manualfalo.blogg.se

Timeless songs rooted in folk melodies and classic rock’n’roll, in thrall to the elements, heavenly bodies, human failings and the mysteries lying an inch beyond our mortal dimensions. More inclined to growl than howl these days (although his tracheal beast breaks free on ‘Dregs Of The Wine’) his maturing tone makes him sound like a cult elder, crooning and snarling tales of loss and legend around entranced campfires. Much of this evolution, then, is down to the changing face of Black Francis’s songwriting.

David Lovering still sounds as though he’s drumming in some dungeon beneath a ruin on the borderlands. Paz respectfully honours Kim Deal’s brand of hook-chasing bassline and deadpan backing vocal. Joey Santiago continues wringing trademark wails, roars and viper strikes from his guitar like some cornered desert wildcat. READ MORE – Pixies: “This is the most grim and dystopian it’s ever been in my lifetime”ĭespite shifts in personnel, the core elements of Pixies’ magic remain untampered.Menace, with a more sophisticated aftertaste But as bassist Paz Lenchantin and now-regular producer Tom Dalgety have become infused into the band’s complex formula, adding touches of orchestral largesse and dusky grunge pop, it’s only with 2019’s gothic-tinged ‘Beneath The Eyrie’ and this eighth album ‘Doggerel’ that a Pixies thick with experience have evolved a cultured new flavour worthy of their esteem oak-aged yet sparkling, rich yet earthy, musty notes giving way to bright sensations. Their first few comeback records (2014’s ‘Indie Cindy’ and 2016’s ‘Head Carrier’) found fresh harvests from the same soil remarkably palatable.

Pixies’ seminal early albums – the very bedrock of modern alternative rock – were sharp and biting vintages: young and stinging, unrefined, spiced with Latino lust and melodic fury and prone to induce intoxicating visions both sci-fi and Biblical.