The point band of the early-'90s riot grrrl movement, Olympia, WA's Bikini Kill exploded onto the male-dominated indie rock scene by fusing the visceral power of punk with the impassioned ideals of feminism. Calling for "Revolution Girl Style Now," the group's fiercely polemical and anthemic music helped give rise to a newly empowered generation... [+] Read More

The point band of the early-'90s riot grrrl movement, Olympia, WA's Bikini Kill exploded onto the male-dominated indie rock scene by fusing the visceral power of punk with the impassioned ideals of feminism. Calling for "Revolution Girl Style Now," the group's fiercely polemical and anthemic music helped give rise to a newly empowered generation of women in rock, presaging the dominance female artists would enjoy throughout the decade.

Bikini Kill formed in the late '80s at Olympia's liberal Evergreen College, where students Kathleen Hanna, Tobi Vail, and Kathi Wilcox first teamed to publish a feminist fanzine, also dubbed Bikini Kill. Seeking to bring the publication's agenda to life, they decided to form a band, enlisting guitarist Billy Boredom (born William Karren) to round out the lineup. Led by singer/songwriter Hanna, a former stripper, the group laced its incendiary live performances with aggressive political stances that challenged the accepted hierarchy of the underground music community; slam dancers were forced to mosh at the fringes of the stage so that women could remain at the front of the crowd, for example, and female audience members were often invited to take control of the microphone to openly discuss issues of sexual abuse and misconduct.

In 1991, Bikini Kill issued their first recording, Revolution Girl Style Now, an independently distributed demo cassette. For their first official release, the quartet signed with the aggressively independent Olympia-based label Kill Rock Stars; the Bikini Kill EP, produced by Fugazi's Ian Mackaye, consisted largely of reworked versions of material from the first cassette. In 1992, the band issued Yeah, Yeah, Yeah, a split 12" released with the British group Huggy Bear's Our Troubled Youth on its flip side; a subsequent U.K. tour with Huggy Bear in early 1993 raised the visibility of the riot grrrl groundswell to unprecedented heights, and the movement became the focus of many media outlets on both sides of the Atlantic. When Bikini Kill returned to the U.S., they joined forces with Joan Jett, whom the band held up as an early paragon of riot grrrl aesthetics. Jett produced the group's next single, the bracing "New Radio"/"Rebel Girl," and Hanna returned the favor by co-writing the song "Spinster" for the Jett album Pure and Simple. In 1994, Bikini Kill released Pussy Whipped; their most potent effort to date, it featured the songwriting emergence of both Vail and Wilcox, a trend continued on 1996's Reject All American. The group quietly disbanded in early 1998. ~ Jason Ankeny, All Music Guide [-] Hide

Inspired by Seattle punk band the Gits and their fiery vocalist Mia Zapata, 7 Year Bitch is one of the most aggressive punk bands on the American indie scene. Vocalist Selene Vigil, guitarist Stefanie Sargent and drummer Valerie Agnew were playing in the Seattle group Barbie's Dream Car when their bassist left for Europe. They recruited... [+] Read More

Inspired by Seattle punk band the Gits and their fiery vocalist Mia Zapata, 7 Year Bitch is one of the most aggressive punk bands on the American indie scene. Vocalist Selene Vigil, guitarist Stefanie Sargent and drummer Valerie Agnew were playing in the Seattle group Barbie's Dream Car when their bassist left for Europe. They recruited Elizabeth Davis and played their first shows with the Gits. After a self-titled debut single in 1990, 7 Year Bitch signed with C/Z Records. The first album Sick 'Em appeared in 1992, but was overshadowed by Sargent's death just before it was released; Roisin Dunne became the guitarist's replacement the following year. In July 1993, Mia Zapata was brutally killed in Seattle, and 7 Year Bitch recorded ¡Viva Zapata! as a tribute. The group then signed with Atlantic and in 1996 released Gato Negro, their major-label debut. ~ John Bush, All Music Guide [-] Hide

Although often lumped in with the "Seattle Movement" of the early '90s (due to their sound, look, and attitude), the all-female punk band L7 hailed originally from Los Angeles. The seeds for L7 (whose name was taken from a slang term in the '50s that meant someone who was a "square") were planted in 1985, when a pair of guitarists/singers, Suzi... [+] Read More

Although often lumped in with the "Seattle Movement" of the early '90s (due to their sound, look, and attitude), the all-female punk band L7 hailed originally from Los Angeles. The seeds for L7 (whose name was taken from a slang term in the '50s that meant someone who was a "square") were planted in 1985, when a pair of guitarists/singers, Suzi Gardner and Donita Sparks, decided to start a band. Over the next few years, the group extended its lineup to include bassist Jennifer Finch and drummer Dee Plakas, as their sound grew more and more metallic, yet never losing the attack and simplicity of punk. 1988 saw the group signed by the Epitaph label, which issued their self-titled debut the same year and the group spent the better part of the next few years touring the world. L7 issued Smell the Magic for the Sub Pop label in 1991, and the same year formed the Rock for Choice non-profit organization. Raising money and awareness for pro-rights, the organization put on several benefit shows over the years, featuring such noted performers as Nirvana, Hole, Pearl Jam, and Neil Young, among others.

