The Pixies | Indie Cindy (Pixiesmusic)

cd pixiesThey’ve picked up that same undeniable greatness right where they left it all those years ago.

 

 

 

Holy shit. Well, they didn’t do what so many other bands do when, after a hiatus of far too long, release a tired, washed out, ersatz version of some former glory. They didn’t cement themselves into the past rather than give the fans something to them in the present. No, the Pixies didn’t do that. What they have done instead is draw on an undeniable greatness that existed “back in the day” and sharpened it so that fans will recognize them in these twelve brand new tracks without looking at the album cover. Even if I didn’t know this was the Pixies I was reviewing, I would have known it was the Pixies, and they have then apparently come full circle. After positing a driving influence for all that was good about 1990s alt rock, they’ve picked up that same undeniable greatness right where they left it all those years ago.

Perhaps some of the magic that still obviously lives in their music has managed to survive because of the fact that other than the singles “Bam Thwok” and “Bagboy,” along with the few recent EPs that make up the bulk of this new track list, we really haven’t heard anything new from the Pixies since 1991 until now. As such, the creative force that they have enjoyed as a group hasn’t been allowed to fester or dwindle. The new full length Indie Cindy seems to suggest that their energy has only built up in dormancy, waiting to be expressed again, and it comes out in full force with the kickoff track “What Goes Boom,” which recalls much of the amazing sound found in their last full length, 1991’s Trompe Le Monde.

The title track comes in the third spot and features Black Francis reciting lyrics in more of a conversational/poetry cadence, Subbacultcha-style, and the roguish sentiment in the first few lines announces “Put this down for the record/it’s more or less unchequered/wasted days and wasted nights/made me a fucking beggar,” setting up for the nearly mournful request in the chorus “Indie Cindy/be in love with me/I beg for you to carry me.”

The start, stop, start again sound of “Blue Eyed Hexe” brings back the same flavor of “What Goes Boom” with the straight alt-rock guitar riff and Francis’ trademark throaty delivery of lyrics in a scream. The bilingual lyricism that previous release Surfer Rosa was famous for is echoed in “Andro Queen” (English/Esperanto) and the closing track “Jaime Bravo” (English/Spanish). Throughout the album, Francis peppers his familiar high tenor into the songs backed by founding members David Lovering on drums and Joey Santiago on guitars, as well as Jeremy Dubs providing backing vocals and new bassist Ding, who assumed duties for the album after Kim Deal’s decision to move on from the band early in the album’s recording sessions of 2012.

Lovering remarked of the new album, “We started seriously talking about recording new music about four years ago… new music seemed like something we just had to do,” and it is that personal obligation to the music that has given the new music the same amazing substance that fans have always expected of one of alternative rock’s most influential voices.

Whether you’re like so many others who remember gleefully tearing the shrink wrap from a new copy of Bossanova or Doolittle, or if those milestones of the alt-rock genre along with other glory-day full lengths from the Pixies were released before your time, it doesn’t matter. Regardless of when you found the Pixies, you need this album. Your love of their music will not be complete until you experience the still brilliant sound they have offered the world again. A | Jason Neubauer

RIYL: Sonic Youth, The Jesus and Mary Chain, Radiohead

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