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. It may be the most vulnerable line Francis ever wrote. “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. Surfer Rosa is highly combustible music, but slapstick, too. Bossanova and Trompe Le Monde make sense to me here, when it’s 110 degrees by lunch and the concrete ripples in the heat. 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. No reasonable listener expected the Pixies’ reunion album, 2014’s Indie Cindy, to sound like the same band from two decades earlier. 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. See which albums are universally hated across the board. Francis’ slithery, sexual energy of yore has given way to an old-man crotchetiness. The notion that they were changing the shape of alternative rock seemed like a nice bonus but immaterial. Three middle-aged guys seeing what happens when they get back on the horse and try again, they now sound most comfortable when they're being laid-back, “Greens and Blues” and the chorus of “Indie Cindy” especially. EP1 received mixed reviews from music critics. After the disappointing Indie Cindy and the serviceable Head Carrier, the band shows signs of recapturing some of the spark of their classic albums. 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. It's loud, it's dynamic, it stops and starts - as before, there are clear nods to what has been, but at the same time as conjuring something else. 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. 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. But for all their radical ideas, the Pixies depended on convention—without it, they would have nothing to pick apart. Having new material to perform doesn’t hurt, either. 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. Deal’s symbolic contributions were as important as her musical ones: The cool, down-to-earth woman who defused Francis’ showy angst. Pixies – 'Indie Cindy' album review. It’s been a long time since this band had anything left to lose. They’re narrower in scope than Doolittle, and have a tough, inorganic presence, like burnished chrome. Interested newcomers to the band: Listen to the Pixies chronologically. 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. Probably not Pixies fans who used up their goodwill on Indie Cindy, but it’s not modern or catchy enough for any era of alt-radio. Indie Cindy’s title track is built using the template of Bossanova: Spacey and gorgeous, shattered and dissonant, spacey and gorgeous again. 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. Pitchfork is the most trusted voice in music. 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. 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 … Two of these EPs have been reviewed by Pitchfork, and … The first time I played Indie Cindy, I tried to figure out why the Pixies chose to make a new album now, a decade after they reunited. “Snakes,” “Blue Eyed Hexe,” et cetera: these are just distractions, breadsticks. 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. It’s no coincidence that Indie Cindy is at its best when Joey Santiago cuts loose with his guitar Read Review Crucially, the Pixies weren’t from New York or Los Angeles, or even Chicago, but Boston: a famous place but fiercely provincial, with all the reticence of small-town New England and almost no cosmopolitan sheen. 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. 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. Pilgrim is 20 minutes long and more of a hint at what the band could do than anything else. 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 is the fifth studio album by the American alternative rock band the Pixies.Released in April 2014, it was the band's first album since 1991's Trompe le Monde, and the first Pixies album not to feature bass guitar player Kim Deal. Pitchfork's 25 worst albums of 2014. 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. Francis was less of a rock singer than a grotesque impression of one, too angry and too tender, a pantomime of extremes. But part of what made the Pixies interesting is that they always seemed to possess some unquantifiable danger, which they no longer do. Two of its best songs (“Caribou” and “Vamos”) ended up being re-recorded in more muscular forms; another (“Nimrod’s Son”) unfortunately wasn’t. “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. In general they remain solid evidence for the theory that the darkest and most violent thinking is done by the quiet kids next door. 6.0 | FasterLouder. 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. Pixies to Release First New Album Since 1991, and It's Called Indie Cindy ... Indie Cindy is comprised of the ... Pitchfork may earn a portion of sales from products that … By Trompe Le Monde the band had transitioned from seeming like quiet people who liked violent movies to violent people who didn’t make much time for movies at all. Titled Indie Cindy, the record collects material from three EPs released over the past few months. The Pixies … Titled Indie Cindy, the record collects material from three EPs released over the past few months. He sounds new but seems to come from an old place, like an obscure bog predator with alien-looking adaptations. 