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pitchfork pixies indie cindy review

Titled Indie Cindy, the record collects material from three EPs released over the past few months, two of which we've already reviewed. 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. 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. 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 Pixies have finally made an album that scratches the itch for new Pixies music. 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. “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. 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. 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. Genres: Alternative Rock. 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 We can always depend on Boston for more sports and software engineers. Pitchfork is the most trusted voice in music. Indie Cindy’s title track is built using the template of Bossanova: Spacey and gorgeous, shattered and dissonant, spacey and gorgeous again. 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. 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. “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. 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. 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. Give Indie Cindy an honest listen. The Pixies recorded Beneath the Eyrie at a creepy old church, which must have helped juice the gothic sound that they’re going for. See which albums are universally hated across the board. “She’s my fave, undressing in the sun,” Francis whispers on the cryptic miniature, “Ana.” “Return to sea—bye. 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. In the interest of avoiding redundancy with another standalone review of this material, we’ve instead chosen to explore the band’s back catalog. In the interest of avoiding redundancy, we chose to do something a little different... Ed. This week, the reunited Pixies released their first new album in 23 years. 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. “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. Ben Sisario of The New York Times called it "less screamy and uptight" but noted the overall dynamics of the band were still present. They’re narrower in scope than Doolittle, and have a tough, inorganic presence, like burnished chrome. 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 . “The pitchfork review of the new EP was really negative.” You’re being kind, Ken! It’s been a long time since this band had anything left to lose. Forgetting everyone.” Later, on “Havalina,” he spots a javelina—an ornery, boar-like animal not uncommon here—walking across a plain. 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? Complete discography, ratings, reviews and more. 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 … It’s true what they say about the desert when they say it looks like the moon. In March 1987, the band went into a warehouse studio called Fort Apache and worked for three days straight, producing 18 songs. 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. Pitchfork's 25 worst albums of 2014. Titled Indie Cindy, the record collects material from three EPs released over the past few months. The notion that they were changing the shape of alternative rock seemed like a nice bonus but immaterial. 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. 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. Deal’s symbolic contributions were as important as her musical ones: The cool, down-to-earth woman who defused Francis’ showy angst. Listen to “Speedy Marie”; listen to “Thalassocracy.” Feel the joy and the lightness. He sounds new but seems to come from an old place, like an obscure bog predator with alien-looking adaptations. This is outlaw music, sharpened by conspiracy theory and too much time with too little human contact. It’s in Doolittle's margins—the faux-hillbilly cackling of “Mr. Interested newcomers to the band: Listen to the Pixies chronologically. They seem like a really pretty good alt-rock band, better than the vast majority of the competition 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. Once again, anyone over 40–avoid Pitchfork. Two of these EPs have been reviewed by Pitchfork, and … note: This week, the reunited Pixies released their first new album in 23 years. 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. 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. 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. He still howls and screams, but had also developed a new voice, a flat, posthuman kind of monotone. Two of these EPs have been reviewed by Pitchfork, and both received exceptionally low marks. Anybody who pays good money to see the Pixies in 2014 probably isn’t going to be yelling for Indie Cindy deep cuts. The Venn diagram here would be tight. The lyric 'Indie Cindy' implies some kind of cheapness to the independent '80s sound Pixies helped to define. Titled Indie Cindy, the record collects material from three EPs released over the past few months. 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. Even the spritely jangle of “Bird of Prey” does little to temper the resentful bite of Francis’ lyrics. He sounds like a snotty kid telling his Dad off. The Pixies’ modest rebound continues on their pleasant, undemanding, and completely respectable new album Beneath the Eyrie. 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. After the disappointing Indie Cindy and the serviceable Head Carrier, the band shows signs of recapturing some of the spark of their classic albums. 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. If you have to, just pretend it's the new project of Frank Black, Joey Santiago and David Loverling. 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. 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 gave them 1-star (out of 10). Indie Cindy, a Compilation of songs by Pixies. 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. 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. 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. 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. 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. Punk review from a very unPunk site. At least things couldn’t get any worse. Surfer Rosa is highly combustible music, but slapstick, too. 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. 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. 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. 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. Discover releases, reviews, credits, songs, and more about Pixies - Indie Cindy at Discogs. No reasonable listener expected the Pixies’ reunion album, 2014’s Indie Cindy, to sound like the same band from two decades earlier. The album’s lows aren’t so much bad as routine. Pixies – 'Indie Cindy' album review. Doolittle is their most famous album and for understandable reasons. 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. 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. Bossanova is sweeter than Trompe, but its sweetness exists at an impossible distance. 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. 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.”. The music is a slow dance between celestial bodies, heavenly but melancholic. Instead, bass guitar duties on the album are handled by Simon "Dingo" Archer, a former member of the British post-punk band The Fall. “Snakes,” “Blue Eyed Hexe,” et cetera: these are just distractions, breadsticks. In general they remain solid evidence for the theory that the darkest and most violent thinking is done by the quiet kids next door. 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. (Pitchfork may earn a commission from purchases made through affiliate links on our site.). 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. 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. The project cost a thousand dollars, including printing, tapes, and beer. Pilgrim is 20 minutes long and more of a hint at what the band could do than anything else. “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. 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. 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. Their songs feed back to surf, boogie, doo-wop and early R&B more easily than anything post-Beatles. But for all their radical ideas, the Pixies depended on convention—without it, they would have nothing to pick apart. Bossanova and Trompe Le Monde make sense to me here, when it’s 110 degrees by lunch and the concrete ripples in the heat. Released 28 April 2014 on Pixiesmusic (catalog no. “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. It’s made from recycled parts—repurposed pieces of “Velouria,” mostly—but it lifts off in a way few classic Pixies imitations do. The Pixies … 6.0 | FasterLouder. 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. Late Pixies songs are triumphs of private epiphany: Small, diamond-bright moments that flash in someone’s eyes and then disappear forever. 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. PM006CDX; CD). 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. It’s no coincidence that Indie Cindy is at its best when Joey Santiago cuts loose with his guitar Read Review So he sees the boar, and in two short lines, the song is over. Trompe is more aggressive than anything in their catalog but also more confident. Plants and animals seem proud to have survived the odds. Grieves,” “There Goes My Gun” and “Dead”—that the album becomes what it really is. 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. Francis was less of a rock singer than a grotesque impression of one, too angry and too tender, a pantomime of extremes. 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. 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. And screams, but had also developed a new voice, a flat, posthuman kind monotone! 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