Possibly their finest album, Throwing Muses' fifth album blends the rock power of Red Heaven, their first effort as a trio, with the shiny, surreal pop of The Real Ramona and is as hypnotic as it is accessible.
On their farewell album, the Wolfgang Press take the final plunge and finally make a straightforward, unashamed dance record underplaying the oddball arrangements, dark undercurrents and inscrutable left turns of their earlier, artsier post-punk releases.
Producer Glyn Johns gives the band an appealingly punchy sheen, and Donelly cuts away her remaining arty preciousness, concentrating solely on big pop songs that are neglected gems of post-alternative modern rock.
Lisa Gerrard was so indelibly and obviously a part of what made Dead Can Dance what it is, that it's little wonder her debut feels essentially like a continuation of that band's haunting, vast atmospheres and when it comes to singing she again is without peer.
Barely altered from the demo recordings that landed the band the deal with 4AD, Ask Me Tomorrow is a thing of understated, unpolished beauty. The vocals are sweetly entwined throughout and the record culminates in the epic "Mercy", a highlight of their live show.
During a hiatus between Breeders records, Kim Deal formed The Amps. Pacer was recorded quickly and is raw, punky and spontaneous - it's full-on garage rock, with Deal's most immediate and bracing songs since Pod. see also : The Breeders / Pixies
