...a bumblingly elegant, fantastically imperfect and impossible-to-take-your-eyes-off spectacle...
Who’d have thought that the Deals would manage to pull off the most exciting comeback since Kylie? Despite emerging from their booze/smack addiction/intra-band strife-enforced absence with both a new record, ‘Title TK’, and a new band, there were positively acres of room for [a]Breeders[/a] to get it soooooo fucking wrong. Nine years since the sisters-in-arms last truly got their shit together, the return of [a]Breeders[/a] could have been more of a musical car wreck than a comeback.
But in a world where rock’s gone back to basics and [a]Breeders[/a] has a personal audience with the Queen, [a]Breeders[/a] actually make [I]more[/I] sense than they did a decade ago. It’s angular, ambitious, shambolic – and we’re totally glued.
Arriving on stage, beers in hand, fags stuck to their bottom lips, the Deals look like the musical equivalent of blue-collar sitcom sisters Jackie and Roseanne Harris. Older material from 1990’s compelling ‘Pod’, 1993’s fizzing ‘Last Splash’ (including an infinitely fucked up, microphone gnawing take on notorious odd-pop hit, ‘Cannonball’) and between song banter throws sparkle onto what’s otherwise a dark place to be. Newies like ‘Little Fury’ and ‘Off You’ manage to be both ambitious and compelling.
It makes for a bumblingly elegant, fantastically imperfect and impossible-to-take-your-eyes-off spectacle. Kylie‘s comeback might’ve involved baring ass, but Kelley and Kim’s is just about kicking it.