pitchfork pixies indie cindy review

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. Doolittle is their most famous album and for understandable reasons. 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. 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. Complete discography, ratings, reviews and more. 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. 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 … Plants and animals seem proud to have survived the odds. 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. 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. Titled Indie Cindy, the record collects material from three EPs released over the past few months. For however classically far out the Pixies got toward the end, they had also never sounded so grounded. 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. Pitchfork is the most trusted voice in music. 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. “She’s my fave, undressing in the sun,” Francis whispers on the cryptic miniature, “Ana.” “Return to sea—bye. After the disappointing Indie Cindy and the serviceable Head Carrier, the band shows signs of recapturing some of the spark of their classic albums. Punk review from a very unPunk site. Everyone else: Listen to "Indie Cindy" at your own risk. Bossanova and Trompe Le Monde make sense to me here, when it’s 110 degrees by lunch and the concrete ripples in the heat. Amusing as they are, the spy-rock rave-up “St. 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. This is outlaw music, sharpened by conspiracy theory and too much time with too little human contact. Forgetting everyone.” Later, on “Havalina,” he spots a javelina—an ornery, boar-like animal not uncommon here—walking across a plain. 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. 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 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. Indie Cindy’s title track is built using the template of Bossanova: Spacey and gorgeous, shattered and dissonant, spacey and gorgeous again. 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. 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 … 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. Released 28 April 2014 on Pixiesmusic (catalog no. In general they remain solid evidence for the theory that the darkest and most violent thinking is done by the quiet kids next door. 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 lyric 'Indie Cindy' implies some kind of cheapness to the independent '80s sound Pixies helped to define. Two of its best songs (“Caribou” and “Vamos”) ended up being re-recorded in more muscular forms; another (“Nimrod’s Son”) unfortunately wasn’t. Anybody who pays good money to see the Pixies in 2014 probably isn’t going to be yelling for Indie Cindy deep cuts. The Pixies … The reviewer, Jayson Greene, wasn’t born when the Pixies began making music. “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. “Snakes,” “Blue Eyed Hexe,” et cetera: these are just distractions, breadsticks. 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. No reasonable listener expected the Pixies’ reunion album, 2014’s Indie Cindy, to sound like the same band from two decades earlier. The project cost a thousand dollars, including printing, tapes, and beer. They seem like a really pretty good alt-rock band, better than the vast majority of the competition Read Review. 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. (Pitchfork may earn a commission from purchases made through affiliate links on our site.). Titled Indie Cindy, the record collects material from three EPs released over the past few months, two of which we've already reviewed. Discover releases, reviews, credits, songs, and more about Pixies - Indie Cindy at Discogs. “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. 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. In the interest of avoiding redundancy, we chose to do something a little different... Ed. If you have to, just pretend it's the new project of Frank Black, Joey Santiago and David Loverling. It’s made from recycled parts—repurposed pieces of “Velouria,” mostly—but it lifts off in a way few classic Pixies imitations do. 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’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. Late Pixies songs are triumphs of private epiphany: Small, diamond-bright moments that flash in someone’s eyes and then disappear forever. It’s been a long time since this band had anything left to lose. Pilgrim is 20 minutes long and more of a hint at what the band could do than anything else. 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. In the interest of avoiding redundancy with another standalone review of this material, we’ve instead chosen to explore the band’s back catalog. 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 . At least things couldn’t get any worse. 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. 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. But for all their radical ideas, the Pixies depended on convention—without it, they would have nothing to pick apart. 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. It at least offers the group a chance to mix it up a bit after years of bleeding the same old Doolittle staples dry. Francis was less of a rock singer than a grotesque impression of one, too angry and too tender, a pantomime of extremes. 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. They can handle this now, and they do. Genres: Alternative Rock. They gave them 1-star (out of 10). Two of these EPs have been reviewed by Pitchfork, and both received exceptionally low marks. Even the spritely jangle of “Bird of Prey” does little to temper the resentful bite of Francis’ lyrics. 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. note: This week, the reunited Pixies released their first new album in 23 years. 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. 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? So he sees the boar, and in two short lines, the song is over. Indie Cindy collects songs from their recent three EPs and does contain tracks of merit. Pixies: “Pitchfork Just Seem Like They Hate Everything” ... As far as some Pitchfork reviews go, ... Watch: Pixies – Indie Cindy. 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. 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. Having new material to perform doesn’t hurt, either. Interested newcomers to the band: Listen to the Pixies chronologically. They’re narrower in scope than Doolittle, and have a tough, inorganic presence, like burnished chrome. Complete your Pixies collection. Once again, anyone over 40–avoid Pitchfork. The Pixies’ modest rebound continues on their pleasant, undemanding, and completely respectable new album Beneath the Eyrie. Pitchfork is the most trusted voice in music. “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. 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. Pixies – 'Indie Cindy' album review. Two of these EPs have been reviewed by Pitchfork, and … “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. Things start decent and peter out quick. “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. 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