lambchops's Full Review: Last Splash by The Breeders
As one of the most ridiculously entertaining girl rock bands of the 1990’s, The Breeders, paved the way for other acts like Veruca Salt to make a widespread impact. It’s unfortunate that the Ohio-based band lasted in perfect form for just two albums before they self destructed at the mercy of Kim and Kelley Deal.
Kim Deal (Pixies) and Tonya Donelly (Throwing Muses) came together to form The Breeders in 1988. Both played a mean guitar, and the duo recruited Shannon Doughton for drums and Josephine Wiggs for the bass guitar. All four talented women provided some level of vocals for the band’s critically lauded 1990 major label debut, Pod. Despite the four strong performances, the main players were Deal and Donelly. The album became pretty successful and spawned creatively free songs like Doe, Hellbound, When I Was A Painter, and Lime House.
Two years later, The Breeders recorded their last work with Donelly. Unfortunately, the EP Safari didn’t make much of an impact. She parted ways and was quickly replaced with Kim’s troubled sister Kelley. Soon after their reformation, The Breeders (including the drum work of Jim MacPherson) released their breakthrough album, Last Splash. The platinum 1993 effort catapulted the band to alternative rock greatness and landed them on the Lollapalooza tour. In addition, the world was given the band’s most popular song ever, Cannonball.
The bliss was not to last long. Kelley’s drug problems caught up to her and the band’s inner turmoil caused them to stop work on any further projects. Each member went on with life and formed their own collaboration (Josephine Wiggs Experience, Kelley Deal 6000, and the Amps to name a few). The four never again came together, and an album of new material wouldn’t be released again until this year’s eagerly anticipated Title TK.
But the most impressive works of The Breeders are still the earliest two. The moment I first discovered the band was undoubtedly on MTV with the video for Cannonball. Little did I know at that moment that Last Splash was such an overall good album. But, there are problems. At moments, the genius of the work shines though. At other moments, songs feel disjointed and unfinished. But, in all, it is an impressive enough effort.
Among the best songs is of course the hit single Cannonball. I can’t emphasize enough that this is a brilliant poppy rock track. The strange start sets the mood and scene for the rest of the music. The inclusion of chanting followed by modem noise catches the listener off guard…and then entrances them. I’m completely in awe of the band’s use of repetitive drums and precise bass stops and stars and only occasional use of guitars. It’s an impressive track.
A few other songs are equally yummy. Divine Hammer got quite a bit of airplay. It’s a grungy, poppy, rock song. At the heart of the songs lays Kelley’s bass guitar. The guitar solo is refreshing, not trite or cliché. But, Kim’s vocals are singsong and girly…a wonderfully invigorating contrast to the other wise heavy music. Divine Hammer exudes confidence, intelligence, and musical talent.
Low, droning, and distorted, Saints is a melodic yet hard-hitting track. At times, the track is sparse; at others it’s thick and complicated. She speaks while she sings, a method used by other alternative music innovators like Kim Gordon (on her offerings for Daydream Nation for example). I enjoy the darkly tinted and twisted melodies offered by The Breeders on this track. The lyrics are wry and strangely compelling, an homage to the fair:
I like all the different people
I like sticky everywhere
Look around, you bet I'll be there!
Hot metal in the sun
Pony in the air
Sooey and saints at the fair
The instrumental tracks S.O.S. and Flipside highlight the talent of the four band members, though I miss Kim’s vocal talents. I do however really find joy in Drivin’ on 9, a country-rock-pop track. Close your eyes, feel Kim standing on a wooden stage, pine rafters over her head, a banjo in hand. This is the feeling emoted by the track. The fact that The Breeders can so easily change musical styles proves that they are indeed talented and that regardless of material they sound good if not great (as in this case).
Invisible Man is intense, pained, and motivating. Even Kim’s vocals begin with an uncharacteristic growl. She soon at least sounds less hurt, but the overall tendency of the track is to be moody despite the fact that it’s not the loudest song on the album by a long shot. Experimental, intelligent, quirky, and thick, the song also represents the best that The Breeders once had to offer.
A final track worth mentioning among the best is the first, New Year. Hard rock guitars, feedback, intense drums, and Kim’s immediately recognizable vocals drop the listener into an immediate haze and then knock them over their head with punk rock guitars and quickly grinding noise. It acts as a bridge to Cannonball nicely.
There are other decent tracks, though none offers the charm of the five I’ve just mentioned. Some are pretty undesirable. Hag, Roi, No Aloha, and Mad Lucas never develop into anything with purpose. And, at fifteen songs in length the album would have been better had The Breeders further explored their better efforts and left these off. It’s a good album, better than average to say the least and represents the best of what 1993 had to offer.
Last Splash isn’t perfect, but along with Pod is a must own for fans of alternative rock. The songs are recognizable, comfortable, and fun even if you’ve never heard any but Cannonball before. I highly recommend the purchase to alternative rock fans everywhere…and people stuck in the 1990’s (like myself).
Rating: 4/5 stars
Track Listing:
01. New Year
02. Cannonball
03. Invisible Man
04. No Aloha
05. Roi
06. Do You Love Me Now?
07. Flipside
08. I Just Wanna Get Along
09. Mad Lucas
10. Divine Hammer
11. S.O.S.
12. Hag
13. Saints
14. Drivin’ on 9
15. Roi (reprise)
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