Last Splash

The Real Deal.

So a solo Black Francis made the list, but the far superior album by Kim Deal didn't? It's so baffling the choices that were made. How did this not get on the list but so much other dross did? I saw the Breeders live last year and they were great. In comparison, the Pixies were bland. Great album and great addition. My personal rating: 5/5 My rating relative to the list: 5/5 Should this have been included on the original list? Yes.

FINALLY, someone thought of adding this gem to the users list! Looks like it's someone who's particularly picky when I see their lowest-rated albums list, by the way... But since *Last Splash* was in my own top-five selection of LPs criminally omitted in Dimery's book, I guess this person will still be forgiven here. Because, hell yeah, this one is pretty f*cking high in my own ranking, let me tell you that! For those who are not in the know, we're talking about the 1993 sophomore album by The Breeders, a landmark of early '90s alternative rock that effortlessly captures (or so it seems) the restless energy and ragged charm of that era’s indie explosion. Fronted by Kim Deal, stepping fully out of the Pixies' shadow, The Breeders crafted a record that is both sonically adventurous and disarmingly playful. From the opening dissonance of “New Year” to the off-kilter surf rock of “Flipside,” *Last Splash* moves with a sort of controlled chaos, where melody and noise are constantly pushing against each other, helped along by Jim McPherson's explosive drumming and Mark Freegard's equally explosive production values -- more hi-fi than lo-fi for this one, and yet still coming off as extremely warm and authentic-sounding. The standout single “Cannonball” sure became an unlikely MTV staple, thanks to its lurching bassline, its foghorn-like backing vocals, and its "in the shade" lively chorus -- here flawlessly applying the good old Pixies quiet-loud-quiet dynamics with extra feminine charm. There are also its very cryptic, tongue-in-cheek lyrics (admittedly found everywhere else in the LP). Plus the unmistakable quirks, like when Josephine Wiggs haphazardly hit the wrong note on the bass for the intro. The merits of this LP go way beyond this defining anthem of alt-rock’s golden age, though. Tracks like “Invisible Man” -- dreamy and catchy at the same time -- or “Do You Love Me Now?” -- a lethargic, mock-romantic number built on incredibly slow... suspensions -- showcase Kim Deal’s ability to craft emotionally resonant songs on this lush nineties alternative rock canvas. Elsewhere, “Saints”, a sunburnt celebration of a state fair complete with braying riffs and lines like "pony in the air" (once again reflecting Deal's brilliance at abstract yet immediately recognizable imagery) charges ahead with a punky exuberance that balances sweetness and grit. Same with "Divine Hammer", which delivers two and a half minutes of flirty pop perfection. Last Splash has its share of bangers for sure. Yet there's more than meets the eye (and ear) here. First, just like for "Cannonball", there's the band’s willingness to embrace unexpected quirks and abrupt stylistic changes -- which gives the album a sense of spontaneity that still feels fresh to this day. Case in point, the elliptical shuffling and muttering of "Mad Lucas", or the experimental, cinematic feel of the near-instrumental "Roi", where everything seems to evolve in slow motion, and where the "shot leaves you gagging for the arrow" indeed (Zeno couldn't have put it better!). Let's not forget "Hag", which starts like a wry description of a witch whom Kim Deal is at odds with, and yet ends up like an ode to the stars, just as said witch flies through them perched on her broom. Isn't Kim jealous of her sorcery after all? She shouldn't, her own *melodic* sorcery is impressive enough...As for "No Aloha", it is a startling hybrid of desert island balladry and churning punk-pop, underlined by Kelley Deal's minimalistic guitar lines. Surreal feminist rock at its best here, unafraid to take risks, but most of all unafraid to have fun. A small miracle. Kim and Kelley's mega-watt charm is one of the main reasons said miracle could occur, I imagine -- up to their endearing harmonies on the country-tinged "Drivin' on 9" (a cover of a song by fellow Ohio band Ed's Redeeming Qualities) -- hearkening back to the origins of the project as a folk duo involving the two Dayton twins. Yet every other contributor -- up to Vaughan Oliver and his insanely beautiful album artwork -- played their part perfectly for this record, which is why the end results sound so good. So, to use the words of that retrospective review by The Quietus, "what makes Last Splash endure isn't just its influence on later indie and noise-pop bands—it’s the personality embedded in every track". It's indeed a messy, joyous, and vital album whose strength lies in its very idiosyncracies. Plus, it's a record from an era where the underground briefly took the spotlight, which gives it extra historical value today. It’s playful, weird, even jarring at times—but that's precisely what gives it life. And it's still accessible no matter what, embodying the spirit of early '90s indie rock at its most unpredictable, yet always in a fashion ultimately enticing and exciting. *Last Splash* made waves. And if you listen to it right today, it will keep on doing so. ----- Number of albums from the original list I find relevant enough to be mandatory listens: 465 Albums from the original list I *might* include in mine later on: 288 Albums from the original list I won't include in mine: 336 ---- Number of albums from the users list I find relevant enough to be mandatory listens: 28 (including this one) Albums from the users list I *might* select for mine later on: 38 Albums from the users list I won't select for mine: 70 --- Émile, j'ai mis ma dernière réponse sous l'album de The 1975 au dessus...