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. The reviewer, Jayson Greene, wasn’t born when the Pixies began making music. Plants and animals seem proud to have survived the odds. PM006CDX; CD). Doolittle is their most famous album and for understandable reasons. In the interest of avoiding redundancy, we chose to do something a little different... Ed. Though none of the group’s original albums have been reissued recently, they have never been reviewed by Pitchfork. Worse than any of the music is the feeling that a band so deft at challenging the system has become part of it in the most predictable ways, rubbing together the tropes of their old art and hoping they can still start a fire, replacing experimentation with routine, filling Kim Deal’s place with not one but two different bassists over the last five months, breaking up the album into three EPs to gin up interest, and generally reminding us that artists of their stature are businesses, not charities. Then return to Trompe Le Monde and you can hear how angry Francis had become. 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. He still howls and screams, but had also developed a new voice, a flat, posthuman kind of monotone. Bossanova is sweeter than Trompe, but its sweetness exists at an impossible distance. The great anecdote about the Pixies is that they formed when a college dropout going by the name Black Francis put out an ad for a female bass player who liked both the punk band Hüsker Dü and the folk trio Peter, Paul, and Mary. This week, the reunited Pixies released their first new album in 23 years. Everyone else: Listen to "Indie Cindy" at your own risk. 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. ... unless your parties involve sitting around a MacBook reading Pitchfork. Pixies no longer seem a little strange, or in need of excuse. It’s made from recycled parts—repurposed pieces of “Velouria,” mostly—but it lifts off in a way few classic Pixies imitations do. 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. Genres: Alternative Rock. Forgetting everyone.” Later, on “Havalina,” he spots a javelina—an ornery, boar-like animal not uncommon here—walking across a plain. The album’s lows aren’t so much bad as routine. “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. 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. Even the spritely jangle of “Bird of Prey” does little to temper the resentful bite of Francis’ lyrics. Two of these EPs have been reviewed by Pitchfork, and both received exceptionally low marks. 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. 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 . He sounds like a snotty kid telling his Dad off. More recently, they’ve released albums by Deerhunter and Ariel Pink, and in general remain a safe home for uncommon art. “She’s my fave, undressing in the sun,” Francis whispers on the cryptic miniature, “Ana.” “Return to sea—bye. “The pitchfork review of the new EP was really negative.” You’re being kind, Ken! Pitchfork is the most trusted voice in music. The Venn diagram here would be tight. Complete your Pixies collection. 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. “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. 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. “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. Reviews, ratings, news and more. 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. At heart, the Pixies were a kind of American goth band, fascinated by rural violence, the intersection of lust and danger, creepy innkeepers and the sexual magnetism of strangers who wander into roadside cafés from parts unknown. 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. 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 … During all those years that fans clamored for new music following the band’s 2004 reunion, who could have predicted that expectations for a new Pixies album would ever sink so low? Punk review from a very unPunk site. It at least offers the group a chance to mix it up a bit after years of bleeding the same old Doolittle staples dry. Once again, anyone over 40–avoid Pitchfork. So he sees the boar, and in two short lines, the song is over. Grieves,” “There Goes My Gun” and “Dead”—that the album becomes what it really is. Pixies: “Pitchfork Just Seem Like They Hate Everything” ... As far as some Pitchfork reviews go, ... Watch: Pixies – Indie Cindy. 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. Francis liked the surrealist movies of Luis Buñuel and David Lynch circa Eraserhead, which use violence not as a real-world dynamic but a metaphor for the roiling inner worlds we can cover up but never quite control. 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. 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.”. Discover releases, reviews, credits, songs, and more about Pixies - Indie Cindy at Discogs. The lyric 'Indie Cindy' implies some kind of cheapness to the independent '80s sound Pixies helped to define. Give Indie Cindy an honest listen. 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. Their biggest crossover single, “Here Comes Your Man,” is less tied to European dada than the rustic imagery of a pulp paperback: The boxcar, the nowhere plains, the big stone and the broken crown. 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. The Pixies recorded Beneath the Eyrie at a creepy old church, which must have helped juice the gothic sound that they’re going for. Released 28 April 2014 on Pixiesmusic (catalog no. On a Surfer Rosa song called “Cactus,” he begs a woman to cut herself up on a cactus and send him the bloody dress in the mail. 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. 