Punk review from a very unPunk site. But I think what keeps more people from listening to them is that they seem like albums that don’t care whether you listen to them or not. It’s in Doolittle's margins—the faux-hillbilly cackling of “Mr. And over the last few years the band’s concerts have begun to show signs of life again, thanks in part to replacement bassist Paz Lenchantin, whose happy-to-be-here presence sets an example for her tired bandmates. Doolittle is the second studio album by the American alternative rock band Pixies, released in April 1989 on 4AD.The album's offbeat and dark subject material, featuring references to surrealism, Biblical violence, torture and death, contrasts with the clean production sound achieved by the newly hired producer Gil Norton. Two of these EPs have been reviewed by Pitchfork, and … Having new material to perform doesn’t hurt, either. The romping “Graveyard Hill” (one of several tracks co-written by Lenchantin, an eager presence throughout the album) sets up Black Francis for some of the freest, most feral barks he’s unleashed in two decades. Instead, bass guitar duties on the album are handled by Simon "Dingo" Archer, a former member of the British post-punk band The Fall. Anybody who pays good money to see the Pixies in 2014 probably isn’t going to be yelling for Indie Cindy deep cuts. He still howls and screams, but had also developed a new voice, a flat, posthuman kind of monotone. Last Splash belongs in the Library of Congress, and their subsequent albums—Title TK and Mountain Battles—remain object lessons in how bands can remain weird without ever becoming alienating. The album’s climax, “Motorway to Roswell,” is half-written from the perspective of an extraterrestrial, but turns on Francis’ question: “How could this so great, turn so shitty?/He ended up in Army crates.” Reality had never made such a decisive appearance in a Pixies song. The reviewer, Jayson Greene, wasn’t born when the Pixies began making music. But part of what made the Pixies interesting is that they always seemed to possess some unquantifiable danger, which they no longer do. A few minutes later, the band’s drummer, David Lovering, interrupted to describe a video he’d seen of “people shooting eggs out of their ass, right across the room into another guy's mouth.”. They’re narrower in scope than Doolittle, and have a tough, inorganic presence, like burnished chrome. It may be the most vulnerable line Francis ever wrote. There are moments where, if you zone out just a little bit, it feels like you’re listening to some Bossanova B-sides that you somehow missed. “Hey” is practically their “Like a Prayer,” an oblique gospel anchored by the premise that we too may one day break free our earthly bonds and ascend—a trope art has worked with for much longer than rock music has been around. The music is a slow dance between celestial bodies, heavenly but melancholic. The sinister spark, the mischief, that giddy confusion they stirred with their blur of candy and sadism—it was totally absent, replaced by an at best anonymous, at worst obnoxious shrug of secondhand tics. Indie Cindy by Pixies album reviews & Metacritic score: The first full-length studio release for the alternative rock band since 1991's Trompe Le Monde was produced by Gil Norton. She had actually been fired between Doolittle and Bossanova and subsequently rehired, and on later Pixies albums appears just often enough to reminds you that she’s in the band. Indie Cindy’s title track is built using the template of Bossanova: Spacey and gorgeous, shattered and dissonant, spacey and gorgeous again. No reasonable listener expected the Pixies’ reunion album, 2014’s Indie Cindy, to sound like the same band from two decades earlier. Complete your Pixies collection. “You want to be different from other people, sure, so you throw in as many arbitrary things as possible,” he told the writer Simon Reynolds shortly after their 1988 debut, Surfer Rosa. While not as egregiously baffling as Indie Cindy, the latest from the ’90s indie icons is nonetheless a middling effort missing all kinds of dynamics the Pixies used to offer. About four years ago I moved from New York to Arizona and found myself listening to the the band's last two albums—1990's Bossanova and 1991’s Trompe Le Monde—a lot. “You’ve stolen my tomorrow/So I come for it today/You stole it when you stole my yesterday,” he sings in a smoldering, Leonard Cohen growl. Hüsker Dü made noisy, bleeding-heart records for the underground label SST; Peter, Paul and Mary sang “Puff, the Magic Dragon.” Francis got only one response, from a woman named Kim Deal. Discover releases, reviews, credits, songs, and more about Pixies - Indie Cindy at Discogs. Its songs take aim at the big things important art is sometimes supposed to: good and evil, environmental ruin, Bible stories, death. He sounds new but seems to come from an old place, like an obscure bog predator with alien-looking adaptations. A kind of concept album emerges, especially toward the album’s end: a song about the geography of Mars followed by a song about a burnout named Jefrey—“with one f”—sitting on a carpet with a tabla, thinking about outer space, followed by Francis staring into the sun, a gesture made out of the desperation to find new answers. It didn’t buy them back much goodwill, but 2016’s Head Carrier was perfectly fine, a serviceable effort roughly on par with the average Frank Black album. So he sees the boar, and in two short lines, the song is over. It’s weird that “better than nothing” became the bar for what was once one of the most celebrated bands of their era, but if it’s a choice between more records as solid, if unspectacular, as Beneath the Eyrie or nothing, the Pixies