Nice indie rock album by The Breeders. Some weakers songs (Mad Lucas, Roi, Hag), some absolute bangers (Cannonball, Divine Hammer).

How was this not on the original list

I received this album on CD from my Columbia House subscription, I think as an almost random pick. I loved it then. I love it still. How nice to get reacquainted! I forgot how much I love “Divine Hammer”. And “Drivin’ On 9” is such a nice and catchy little ditty. Thanks for bringing this back to my attention!

The Deal sisters are superb. Great lyrics, great bass.

Even with heaps of acclaim, this LP has still always felt under-appreciated to me. There’s more than a touch of genius in taking the distinctly American feel of surf rock and twisting it into a grungier, self-aware version of itself, and it’s a potent niche that no other album has managed to occupy. The whole thing seems to flow like a wave, the instrumentals light and bouncy up until they crash into each other for some explosive choruses. Huge range in the songwriting as well – Kim Deal knows how to write an excellent track, and I think we’re all the better she escaped the shadow of Pixies before it was too late.

I've long been outspoken about my love for female-led grunge/rock, and this certainly falls into that category with a heavy shoegaze influence. I liked it quite a bit but honestly my main issue with it is that the vocals were just too quiet. I get that that's what they were going for but i think some of these songs would've been so much more fun if they were belting out those lyrics. Regardless, cannonball and the entire middle of the album are all great.

I feel like I've heard this before but can't remember it. I know it's Kim Deal at least. I'm not a huge Pixies fan but I think that's something I have against Black, not her. This is pretty catchy. Cannonball was familiar, a few other tunes possibly too. It has that laid back Gen X alternative vibe that sometimes I like, sometimes I hate. This morning I like it. And there's an added almost surf rock feel, bit of a retro thing but still unmistakably early 1990s. So that's nice. 4/5.

Cool rock music

I like the Breeders going back ti the beginning. This goes a lot of different places and its mostly strong though there is some that I'd call filler. I like Pod a bit better but this is solid alt/indie rock I'd happily give a listen any time.

Great stuff, love the Breeders

Yeah I really liked this! Particularly the parts that reminded me of MBV. But it wasn't just that I thought it was spunky and cool

Oh boy, really great choice. I haven't listened to this album in full in probably 30 years, but it is such a fun listen and it has held up so well. The Breeders are one of a number of great women-led alt/grunge era bands that were neglected on the original list. I can think of any number of albums I'd happily swap out for this one. This album highlights how much Kim Deal was underutilized in the Pixies, giving her the creative space to be expressive in ways really that wouldn’t quite have fit on a Pixies album. Musically the band is spot on, effortlessly drawing on a diverse musical palette that's appropriately twisted and edgy, but also with a surprisingly dreamy pop sensibility. It fits in perfectly with the great albums its genre and era, but has a brightness that's really missing from a lot of those works. If I had to ding this for anything, I would say that the lyrics are lacking in substance, but it's a minor quibble. Fave Songs: Cannonball, Divine Hammer, Drivin' on 9 , New Year, Do You Love Me Now?, Invisible Man

Pixies-lite

When a band has a song with a devastatingly memorable hook (e.g., "Cannonball") and one that is much better than the rest of the songs on the record, then they should – indeed, must – make it Side 1, Track 1. That's one major beef with this record, which is solid+ and strong overall, with a handful of gems one's long since forgotten ("Drivin' on 9", "Saints"). , "Divine Hammer" is also a fond memory and holds up well. Bonus points from being from Dayton, Ohio, a town one knows all too well (and not always fortunately).

Rating: 6/10 Best songs: Flipside, Saints

A very 90s album with the grungy guitars and vocals similar to female led The Cranberries. This felt like a perfect melding of different 90s album that took a lot of the good things and used it here. This album was alright but it felt very middle of the road. For the things it was good at there were bands that did it better. Overall it’s a good listen but not something I’d actively revisit. 6.4/10

2.5

Good stuff. 3 stars.

Yeah I’ll splash you like a breeder if you know what I mean

If this was less generic grunge and more whatever the fuck "Roi" and "Mad Lucas" were, I would have loved this way more. Not the best, but definitely in the top 5 for "Album covers I want to eat the most".

Bass heavy, of it's time for sure. Fast, easy listen

Alternative rock, experimental, indie rock, noise pop, pop rock, surf rock, grunge. Rollo. Un 2.

Last Splash is unremarkable 2/5 middling indie stuff. Couple of decent tracks, most of it forgettable.

At least I know where that bit of music comes from now. I hope the Royalties from that have afforded them a comfortable life.