In October of 1992, the 15 minute-long Bikini Kill EP was released on vinyl by Kill Rock Stars, an independent label which was just about a year and a half old, with fewer than 10 releases to its name. Recorded by Fugazi frontman Ian McKaye, Bikini Kill was loud, rough, angry, and raw. The music was a message: feminist revolution starts now, but the third-wave looked (and sounded) a lot different than the first or the second.

This introduction to the Olympia, Washington band told us, in a quarter of an hour, nearly everything we needed to know about them. The sound (what we would now refer to as “low-fi”) was abrasive; the songs sounded at points as if they would fall apart in a fit of howls and unevenly played instruments. Like singer Kathleen Hanna’s later band, Le Tigre, you could be in on the joke if you wanted: “I’ll win that Mötley Crüe mirror if it fucking kills me,” goes a line in “Carnival.” The band went on to release another EP, a few singles, and a full-length album before calling it quits in 1997. But by then, Bikini Kill, and the other bands which loosely formed what is known as “riot grrrl” (after a zine produced by Kathleen Hanna and Tobi Vail) had already changed the world, coupled with another Washington-state brewed musical trend, “grunge.” Kill Rock Stars went on to release successful and critically acclaimed records by Elliott Smith, The Gossip, and Sleater-Kinney. Anti-corporate indie was the new mainstream.