She is vacantly deadpan in “I Just Wanna Get Along” (“ If you’re so special/ Why aren’t you dead?”) and wicked sibilance in “Saints” (“ Seeing Sooey and saints at the fair”) but it’s not all crustiness and bad attitude. “No Aloha”’s underwater reverb and clear, unhurried vocals lend lines like “ Saw it on the wall/ Motherhood means mental freeze” an unsettling certainty. The tang of Deal’s voice – it’s like eating a jagged shard of nectarine – rifles through all spaces and inhabits many personalities. Kim Deal didn’t need a counterbalance as exceptional as their work on debut album Pod was, Donelly is not missed on Last Splash. The two had a light sister/dark sister reciprocity, a harmonic interplay replaced by the inclusion of actual twin sister Kelley on Last Splash. Overshadowed and undervalued by Black Francis, Kim Deal splintered off from the Pixies in 1990 – a dynamic that would replicate itself when founding Breeders member Tanya Donelly (taking time off from Throwing Muses) walked away from Deal and her alpha tendencies after recording their Safari EP in 1992. This was the time and place for the Breeders at their most potent, 1993 seeing the release of commercial thunderclap Last Splash after a brief but restless history for a band that started out as a side project. Let’s go,” he said, and that’s how we all felt that day, I think. There were stitches during the Breeders’ set, the songs of Last Splash sewn into this scene of injury, fraternity and rambunctious chaos. ![]() ![]() I remember finding my friend in the medical tent, his head being attended to after suffering a gash from someone’s muck-caked clog that had aggressively taken flight, this ill-chosen footwear a rocket of mosh pit detritus. Courtney Love had just shocked the world by taking the stage as a surprise guest, partly in lieu of the Nirvana set that was never to be (Cobain having pulled the plug on the band’s spot in the lineup a day prior to his death) and partly, it can’t be argued, as a weeping widow’s power play. ![]() “My heroes don’t wear their baseball caps on backwards.” This from Billy Corgan, when his hubris was at its most palatable if not subversively fetching specifically, during the Smashing Pumpkins set at Lollapalooza 1994 in Philadelphia. In this series, we examine albums as they turn 20 years of age, looking at the impact they made at the time and where they stand now, two decades on.
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