Perhaps the first alternative rock supergroup, The Breeders’ genesis came during the Pixies’ 1988 European tour alongside 4AD labelmates Throwing Muses – when Pixies bassist Kim Deal and Throwing Muses guitarist Tanya Donelly opted to team up for an extracurricular side project. Dubbing the new band “The Breeders” – after the mid-1970s folk-rock group that Dayton-based Deal had earlier formed with her sister Kelley – they recorded a demo that promptly got them signed by 4AD chief Ivo Watts-Russell. The Breeders – now including The Perfect Disaster’s Josephine Wiggs on bass – spent December 1989 in Edinburgh, Scotland, recording their debut album, Pod, with renowned recording engineer Steve Albini behind the board. Released initially on 4AD/Rough Trade, Pod was a critically acclaimed college-rock milestone famously namechecked by Nirvana’s Kurt Cobain as among his very favorites.
Deal, increasingly frustrated by her inability to have her songs included on Pixies albums, restarted The Breeders in late 1991, enlisting her sister Kelley as third guitarist. The band made its 4AD/Elektra debut with 1992’s four-song Safari EP, though Donelly had by that point left the line-up to start her own successful alt-pop band, Belly. Upon the Pixies’ dissolution later that same year, Deal recruited drummer Jim MacPherson and The Breeders became a full-fledged musical concern, kicking things off with a bang by supporting Nirvana on their 1992 European tour.

The Breeders’ second 4AD/Elektra release, Last Splash, arrived in 1993 to universal praise and seemingly constant college-rock radio airplay. “Cannonball,” the album’s first single, proved a surprise Top 40 hit while also reaching #2 at Modern Rock radio. What’s more, the song’s rollicking video – directed by Sonic Youth’s Kim Gordon and award-winning filmmaker Spike Jonze – virtually defined MTV’s alternative programming of the period. As a result, Last Splash received RIAA platinum certification for sales in excess of 1 million.

The Breeders and Elektra ultimately parted ways in 2004, but the band remains a potent and productive force, with additional albums and EPs released though the 2000’s.

"All My Women" feat. HARDY out now.
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I'm a Singer/Songwriter, Multi-Instrumentalist and experimental Musician from the Alps. 

AUTHOR & PUNISHER, named, “one of the most prolific acts in aggressive music,” by Noisey, has just released his first album on Relapse Records entitled “Beastland”.  His newest and most intense album recalls Ministry, channeling Godflesh, traversing through dark, uncompromising, and often disturbing soundscapes, with occasional detours into rich melodies and splinters of light. After leaving a career as mechanical engineer in Boston to focus on art and sculpture, Tristan Shone, the creator and sole artist behind AUTHOR & PUNISHER, moved west to pursue his MFA in Southern California. In the metal and machine shops of University of California, San Diego, Shone forged a relationship with design, sound and fabrication that ultimately yielded AUTHOR & PUNISHER‘s first music and mapped the journey away from traditional instrumentation towards custom made, precision machinery. Shone used his technical knowledge, along with his artistic background to create what Wired Magazine has hailed as his own “special brand of doom metal.” All aspects of the AUTHOR & PUNISHER sound begin with physical movement, limbs struggling in unison to coordinate a wall of electronic rhythm and oscillation, ultimately conditioned by an organic and loose quality absent of sequencing and plastic perfection. AUTHOR & PUNISHER performances are a real amalgamation between man and mechanisms. They are direct, physical, heavy experiences that have amassed praise and intrigue from a wide array of audiences. Pitchfork styled him “immediate but mysterious,” Stereogum described his “chilling, unrecognizable form,” and NPR hails him as “a thrill [who] fires on all cylinders.”
“ In the contiguous realms of metal nerds and gear nerds, Shone possesses semimythical status. He performs within a semicircle of frightening homemade machines that seem at once futuristic and medieval.“ – The New Yorker (2016).

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