might as well keep them coming. Give Indie Cindy an honest listen. The lyric 'Indie Cindy' implies some kind of cheapness to the independent '80s sound Pixies helped to define. In general they remain solid evidence for the theory that the darkest and most violent thinking is done by the quiet kids next door. Information on Pixies. Pixies Beneath the Eyrie After the disappointing Indie Cindy and the serviceable Head Carrier , the band shows signs of recapturing some of the spark of their classic albums. If you have to, just pretend it's the new project of Frank Black, Joey Santiago and David Loverling. They gave them 1-star (out of 10). For the Pixies, this passes as a ballad. Two of its best songs (“Caribou” and “Vamos”) ended up being re-recorded in more muscular forms; another (“Nimrod’s Son”) unfortunately wasn’t. It’s no coincidence that Indie Cindy is at its best when Joey Santiago cuts loose with his guitar Read Review They called it Pixies and maaaybe they would have been better off taking a new name, but they knew you were more likely to listen if it … Then return to Trompe Le Monde and you can hear how angry Francis had become. Complete discography, ratings, reviews and more. In the interest of avoiding redundancy with another standalone review of this material, we’ve instead chosen to explore the band’s back catalog. Like Devo or Pere Ubu before them, they were an art-rock band steeped in the 1950s and early ’60s, a period of music before rock was considered art. In March 1987, the band went into a warehouse studio called Fort Apache and worked for three days straight, producing 18 songs. After 11 years of separation, the Pixies reunited and went on tour, becoming one of a slew of ’80s and ’90s alternative bands lobbying for heritage status. Pixies – Indie Cindy Posted by Paul Page on Apr 10, 2014 in Album Review , Indie/Alternative | 0 comments It’s been an interesting nine months for Boston indie legends Pixies . Surfer Rosa is highly combustible music, but slapstick, too. Francis’ allusions to Catholicism turned into overt talk about UFOs, which makes sense when you remember that religion has always just been a way to explain the lights in the sky. In the interest of avoiding redundancy, we chose to do something a little different... Ed. It’s made from recycled parts—repurposed pieces of “Velouria,” mostly—but it lifts off in a way few classic Pixies imitations do. “I had me a vision/There wasn't any television/From looking into the sun,” Francis sings on “Distance Equals Rate Times Time,” splitting “sun” into two syllables as though to make sure you heard him and are duly disturbed. “The Long Rider,” meanwhile, is the album’s big earworm, and prime radio fodder on the off chance alternative stations decide a new Pixies single might be something they’re into. The project cost a thousand dollars, including printing, tapes, and beer. The Pixies have now been reunited for four years longer than they were around to begin with, but are just getting around to releasing a new album, which they have called Indie Cindy. We can always depend on Boston for more sports and software engineers. Pitchfork is the most trusted voice in music. See which albums are universally hated across the board. (Pitchfork may earn a commission from purchases made through affiliate links on our site.). Late Pixies songs are triumphs of private epiphany: Small, diamond-bright moments that flash in someone’s eyes and then disappear forever. Toward the end of the song, Francis offers the line, “As we follow the bouncing the ball/They call this dance the washed-up crawl,” and then, a simple plea: “Indie Cindy, be in love with me.” Part of loving the Pixies has always been the suspicion that they were gracing us from an alien place somewhere beyond love, where sentiment was never easy or necessary. The album’s lows aren’t so much bad as routine. Francis’ slithery, sexual energy of yore has given way to an old-man crotchetiness. It’s more even keel than Surfer Rosa and better mannered, too, forgoing the harsh live sound of Steve Albini for the lush, almost folksy one of Gil Norton, who had had previously worked with marshmallows like Echo and the Bunnymen. The lyric 'Indie Cindy' implies some kind of cheapness to the independent '80s sound Pixies helped to define. The other songs from the Fort Apache sessions—which came to be called “The Purple Tape”—ended up scattered throughout the Pixies catalog, also in stronger versions. Bossanova and Trompe Le Monde make sense to me here, when it’s 110 degrees by lunch and the concrete ripples in the heat. Listen to “Speedy Marie”; listen to “Thalassocracy.” Feel the joy and the lightness. This week, the reunited Pixies released their first new album in 23 years. “What Goes Boom,” “Greens and Blues,” “Indie Cindy”: these are slick songs, a little overextended and puffed up, intimidated by the band’s legacy but charming in their own way. The band is also learning how to make change work in their favor. For however classically far out the Pixies got toward the end, they had also never sounded so grounded. Eight of these songs were released as Come on Pilgrim on 4AD, an English label that had built a reputation selling, moody, vague bands like Dead Can Dance and the Cocteau Twins but by 1987 had also released some Bulgarian choral music, the number-one dance-pop song “Pump up the Volume,” and an album by their first American signing, the Throwing Muses. Interested newcomers to the band: Listen to the Pixies chronologically. Indie Cindy by Pixies album reviews & Metacritic score: The first full-length studio release for the alternative rock band since 1991's Trompe Le Monde was produced by Gil Norton.
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