The Breeders’ third release is somewhat familiar. It still has the weird song structures, the drunken talk, the relentless guitar/ drum interplay and of course, Kim Deal’s excellent voice. It’s so familiar, that it almost seems like a step backward. The Last Splash, though still very grounded in garage rock, had certain moments with odd modern noise and top notch production. Title TK is closer in sound to Pod. It’s raw, stark and still odd.
I guess this has something to do Kim Deal’s philosophy at the time. She had said that she was frustrated that a lot of people were doing their music with a computer, that everyone from PJ Harvey to Tori Amos was using hip hop techniques or something. She wanted a more organic sound, that she wanted people to hear them in CD the way they’d sound in the garage. It’s an admirable stance because hip hop does suck. And PJ Harvey’s Is This Desire? Suffered from its surface sound obsession and From The Choirgirl Hotel’s best moment was Northern Lad, one of Amos’ more subtle ballads.
Title TK has a lot of exceptional songs. Little Fury starts out with a relentless drum beat with Kim Deal’s self aware words following closely and Kelley Deal’s voice stalking her sister’s.
Off You, the lone ballad in the lot, is romantic. It’s reminiscent of Do You Love Me Now (The Last Splash), from the slow like honey pace to the Velcro like guitars and humming Bass work. The Breeders retains their bizarre but affecting lyric writing as well.
I've laid this island sun a thousand times.
I'm on it, but I'm going strange.
This island's chills and shell cover me
With winded rock
And skies I've yet to see. Too Alive is catchy as hell. It’s the kind of song that you’d never get out of your mind. The words are hard to memorize. But the shortness of the song and it’s irresistible melody will have you humming it. And there’s unexpected joy at Kim’s cracking vocal acrobatics.
The thoughts of scene a crime,
Steal and all race out of my mind.
I give up! T and T is an instrumental that reminds me of Flipside (The Last Splash). It is affecting again, in a more operatic way.
There are also misses, of course. Put on a Side is pointlessly meandering. Sinister Foxx is initially arresting but after a few listens wears its hypnotic quality off. Full on Idle has already been recorded and released and therefore useless because not much improvement occurred.
Still, The Breeders is still a master of melodic rock. The rest of the record is wonderful, makes you miss the nineties very very very badly.