Hi there. It’s the day after the UK general election today, and I have to admit, I didn’t feel a great deal like writing anything other than a long, angry rant. But that would just have made me feel worse without actually changing anything. Instead I decided it’d be a good idea to write about something I genuinely don’t have a bad word for: Pod, by the Breeders, a subject I’ve been holding in reserve for a month or so. On another day, my write-up might have been more exuberant, but this is what I’ve got in me today.
A couple of years ago a bit of a, um, splash was made about the 20th anniversary of the Breeders’ second album, Last Splash. That’s the one with Cannonball, Divine Hammer and Saints on it. I remain unconvinced by Last Splash. I’ll go into bat for Divine Hammer and Cannonball, even if I personally have no wish to hear it again. The cover of Drivin’ on 9 is a career highlight for Kim Deal as a singer. No Aloha and New Year I’ll keep. That’s five out of 15. The rest I’d struggle to say anything about, good, bad or indifferent.
Pod, though. Pod sounds stranger and more wonderful every year. I never stop going back to it. And if I ever needed an excuse to write about it, it’s 25 years old this year.
OK, Mr So Deep, you say. Pod. The one with Tanya Donelly on it, recorded by Steve Albini? Pretty obvious why you like that one more, isn’t it?
Well, I can’t deny my fondness for those two artists. But Pod is Deal’s album. Literally so, as the plan that Donelly and Deal cooked up for the Breeders originally is that they’d make an album of Deal songs before then making a record of Donelly songs (they demoed some of the material that Donelly ended up using for the first Belly record, Star). Deal sang lead and wrote or co-wrote every song on Pod except the cover of the Beatles’ Happiness is a Warm Gun.
There’s nothing else like it; the closest I’ve heard is the Breeders’ own Title TK, but that’s a weak brew indeed compared to Pod. There’s a hint of the Pixies (still Deal’s main band at the time, and would remain so for another year or so after Pod’s release) in the way the songs put classic AB form in the service of some unlikely, surreal, subjects. The way that Deal’s and Donelly’s guitars play around each other sometimes recalls the interplay of Kristin Hersh and Donelly on Throwing Muses records (like Deal, Donelly had one more record with her main band left in her at this point).
But even with those precedents, it’s a singular album. The arrangements are sparse – there’s much less of that steady-state distorted guitar that you get on Pixies records – and the record is very “live” sounding: there’s background chatter audible at the end of songs, and all the way through the quiet, spoken intro verses of Metal Man; a spontaneous-sounding outro jam extends When I Was a Painter by over a minute (a long time when the record only lasts half an hour); Deal’s voice breaks into a squeal on Oh! and is left uncorrected. Overdubs sound few, and it wouldn’t surprise me if there were none at all.
It’s far from passionless, but it is somewhat detached-sounding. Indeed the album’s most compelling music comes from the tension between Deal’s frequently blank delivery and the themes and ideas that the lyrics hint at but never fully reveal. While dark, the effect is always just short of menacing, since Deal and Donelly are not sparing with hooks. I’ve remarked before on how Donelly’s work with Belly played in the space between the lulling and the nightmarish. Deal’s songs on Pod work similarly. Perhaps this influence ran from Donelly to Deal because it seems to have departed from the Breeders when she left; it’s entirely absent from Last Splash and is only occasionally tangible on later records.
It goes without saying that Pod sounds great, too. Spacious and powerful. With the mixes left relatively sparse and the guitars frequently hard-panned, Pod is as good as it gets for fans of the Albini drum sound. Britt Walford, on loan from Slint and playing under the pseudonym Shannon Doughton, sounds enormous. And what drummer doesn’t want to sound enormous?
If you’re unfamiliar with Pod and have any fondness for the indie rock music of that era, you are missing out on one of the finest records of its type.
The Breeders in 1992, circa Safari: l-r Kelley Deal, Tanya Donelly, Josephine Wiggs, Britt Walford, Kim Deal (the Deal sister are identical twins, so if I’ve got them the wrong way round, do forgive me!)