The Breeders - 'Title TK' (4AD)
4/5
By: Toby L
There's something about the long-awaited return from The Breeders that allows you to simply know what's coming...
You see, they've had the success - a couple of million records sold to be precise - released a classic album, 1993's 'Last Splash', and have even spawned one of the most memorable 'MTV'-plagued videos/singles of the last decade, the infectious thundering of 'Cannonball'. Naturally, things got a bit complicated after this, and many things - mostly negative - happened internally to band-members, and the musical-creativity they once possessed fell by the wayside. But, they're back now, with a hefty touring-schedule and a new album, 'Title TK', their first for almost ten years (though, who's counting?).
This latest effort is the anticipated re-evaluation of the band's original lo-fi, slacker sound of the very early-90s, as demonstrated during their first endeavours within the release 'Pod'. The sisters Deal and co. appear to have become more reflective, introspective maybe, and team up once again with producer-maestro Steve Albini. The result is an album with a short running-time, possessive of 12 tracks and an ambience that is as intriguingly beautiful as it is edgy.
From the initial drumkit-intro of 'Little Fury' into the surging poignancy and simplicity of 'Off You', with its touching, 'Yeah, we're movin,' lyrical refrain, the next half-hour is a rather fascinating ride. 'The She' contains a beat and bass-rhythm so infectious and grinding that you almost anticipate a rapper to start shedding off his life-story of guns and crime, but instead you get that ever-distinctive grunting guitar and pesky Kim Deal vocal-charm (TM) that is completely unique to The Breeders' sound (well, and her past endeavours in The Pixies, of course).
Elsewhere, the downbeat nature is occasionally exchanged for the mid-pace and live-sounding splendour of 'Too Alive', originally recorded back in '99, whose subtle use of melody is more noticeable on repeat listens... And, speaking of which, it doesn't take too long to realise that this is an album that begs to be heard multiple times before you truly appreciate it. Although the fuzzy exterior of 'Son Of Three', for instance, sounds rather appetising on one play, provide it with a few more airings and its somewhat percussion-driven energy resembles an LA-based, female Strokes... No, really - and the results are quite enchanting.
Potential listener-criticisms are, as expressed, that its immediacy is hardly forthright from the get-go. Those that want to enjoy 'Title TK' have to put the work in as much as The Breeders themselves have, and - once this has happened - the chirpy oompah-oompah magic of 'Full On Idle' can be even more appreciated, let alone the freaky mood-changes in 'Forced To Drive', and the finale of instrumental 'T and T' and the cheeky pop of 'Huffer', the latter suggesting that, hmm, maybe life ain't so gloomy after all...
The Breeders haven't return with an obviously commercial record. They haven't set out to repeat past triumphs. They're just writing music to enjoy and share with those that want to experience their fiery range of indie-based blues and thrills. Because of this, not only is their credibility still intact, but so is their undeniable talent for punchy and relevantly modern rock-ravishings.
Artists in this article: The Breeders
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