Thanks to good timing and some great singles,
Last Splash turned
the Breeders into the alternative rock superstars that
Kim Deal's former band
Pixies always seemed on the verge of becoming. Yet in some ways, the group's commercial breakthrough was the most unpredictable music they'd made up to that point. Joined by
Deal's twin sister,
Kelley, the band builds on the
Safari EP's polished production, but instead of merely making their sound bigger or more palatable, they play with more styles, textures, and moods than ever before. Nowhere is this more evident than on the album's blockbuster single "Cannonball." From the foghorn-like vocals that announce it to
Josephine Wiggs' bouncing bassline to its singsong vocals, virtually every part of this mischievously sexy, choppy yet grooving song is a hook. Though it became a symbol of the 1990s alt-rock revolution, it's so light and playful that it still sounded fresh years later.
The Breeders extend "Cannonball"'s jumps, twists, and tangents to
Last Splash as a whole, balancing irresistible pop with whimsical detours. They take this approach to extremes by teasing listeners with the elliptical shuffling and muttering of "Mad Lucas" before delivering two and a half minutes of flirty pop perfection with "Divine Hammer." More often, the album's patchwork offers a wealth of ideas and feelings. "Hag" and "No Aloha," a startling hybrid of desert island balladry and churning punk-pop, update
Pod's surreal feminism, a mood that trickles down to the aching independence of "Invisible Man." Then there's the band's obsession with summer, which ranges from "Flipside"s high-tide surf-pop to "Saints," a sunburnt celebration of a state fair complete with braying riffs and lines like "pony in the air" that reflect
Deal's brilliance at abstract yet immediately recognizable imagery.
Kim and
Kelley's mega-watt charm is one of the main reasons
Last Splash holds together as well as it does. "Drivin' on 9" (a cover of a song by fellow Dayton, Ohio band
Ed's Redeeming Qualities) provides one of the album's best showcases for the pure charisma of the former's voice, while "I Just Wanna Get Along"'s apocalyptic power pop puts the spotlight on the latter's singing and razor-sharp songwriting. Along with its emphasis on fun,
Last Splash is one of the defining albums of early-'90s alternative rock precisely because of its anything-goes mood -- an attitude that
the Breeders held on to for the rest of their career. ~ Heather Phares