Wednesday, 12 December 2007



With their second album The Breeders suddenly appeared to cross over from exceptional side project to becoming a genuine going concern, not least down to the fact that this project was so much more satisfying than anything else any former Pixies members had moved onto. Within this act there was a strong degree of stability and the distinct promise that this was going to be a long term act worth the listener investing in.

The record opens with “New Year” which bellows beginning all the way. One day all rock records will start in such a manner, of such determined fashion and clear cut intentions. I even opened a DJ set with this song once and had one of the local hipsters who previously hated me come running over asking me who it was I was playing. Such is the power of the Deal twins, they even made a lesbian like me.

From here it slickly and swiftly turns straight into “Cannonball” which will always be THE Breeders song and the big tune that surely resonates as a bonafide hit.

Last Splash is the sound of record made by individuals who give off the impression that butter would not melt in their mouths while at the same time harbouring the ability and desire to playfully set things on fire.

Supremely situated at a time when noise was all that was required on the agenda tracks such as “Roi” were ultimately able to thrive while not exhausting much in the way of patience from the listener. Meander they could.

“Do You Love Me Now?” sounds so heartbreaking, almost like a wife during the outset of a beating as Deal possesses distinctly chilling chops. Not long after “I Just Wanna Get Along” springs up like a more feisty take on events, more forceful and representative of their ultimate demeanour.

The second single “Divine Hammer” appears to be currently annoying the couple sat around me on the train as I sit and type this. They have no taste being that this is pop perfection in laidback motion. They have no drive.

Of all the songs available to be cash cows on the record it is the noisy filler of “S.O.S.” with its sloshy wah that proved the ultimate money-maker when The Prodigy tactically sampled it on “Firestarter”. Ka-ching!

The album ends strongly with the couplet of “Hag” and “Saints” which staunchly remind me of the best moment on Pod that was “Iris”. “Saints” in particular is a perfectly poisonous song as a lifting personal anthem when faced by a lifeless set of people when seemingly exhibiting apathy. “Summer is ready when you are” is a perfect sentiment. Wake up peoples.

An ex-boss at Baker Street apparently in Alcoholics Anonymous once told me how when he moved house one time and finally set up his record player all he wanted to listen to was “Drivin’ On 9” as it became the first record he put on his deck. It was a wonderful moment/exchange. Unfortunately we then proceeded to argue as to which album it appeared on, he insisting it being on Pod when I knew it was on Last Splash. He won.

Somehow they took the bliss of Pod, added grunge and made a good thing better. Deal with it.

Thesaurus moment: brisk.

The Breeders

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