Last Splash

AMG Review of Last Splash

Heather Phares
All Music Guide

Thanks to good timing and some great singles, the Breeders' second album, Last Splash, turned them into the alternative rock stars that Kim Deal's former band, the Pixies, always seemed on the verge of becoming. Building on Safari's driving, polished sound, Last Splash is half-brilliant singles and half-unfinished, uninspired ideas. When it's good, it's very, very good: "Cannonball"'s instantly catchy collage of bouncy bass, rhythmic stops and starts, and singsong vocals; the sweetly sexy "Divine Hammer;" and swaggering "Saints" are among the Breeders' finest moments, and deserved all of the airplay they received. And the charming country-pop of "Drivin' on 9," "I Just Wanna Get Along"'s spiky punk-pop, and the bittersweet "Invisible Man" proved Last Splash had a bit of depth. But underdeveloped snippets such as "Roi" and "No Aloha" drag down the album's momentum; likewise, the band tries to stretch their range on the rambling, cryptic "Mad Lucas" and "Hag," but neither quite comes together as a full-fledged song. Though instrumentals such as "S.O.S." and "Flipside" showcase the Breeders' chops and some nifty production tricks, they feel like filler; worst of all, Last Splash features an inferior, plodding new version of Safari's soaring "Do You Love Me Now" that emphasizes the album's unevenness. One of the definitive alternative rock albums of the '90s, Last Splash is equally inspired and infuriating; that it was the Breeders' last album of that decade makes it even more frustrating.