The Breeders
Mountain Battles
4AD Records
By Mike Randall
In the opening lines of “Overglazed,” the kickoff to the Breeders’ first album in six years, Kim Deal repeatedly squeals, “I CAN FEEL IT!” All the evidence to support that claim lies within the shiny grooves of their new record, Mountain Battles. Yes, indeed, The Breeders can feel it, and what they’re feeling is fantastically weird.
Along with Kim Gordon, Deal can lay claim to the title of one of the foremothers of “alternative” thanks to her inclusion in two of the most genre defining bands in the history of music (the other, of course, the Pixies). What went along with those two bands, however, was near constant turmoil and a recorded output that could be described as sparse at best. Throughout it all, though, Deal has never made a bad record (the oft-overlooked Title TK would be a welcome addition to any other artist’s discography), and while there hasn’t been a whole lot in-between, Mountain Battles is the best thing she’s done since The Breeders’ double-whammy of Pod and Last Splash.
A lot of credit must be given to the entire band, though. The easy thing to do would have been to lazily throw together a bunch of bland alterna-rockers, cash in on a tour and call it a day. While I wouldn’t go as far to say it’s a daring record (they really don’t have anything to gain or lose), it’s certainly adventurous. Those expecting another “Cannonball” need not apply - this is not alternative music or any brand of music for that matter. They’ve created 13 soundscapes that are each totally different from one another, and altogether totally different.
The Breeders sound like a tight, cohesive unit, as if they’d actually been playing together since 1992. The Deal sisters are completely in tune with each other, offering subtle melodies and hooks that creep up on you, yet on second listen sound instantly familiar, while Deal’s usually fragile voice sounds particularly empowered, comfortable and confident. Quirky tracks like “Bang On” and the dreamy, haunting down-tempo pop of “Night of Joy” take the band to experimental places they’ve never been, while the gorgeous, slow hypnotism of “We’re Gonna Rise” is easily the show stealer. The record’s strangest moments, however, are also some of the best, especially during the minimalist, Deerhoof-esque “Spark,” and the title track, which sounds so bizarre Laurie Anderson might have had a hand in writing it.
To say Mountain Battles is weird doesn’t mean it’s not approachable. It’s a record that’s intended to be digested in its entirety and over repeated listens, but there are still some catchy moments that stand up just fine on their own. “Walk It Off” is the most hook-laden track on the record, which showcases Deal’s rubbery bass and chainsaw catchiness that came to prominence in the Pixies. “It’s the Love” is another alt-rocker that demonstrates her Pixies roots, but it’s the stunning, traditional-sounding folk ballad, “Hear No More” that will have listeners wondering if the Deals have been transplanted to Appalachia.
As if the musical journey isn’t enough, the listener is taken on a trip through Europe with a trilogy of songs with themes from abroad. The punk-y, angular “German Studies” begins the trek, but it’s the eastern European tribal feel of “Istanbul” that carries the most impact. Kelley Deal’s moment to shine comes during a cover of “Regalame Esta Noche,” which through a Spanish serenade demonstrates her impressive and underused vocal abilities. It’s as breezy as a summer morning in Barcelona, and would feel surprisingly at home on Frank Black’s Honeycomb.
Six years is a long time between releases. Granted, Deal has been trotting around the globe slaying crowds with her reformed Pixies, but it’s still a pronounced silence. If six years is what it takes to make a record so whole and complete – to be able to feel it again - then all bands should consider such a hiatus. While I wouldn’t want them to disappear for another half decade plus, it has definitely worked for The Breeders.
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