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CD Version of the First Two Records

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Bikini Kill

 
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CD Version of the First Two Records
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  • We Say...

    "We're Bikini Kill, and we want revolution girl style noooooow!" On this album's first song, nestled between shards of feedback, lead singer Kathleen Hanna howled the battle cry that lit riot grrrl afire. But it wasn't a double dare, it was a promise: for an instigative seven years, Bikini Kill dealt fierce blows to punk rock's misogynist "White Boy" (as one song is titled) through abrasive guitar blasts and lyrics that combined feminist polemic with the distinct intellectual valley-girl patois of their progressive hometown — teeny-tiny Olympia, WA. Encouraged by the DIY dictum that playing music sloppily was better than not playing music at all, Bikini Kill tore through their riffs with punk-rock vehemence and vision — but it was Hanna's exceptionally raw singing style that really got the band motoring. Sounding like the final hour of an exorcism, she growls, grunts, sasses, snarls, whines and screams this mother out; witness the snotty, possessed energy of "Suck My Left One" (a song congruous with X-Ray Spex's "Oh Bondage Up Yours"); the bloody shrieks and feedback tilt-a-whirl of "Thurston Hearts the Who"; and the self-determined anthem "Feels Blind," where Hanna spits, "I eat your hate like love!" Though their best album, Pussywhipped, arrived two years later, these tapes (half-produced by Fugazi's Ian MacKaye) seethe with untamed, eruptive energy and the thrilling first spark of ideation.

  • They Say...

    The descriptively titled debut full-length by riot grrrl pioneers Bikini Kill combines their first and purest (as opposed to best, although there's an argument to be made there as well) releases, 1991's Bikini Kill and their half of the 1992 split EP Yeah Yeah Yeah, done with the U.K.'s Huggy Bear. Bikini Kill's two most famous songs, "Suck My Left One" (a deeply disturbing incest fantasy in which Kathleen Hanna keeps shifting viewpoints so quickly, from rage to horror to a kind of mocking, in-your-face titillation, that the listener is left vertiginous by the end) and "Thurston Hearts the Who" (a sort of American post-punk version of the Gang of Four's "Anthrax"), are both present and accounted for, along with 11 others that range from willful noise primitivism to genuinely rocking scene anthems like "Rebel Girl." This and the even noisier follow-up, Pussy Whipped, might be all the Bikini Kill one needs.

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