With Nirvana finally bringing punk to the mainstream, bands such as L7 suddenly became "en vogue" as the quartet was signed to Slash/Reprise, issuing their best-known album with the Butch Vig-produced Bricks Are Heavy in April of 1992 (which spawned the popular MTV hit "Pretend We're Dead"). L7's follow-up, 1994's Hungry for Stink, failed to expand the group's following despite being part of the 1994 version of the traveling U.S. alt rock festival Lollapalooza. Bassist Finch left the group shortly thereafter (eventually replaced by former Belly bassist Gail Greenwood) and the group issued such further releases as 1997's The Beauty Process: Triple Platinum, 1998's Live: Omaha to Osaka, and 1999's Slap-Happy, while the group was also the subject of a 1998 concert film made by former Nirvana bassist Krist Novoselic, also titled The Beauty Process. In 2000, a 12-track retrospective collection was issued, Best of L7: The Slash Years. ~ Greg Prato, All Music Guide [-] Hide

Pioneering riot-grrrl duo Heavens to Betsy was formed in 1991 by singer/guitarist Corin Tucker and drummer Tracy Sawyer, longtime friends from the Eugene, OR area who began collaborating on music while attendng Evergreen State College in Olympia, WA. A series of compilation appearances preceded the band's Kill Rock Stars single "These Monsters... [+] Read More

Pioneering riot-grrrl duo Heavens to Betsy was formed in 1991 by singer/guitarist Corin Tucker and drummer Tracy Sawyer, longtime friends from the Eugene, OR area who began collaborating on music while attendng Evergreen State College in Olympia, WA. A series of compilation appearances preceded the band's Kill Rock Stars single "These Monsters Are Real," followed in 1994 by the LP Calculated; in the wake of the Chainsaw label seven-inch "Direction," Heavens to Betsy disbanded, with Tucker later going on to fame leading Sleater-Kinney. ~ Jason Ankeny, All Music Guide [-] Hide

Babes in Toyland is about as harsh as rock music gets -- guitarist Kat Bjelland screams and thrashes her guitar to the gut-pounding, throttling beat of bassist Maureen Herman and drummer Lori Barbero. Over their two albums and two EPs, the all-female trio offers no escape from their strongly female-oriented, but not necessarily feminist, rock.... [+] Read More

Babes in Toyland is about as harsh as rock music gets -- guitarist Kat Bjelland screams and thrashes her guitar to the gut-pounding, throttling beat of bassist Maureen Herman and drummer Lori Barbero. Over their two albums and two EPs, the all-female trio offers no escape from their strongly female-oriented, but not necessarily feminist, rock.

Bjelland formed Babes in Toyland in 1987 in Minneapolis, after playing around San Francisco for several years in various bands which featured, at various times, Jennifer Finch of L7 and Courtney Love of Hole. After releasing a single on Sub Pop's singles club, Babes in Toyland came to the attention of Sonic Youth, who took them on a tour of Europe. Soon, they recorded their abrasive debut, Spanking Machine, with producer Jack Endino; one more independent EP followed before they signed to Reprise. Between labels, original bassist Michelle Leon left the group.

Sonic Youth's Lee Ranaldo produced their second album, Fontanelle, which showed no signs of concession to a major label. In early 1993, the band broke up for several days before re-forming to record the Painkillers EP and hitting the road with Lollapalooza 1993.

Even though Lollapalooza offered the group a boost in public exposure, they chose not to capitalize on it; instead, it took them nearly two years before they released a new record, Nemesisters, in 1995. With Babes in Toyland on hiatus, Bjelland formed Katastrophy Wife with husband Glen Mattson; in the spring of 2000, Reprise issued the Babes collection Lived. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Outfits like the Frumpies are why the indie rock and punk scenes have such reputations for incestuousness. At the heart of the band are Bikini Kill's Kathi Wilcox and Tobi Vail, who leave their respective bassist and drummer roles to take up joint duty guitar and vocals. They're joined by Bikini Kill guitarist Billy Karren and Bratmobile drummer... [+] Read More

Outfits like the Frumpies are why the indie rock and punk scenes have such reputations for incestuousness. At the heart of the band are Bikini Kill's Kathi Wilcox and Tobi Vail, who leave their respective bassist and drummer roles to take up joint duty guitar and vocals. They're joined by Bikini Kill guitarist Billy Karren and Bratmobile drummer Molly Neuman (playing their usual instruments), along with occasional help from Make-Up bassist Michelle Mae on guitar. Frumpie One Piece is a compilation of singles from a bevy of labels. While each of the player's original bands grew more sophisticated with time, the Frumpies keep their sound down and dirty. Screeched vocals, rudimentary slashes at the guitar, and basement production values are the order of the day, whether the tracks were recorded in 1992 or '96. Like the Minutemen, sometimes the Frumpies comment on their disaffection just as effectively with song titles as with lyrics: "I Just Wanna Puke on the Stereo," "Whatshisname Hearts the Frumpies," "Weary Ingenues and Snotty Brats," "Fake Antagonism Rules, Okay." Though it's non-essential, Frumpie One Piece is a handy compendium and surely of interest for fans of the riot grrrl community. ~ Chris Nelson, All Music Guide [-] Hide

