Metascore
76

Generally favorable reviews - based on 18 Critics

Critic score distribution:
  1. Positive: 16 out of 18
  2. Negative: 0 out of 18
  1. Seth 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."
  2. Dec 21, 2010
    80
    It'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.
  3. 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.
  4. Comparisons to SK will doubtless arise but the production here is sparser, with more focus on intricate oddities.
  5. 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.
  6. 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.
  7. Alternative Press
    80
    When 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]
  8. Under The Radar
    80
    She'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]
  9. 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.
  10. 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.
  11. 70
    Relatively minor misdemeanours aside though, 1,000 Years is a respectable and rejuvenated return to the fray for Corin Tucker's febrile talents.
  12. 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.
  13. A study in how to be settled without settling, this album is a very welcome return.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. 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.

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