The ladies of Sleater-Kinney — guitarists and vocalists Corin Tucker and Carrie Brownstein, and drummer Janet Weiss — never have been ones to mince words.

The Portland, Ore., by-way-of Olympia, Wash., trio always has worn its heart on its sleeve, and Sleater-Kinney expands its sound on its fifth long-player, “One Beat” (Kill Rock Stars). Most of the changes are positive, the foremost being a new understanding of how scaling back can allow for exponentially increased rockage.

From the album’s onset and the off-kilter drum pattern of the title track, it takes listeners on a hook-filled and lyrical journey. Witness the lyrical sentiments of “Far Away” and “Combat Rock” and the riffage of “Hollywood Ending,” as well as the mighty, fist-pumping second half of “Combat Rock.” “Combat Rock” and “The Remainder” stutter along a single riff, refusing to explode before building to a tantric peak.

“Far Away” and “Combat Rock” both address the Sept. 11 attacks, though in different ways. “Far Away” is Tucker’s first-person account of the attacks as a mother, and it should resonate with listeners who sat back defenseless and in awe of the events of that day. “Turn off the TV/ Watch the world explode in flames,” Tucker wails early on in “Far Away,” as drummer Janet Weiss’ mid-tempo militant snare rolls pierce the melody. “Combat Rock” has Brownstein asking, “Where is the protest song?”

Though the band adds a slew of amenities to expand its sound (a horn section, strings, occasional keyboards), still evident throughout most of the tracks are the band’s trademarks: the duo’s intertwining, angular guitar licks, as well as its interwoven, though radically different, vocal stylings.

“One Beat” benefits immensely from an improved vocal range for Carrie Brownstein, who sounds more confident than ever, sporting a fully developed, hiccupy voice that contrasts Tucker’s wail. Tucker’s banshee vocals occasionally got out of hand on older S-K material, and Brownstein’s participation is welcome news for fragile eardrums.

Suspiciously absent are the gorgeous three-part harmonies that propelled the best tracks, “Milkshake N’ Honey” and “Leave You Behind,” from the group’s last effort “All Hands on the Bad One.”

Fans might have predicted the band would expand its sound after five releases and nine years performing together, but it continues to make the most of its time on its musical soapbox.