Having reinvented the girl-punk wheel with Call the Doctor, Sleater-Kinney continues to expand the boundaries of the form with the stunning Dig Me Out. Leaner and more intricate than its predecessor, the record is remarkably confident and mature; instead of succumbing to the pressures of "next big thing" status, the trio finds vindication in all... [+] Read More

Having reinvented the girl-punk wheel with Call the Doctor, Sleater-Kinney continues to expand the boundaries of the form with the stunning Dig Me Out. Leaner and more intricate than its predecessor, the record is remarkably confident and mature; instead of succumbing to the pressures of "next big thing" status, the trio finds vindication in all of their critical adulation -- the vocals are even more ferocious, the melodies are even more infectious, and the ideals are even more passionate. ~ Jason Ankeny, All Music Guide [-] Hide

Sleater-Kinney's masterful sophomore effort Call the Doctor fulfills all the promise of the group's debut and more, forging taut melodicism and jaw-dropping sonic complexity out of barbed-wire emotional potency. The emergence of Carrie Brownstein as an equal shareholder in Corin Tucker's vision is the key -- her four contributions (particularly... [+] Read More

Sleater-Kinney's masterful sophomore effort Call the Doctor fulfills all the promise of the group's debut and more, forging taut melodicism and jaw-dropping sonic complexity out of barbed-wire emotional potency. The emergence of Carrie Brownstein as an equal shareholder in Corin Tucker's vision is the key -- her four contributions (particularly "Stay Where You Are" and "I Wanna Be Your Joey Ramone") are stellar, while her harmonies complete Tucker's equally superb lead turns by reading between the lines to verbalize the naked aggression at the core of the songs' polemic power. Forget the riot grrrl implications inherent in the trio's music -- Call the Doctor is pure, undiluted punk, and it's brilliant. ~ Jason Ankeny, All Music Guide [-] Hide

Far and away the definitive British riot-grrrl album, Taking the Rough with the Smooch is as much a record as a manifesto; compiling tracks from early seven-inches like Kiss Curl for the Kid's Lib Guerrillas and Her Jazz, it's a blistering musical vendetta which crams a dozen songs into just 22 minutes, exploiting each moment to its maximum... [+] Read More

Far and away the definitive British riot-grrrl album, Taking the Rough with the Smooch is as much a record as a manifesto; compiling tracks from early seven-inches like Kiss Curl for the Kid's Lib Guerrillas and Her Jazz, it's a blistering musical vendetta which crams a dozen songs into just 22 minutes, exploiting each moment to its maximum potency. Songs steeped in violence and vitriol, "Shaved Pussy Poetry," "Pansy Twist," and "Concrete Life" are grenades lobbed at the establishment, darkly romanticized fantasies of illicit sex, cop killings and teenage terrorism; frenetic and disjointed, Huggy Bear's music nevertheless captures the bleak spirit of its times with incendiary eloquence, its intensity and aggression a call to arms for listeners of all genders and sexual orientations. ~ Jason Ankeny, All Music Guide [-] Hide

Though they hailed from sunny L.A., L7 became the poster girls for grunge, and more specifically the "riot grrrl" movement in 1992, with the meteoric success of their third album, Bricks Are Heavy. While their previous efforts had sounded sloppy and uneven, Nevermind producer Butch Vig helped the girls obtain a tight, compact sound on Bricks,... [+] Read More

Though they hailed from sunny L.A., L7 became the poster girls for grunge, and more specifically the "riot grrrl" movement in 1992, with the meteoric success of their third album, Bricks Are Heavy. While their previous efforts had sounded sloppy and uneven, Nevermind producer Butch Vig helped the girls obtain a tight, compact sound on Bricks, pushing them to focus on their songwriting to boot. After all, great albums need great songs, and that's exactly what you have here. Mosh-pit anthem "Everglade" (sung by bassist Jennifer Finch) will simply knock you on your ass, and big single "Pretend We're Dead" is so good that its tough swagger harks back to seminal bad girl anthems like Joan Jett's "I Love Rock'n'Roll," Pat Benatar's "Hit Me With Your Best Shot," and even the Go-Go's -- well, maybe not the Go-Go's. The sardonic "Diet Pill" tackles female compulsions with clever irony, and even when they let their mega-riffing take over on such full-throttle stomps as "Wargasm," "Mr. Integrity," and "Shitlist," L7 still manage to imbue their lyrics with humor and substance. Inevitably, a few songs (especially "Slide") tend to push the Nirvana envelope just a tad, but Vig's involvement aside, these four ladies had been doing this kind of thing for as long as the Seattle trio. L7's crowning achievement, Bricks Are Heavy sadly proved to be an impossible act to follow, and the band gradually faded into obscurity thereafter. ~ Ed Rivadavia, All Music Guide [-] Hide