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. She had never played the bass before but presumably saw in his ad some sly humor and the spark of liberated thinking that lies behind a bad idea. It might seem like sacrilege, especially without the much-missed sass of Kim Deal, but that depends on how mystical you want to get about a band as pop as the Pixies. It’s no coincidence that Indie Cindy is at its best when Joey Santiago cuts loose with his guitar Read Review 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. “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. But for all their radical ideas, the Pixies depended on convention—without it, they would have nothing to pick apart. One may almost interpret this weird love-song as a plea from Francis to be given a kind of immunity from the pejorative as a version of his esteemed crew returns to the fold. “She’s my fave, undressing in the sun,” Francis whispers on the cryptic miniature, “Ana.” “Return to sea—bye. For however classically far out the Pixies got toward the end, they had also never sounded so grounded. Instead of feigning the mystique that now eludes him, he leans into candor, touching on his recent divorce in unguarded terms, at least on the tracks where he isn’t singing about witches or mythical half-human sea creatures. For the Pixies, this passes as a ballad. He sounds like a snotty kid telling his Dad off. The album’s lows aren’t so much bad as routine. 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. Of course, in their prime this band could make even the most sterile studio sound haunted, but after two records grasping for ambience, it’s nice to hear a Pixies album with a moody sense of place again. It’s true what they say about the desert when they say it looks like the moon. Late Pixies songs are triumphs of private epiphany: Small, diamond-bright moments that flash in someone’s eyes and then disappear forever. “Monkey Gone to Heaven” features some allegory about the ozone layer, which in the late 1980s had the same conversational weight and place as “climate change”; “Gouge Away” flirts with Catholicism. Amusing as they are, the spy-rock rave-up “St. Everyone else: Listen to "Indie Cindy" at your own risk. note: This week, the reunited Pixies released their first new album in 23 years. The band’s songs were about Old Testament Christianity, UFOs and white women who crave sex with big black men—fixations that in certain contexts can turn ordinary people into outcasts. More recently, they’ve released albums by Deerhunter and Ariel Pink, and in general remain a safe home for uncommon art. Bossanova and Trompe Le Monde make sense to me here, when it’s 110 degrees by lunch and the concrete ripples in the heat. Doolittle is their most famous album and for understandable reasons. Titled Indie Cindy, the record collects material from three EPs released over the past few months. 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.”. It’s in Doolittle's margins—the faux-hillbilly cackling of “Mr. 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 … Francis never fully reconciled with Deal, who played several of the reunion shows but opted out of recent recording sessions and has embarked on her own time-capsule show, touring Last Splash with the Breeders. He sounds new but seems to come from an old place, like an obscure bog predator with alien-looking adaptations. Things start decent and peter out quick. “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. They gave them 1-star (out of 10). In general they remain solid evidence for the theory that the darkest and most violent thinking is done by the quiet kids next door. As much as the band changed and refined their sound over time, they seemed almost romantically attached to a big-bang concept of their own music, like a person who measures every relationship against that first love. Early on, Francis—a comic-book kid raised in an evangelical church—talked about the band’s music with all the pretense of someone fixing toilets or laying shingle. 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. Surfer Rosa is highly combustible music, but slapstick, too. So he sees the boar, and in two short lines, the song is over. The reviewer, Jayson Greene, wasn’t born when the Pixies began making music. Pixies – ‘Beneath The Eyrie’ review Arguably their greatest work in 28 years, this otherworldly album filters present-day tribulations through the band's witchy, psychedelic prism 4 Many of its songs feel half-finished or regurgitated in half-digested form, with verses that run on longer than they ordinarily might, choruses that repeat odd numbers of times instead of even ones, and abrupt shifts in tone and volume. 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. The Venn diagram here would be tight. Head Carrier is the sixth studio album by the American alternative rock band the Pixies, released on September 30, 2016 on Pixiesmusic and PIAS.Produced by Tom Dalgety, and recorded at RAK Studios in London, the album is the first to feature bass guitarist Paz Lenchantin, who joined the band in 2014 to tour in support of its previous album, Indie Cindy. Pilgrim is 20 minutes long and more of a hint at what the band could do than anything else. 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. 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. Indie Cindy collects songs from their recent three EPs and does contain tracks of merit. The band is also learning how to make change work in their favor. Though none of the group’s original albums have been reissued recently, they have never been reviewed by Pitchfork. The project cost a thousand dollars, including printing, tapes, and beer. EP1 received mixed reviews from music critics. 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. (Pitchfork may earn a commission from purchases made through affiliate links on our site.). Complete discography, ratings, reviews and more. It at least offers the group a chance to mix it up a bit after years of bleeding the same old Doolittle staples dry. ... unless your parties involve sitting around a MacBook reading Pitchfork. The lyric 'Indie Cindy' implies some kind of cheapness to the independent '80s sound Pixies helped to define. Indie Cindy is certainly not as derisively and indefensibly embarrassing as the Pitchfork review of the first two EPs that comprise two thirds of this record would have you … Pitchfork's 25 worst albums of 2014. Francis went on to make several solo records as Frank Black, one of which is called Teenager of the Year and is the sound of a creative person relinquishing himself of the pressures of being in a famous band and appreciating the practice of not giving a damn. They can handle this now, and they do. The band came together in an unusual way but broke up like anyone else: Creative differences, in-fighting, the collision of fragile egos. Reviews, ratings, news and more. 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. See which albums are universally hated across the board. It won’t win back scorned fans who took the band’s fall from greatness as a personal betrayal, yet it comes closer to conjuring the gleeful chill of the Pixies’ classic albums than anything they’ve released since reuniting. Pixies are set to release Indie Cindy, their first studio album since 1991's Trompe Le Monde, on April 29 via Pixiesmusic.It comprises EP-1, EP … In March 1987, the band went into a warehouse studio called Fort Apache and worked for three days straight, producing 18 songs. Listen to “Speedy Marie”; listen to “Thalassocracy.” Feel the joy and the lightness. It may be the most vulnerable line Francis ever wrote. Indie Cindy’s title track is built using the template of Bossanova: Spacey and gorgeous, shattered and dissonant, spacey and gorgeous again. 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. Jayson Greene of Pitchfork Media castigated the extended play, arguing there is "no Pixies in this Pixies" and giving it a rare score of 1.0. Pixies – 'Indie Cindy' album review. 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. “Snakes,” “Blue Eyed Hexe,” et cetera: these are just distractions, breadsticks. Because it’s not like they need to make a record. It’s got some rippers on it, too. It’s been a long time since this band had anything left to lose. 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