De Amerikaanse indierockband The Breeders wordt in 1988 opgericht door Pixies-bassiste Kim Deal en Tanya Donelly. Na verloop van tijd sluit onder meer ook zus Kelley Deal zich aan bij de band. The Breeders maken in 1990 meteen naam met hun energieke indierock met hun debuutalbum POD. In het nieuwe millenium doet de band slechts sporadisch van zich spreken. Maar in 2018 komt de groep, tien jaar na het album Mountain Battles, met het nieuwe album All Nerve.
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Alternative en Indie - Verschenen op 2 maart 2018 | 4AD
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Internal feuds and heroin in the crook of the arm of her twin didn’t rattle the more relaxed female rocker: Kim Deal. Nirvana with boobs and with ballsy grunge, the Breeders kindled the indie rock scene by reminding people that even if there wasn’t anyone to welcome them, there was a feminine scene. Imploding in 1993 after the aptly named Last Splash, the quartet saw Kim go back to the Pixies when Kelley went into rehab. Two other albums, Title TK in 2002 and Mountain Battles in 2008, reminded us that the beast could still move… Since a concert in 2013 brought back the hope of a reunion, the two sisters, the bass player Josephine Wiggs and the drummer Jim MacPherson went back to the studio for All Nerve. Grunge entanglement resuscitating from the rough nineties, this lightning opus (33 minutes) blasts a tried and tested formula. If the dirty guitar-bass-drums and vocal distortions recipe doesn’t cause the Cannonball effect that made their success, All Nerve carries the mark of the painful decades that followed. As proof, the distorted ballads Space Woman, Dawn: Making An Effort, Blues At The Acropolis. It is dark and nervous. © Charlotte Saintoin/Qobuz
Alternative en Indie - Verschenen op 8 april 2008 | 4AD
It only took the Breeders a little under six years to deliver the follow-up to Title TK, which is progress, considering that it was nearly a decade between that album and Last Splash, and especially since Kim Deal was occupied with the Pixies reunion for a couple of those years. Mountain Battles sounds like progress, too: while all Breeders albums have, in varying proportions, a mix of whip-smart pop songs, droning rockers, and experimental tangents, the blend of these sounds hasn't sounded this satisfying since the Pod days. Deal and crew aren't making a big pop push à la Last Splash, and they don't sound as defiant as they did on Title TK -- but, as on that album, Mountain Battles feels like the band are doing exactly what they want and not worrying too much about what anyone else thinks about it. "It's the Love," the song most like the Breeders' quintessential sweet-but-tart punk-pop, is actually a cover of fellow Dayton band the Tasties, and Kim's delivery is so cheeky that it almost feels like she's affectionately sending up that sound. "It's the Love" is placed next to the album's oddest song, which happens to be the title track and finale: full of murky keyboards and a melody that plays hide-and-seek, "Mountain Battles" sounds unfinished and unsettling. Yet there are a lot of other sounds between those extremes, including "Bang On"'s distorted drums and witty guitars, which prove that Deal is still as skilled at pop collages as she was during "Cannonball"'s heyday; "German Studies" and "Walk it Off" should also please Last Splash fans craving more of Deal's sassy pop. However, the flirty, slow-dance cover of "Regalame Esta Noche," which shows off the pure beauty of her voice; the percussive, call-and-response jam "Istanbul," and "Here No More," a country number so simple and effortless it feels like it could be a cover, make Mountain Battles eclectic and even a bit daring. Deal's willingness to let the album's songs take their own paths is even more daring; from "Overglazed"'s impressionistic rock, which opens Mountain Battles with stampeding drums and cascading vocals, to the wandering, surf-tinged ballad "Night of Joy," many tracks feel open-ended and sometimes downright elusive. But, even if "Spark" remains little more than a moody sketch and "We're Gonna Rise" moves as slowly as dust turning in a sunbeam, they add to Mountain Battles' ebb and flow, with each song playing off the other naturally. And, though the album covers a lot of territory -- 13 songs in 36 minutes! -- it doesn't feel scattered; scattered implies no purpose, but Mountain Battles' songs land, eventually, exactly where they need to. © Heather Phares /TiVo