-kinney great before - the fierce but tight post-hardcore guitar attack, vaguely reminiscent of the DC sound but ten times as clean and thought out, and endlessly catchy melodies and vocal counterpoint. carrie, for instance, can hardly be heard. volume does not equal power - just compare minor hugely disappointing album that, for the most part, goes back on everything that made sleater-kinney great before - the fierce but tight post-hardcore guitar attack, vaguely reminiscent of the DC sound but ten times as clean and thought out, and endlessly catchy melodies and vocal counterpoint. carrie, for instance, can hardly be heard. volume does not equal power - just compare minor threat to any number of other hardcore bands. still, it's sleater-kinney, and it's still an above average record. but certainly the worst thing they've done since their debut. a misguided experiment. Expand
  9. matta
    Jun 17, 2005
    5
    This is seriously overrated. Is it just because it's three chicks and critics don't want to appear sexist so they give it 100? I don't know but don't be fooled by the 86. This is very average rock/indie music at best.
  10. PaulL
    Jun 19, 2005
    6
    Although this rocks a bit harder, it's a typical Sleater Kinney album. Great vocal delivery, but lacking any catchy songs or melodies. The girls rock, but it's still a boring album. You might like it if you're a fan of meandering melodies.
Metascore
88

Universal acclaim - based on 35 Critics

Critic score distribution:
  1. Positive: 32 out of 35
  2. Negative: 0 out of 35
  1. Previous albums have never quite captured those onstage moments when the power they generate seems to catch them unawares, but on The Woods you can hear not only the deliberation in Weiss's eyes as she ponders the exact placement of beat and crash, or Brownstein's bedroom-mirror rock-star poses, but also the stunned grin Tucker can never contain after emitting her most gravity-defiant shrieks.
  2. Alternative Press
    100
    [They] clearly sound alive with the possibility of redefining punk song structure by writing 11-minute flamboyant guitar dirges that have as much in common with My Bloody Valentine as they do with '70s arena rock. [May 2005, p.170]
  3. A smoldering rock and roll record that rivals John Lennon’s Plastic Ono Band and Nirvana’s In Utero in terms of unexpectedness.