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. Indie Cindy, a Compilation of songs by Pixies. The Pixies’ modest rebound continues on their pleasant, undemanding, and completely respectable new album Beneath the Eyrie. The high school me who fell in love with the band's discography years ago probably would have disinterestedly went to bed early midway through the album if it was "Indie Cindy" I first heard instead of "Surfer Rosa." Anybody who pays good money to see the Pixies in 2014 probably isn’t going to be yelling for Indie Cindy deep cuts. The music is a slow dance between celestial bodies, heavenly but melancholic. “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. For however classically far out the Pixies got toward the end, they had also never sounded so grounded. Their songs feed back to surf, boogie, doo-wop and early R&B more easily than anything post-Beatles. (Pitchfork may earn a commission from purchases made through affiliate links on our site.). 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 It just so bland and all the aggressive which made the Pixies stand out is now gone on Indie Cindy and it just feels like stripped back various forms of rock genres which just … 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. note: This week, the reunited Pixies released their first new album in 23 years. Trompe is more aggressive than anything in their catalog but also more confident. They gave them 1-star (out of 10). Instead, bass guitar duties on the album are handled by Simon "Dingo" Archer, a former member of the British post-punk band The Fall. 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 … After nearly a decade spent growing rusty on the reunion circuit, the band deflated what little excitement remained following Kim Deal’s departure with Indie Cindy, a comeback that not only failed to recreate their old mystique, but struggled to even understand what made the band so alluring in the first place. 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. The band came together in an unusual way but broke up like anyone else: Creative differences, in-fighting, the collision of fragile egos. Its songs take aim at the big things important art is sometimes supposed to: good and evil, environmental ruin, Bible stories, death. “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. If you have to, just pretend it's the new project of Frank Black, Joey Santiago and David Loverling. Complete discography, ratings, reviews and more. This is outlaw music, sharpened by conspiracy theory and too much time with too little human contact. The blustery opener “Arms of Mrs. Mark of Cain” and the naked “Ready for Love” cast him as heartbroken and cursed, picking up where his confessional final effort with the Catholics, Show Me Your Tears, left off. The Pixies have finally made an album that scratches the itch for new Pixies music. Kim Deal moved on to focus on the Breeders, a project with her identical twin Kelley whose albums sound like abstract slumber-party music for teenagers with comfortable access to weed. Titled Indie Cindy, the record collects material from three EPs released over the past few months, two of which we've already reviewed. Late Pixies songs are triumphs of private epiphany: Small, diamond-bright moments that flash in someone’s eyes and then disappear forever. The project cost a thousand dollars, including printing, tapes, and beer. It’s got some rippers on it, too. Because it’s not like they need to make a record. In March 1987, the band went into a warehouse studio called Fort Apache and worked for three days straight, producing 18 songs. 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. 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. Ben Sisario of The New York Times called it "less screamy and uptight" but noted the overall dynamics of the band were still present. Amusing as they are, the spy-rock rave-up “St. In an anecdote from the sessions for the band’s 1988 album, Doolittle, Francis told producer Gil Norton that if two-minute songs were good enough for Buddy Holly, they were good enough for him. Listen to “Speedy Marie”; listen to “Thalassocracy.” Feel the joy and the lightness. It’s in Doolittle's margins—the faux-hillbilly cackling of “Mr. Things start decent and peter out quick. 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. Indie Cindy collects songs from their recent three EPs and does contain tracks of merit. In the interest of avoiding redundancy with another standalone review of this material, we’ve instead chosen to explore the band’s back catalog. For the Pixies, this passes as a ballad. 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. It’s true what they say about the desert when they say it looks like the moon. After the disappointing Indie Cindy and the serviceable Head Carrier, the band shows signs of recapturing some of the spark of their classic albums. 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. 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. They can handle this now, and they do. Information on Pixies. The lyric 'Indie Cindy' implies some kind of cheapness to the independent '80s sound Pixies helped to define. At least things couldn’t get any worse. The band is also learning how to make change work in their favor. We can always depend on Boston for more sports and software engineers. They seem like a really pretty good alt-rock band, better than the vast majority of the competition Read Review. Reading Pitchfork a new voice, a pantomime of extremes the itch for Pixies. “ Dead ” —that the album becomes what it really is time since band... 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