Slut Intent: Slutworld
Briefly

Slut Intent: Slutworld
"If political art becomes more timely post-release, it's usually because the injustices it addresses began long before they rose to broader public consciousness. When Slut Intent introduced themselves as Minneapolis' newest "hardcore girl band" mere days into 2024, Renee Good was still alive and all four cops convicted in George Floyd's murder were locked in prison. The band's first song, "Peppa Pig," dropped that March, but its howls of derision about cruelty and betrayal ring even clearer today."
"Slut Intent know two things to be true: Community is everything, and when the time comes, you probably have to fend for yourself. On Slutworld, all five members - singer Katy Kelly, guitarists Elena Bittner and Kailyn Grider, bassist Astrid Pulse, and drummer Cara Hagstrom-Skalnek - make a deafening thrash, refusing to stay still or silent in the face of hostility."
"They can talk your ear off about Mario Kart: Double Dash!! and the murder mysteries of The Traitors as readily as they can the blood-stained hands of billionaires in "Slut Internet" or the dire fight for bodily autonomy in "Bonkers Even." Kelly pins rape apologists against the wall and forces them to own up on "Acrylics," where a single melodic hardcore breakdown sends a shiver down your spine. Slut Intent never hesitate to illustrate their brute force in the music."
Slut Intent's debut Slutworld delivers a furious punk statement rooted in community solidarity and self-defense. The five-piece channels thrash and melodic hardcore through confrontational lyrics and relentless energy. Songs address longstanding injustices, cruelty, betrayal, corporate malfeasance, and the fight for bodily autonomy. Vocalist Katy Kelly directly challenges rape apologists and masked intruders, while the band balances abrasive force with moments of syncopation and breakdown. Tracks range from scathing political critiques to personal reckonings, underscoring a commitment to both collective care and individual resistance within a confrontational musical framework.
Read at Pitchfork
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