The Sleater-Kinney singer-guitarist has probably the most distinctive wail in the music, heavy on vibrato, at all times controlled even when she’s conveying emotional torrent. Her bandmate Carrie Brownstein, in her memoir, described Tucker’s voice as “a wail not of mourning but of murder. And there was so much I needed to destroy.” But there’s much more than sheer energy — on the Corin Tucker Band’s 1,000 Years, for instance, she’s just as expressive, and interesting, at a more contained volume. With the Cure, he’s a grasp of breathy intimacy and erotic wit, as if he’s confiding secrets and techniques by candlelight, even when he’s singing about cats and spiders. He works his mopey voice into a powerfully expressive instrument, whether he’s going for horny misery (“Close to Me”), self-mocking misery (“Let’s Go to Bed”), or depressing distress (“One Hundred Years”).

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