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pitchfork pixies indie cindy review

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. 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. 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. 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. 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. The reviewer, Jayson Greene, wasn’t born when the Pixies began making music. 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. In general they remain solid evidence for the theory that the darkest and most violent thinking is done by the quiet kids next door. In the interest of avoiding redundancy, we chose to do something a little different... Ed. Discover releases, reviews, credits, songs, and more about Pixies - Indie Cindy at Discogs. 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. 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. 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.”. We can always depend on Boston for more sports and software engineers. For the Pixies, this passes as a ballad. For however classically far out the Pixies got toward the end, they had also never sounded so grounded. It’s made from recycled parts—repurposed pieces of “Velouria,” mostly—but it lifts off in a way few classic Pixies imitations do. It’s been a long time since this band had anything left to lose. “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. 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. 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. Two of its best songs (“Caribou” and “Vamos”) ended up being re-recorded in more muscular forms; another (“Nimrod’s Son”) unfortunately wasn’t. Because it’s not like they need to make a record. He sounds new but seems to come from an old place, like an obscure bog predator with alien-looking adaptations. 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! Two of these EPs have been reviewed by Pitchfork, and … 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 … Late Pixies songs are triumphs of private epiphany: Small, diamond-bright moments that flash in someone’s eyes and then disappear forever. The lyric 'Indie Cindy' implies some kind of cheapness to the independent '80s sound Pixies helped to define. It’s got some rippers on it, too. 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. Anybody who pays good money to see the Pixies in 2014 probably isn’t going to be yelling for Indie Cindy deep cuts. This week, the reunited Pixies released their first new album in 23 years. 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. 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 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. Its songs take aim at the big things important art is sometimes supposed to: good and evil, environmental ruin, Bible stories, death. Genres: Alternative Rock. The notion that they were changing the shape of alternative rock seemed like a nice bonus but immaterial. Plants and animals seem proud to have survived the odds. The project cost a thousand dollars, including printing, tapes, and beer. Surfer Rosa is highly combustible music, but slapstick, too. But for all their radical ideas, the Pixies depended on convention—without it, they would have nothing to pick apart. 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. Complete your Pixies collection. Give Indie Cindy an honest listen. 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." Having new material to perform doesn’t hurt, either. They gave them 1-star (out of 10). But part of what made the Pixies interesting is that they always seemed to possess some unquantifiable danger, which they no longer do. He still howls and screams, but had also developed a new voice, a flat, posthuman kind of monotone. 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. 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 … Listen to “Speedy Marie”; listen to “Thalassocracy.” Feel the joy and the lightness. The Pixies’ modest rebound continues on their pleasant, undemanding, and completely respectable new album Beneath the Eyrie. Released 28 April 2014 on Pixiesmusic (catalog no. 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. Amusing as they are, the spy-rock rave-up “St. Indie Cindy’s title track is built using the template of Bossanova: Spacey and gorgeous, shattered and dissonant, spacey and gorgeous again. Trompe is more aggressive than anything in their catalog but also more confident. 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. Indie Cindy, a Compilation of songs by Pixies. After the disappointing Indie Cindy and the serviceable Head Carrier, the band shows signs of recapturing some of the spark of their classic albums. “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. note: This week, the reunited Pixies released their first new album in 23 years. It’s no coincidence that Indie Cindy is at its best when Joey Santiago cuts loose with his guitar Read Review Everyone else: Listen to "Indie Cindy" at your own risk. At least things couldn’t get any worse. Titled Indie Cindy, the record collects material from three EPs released over the past few months. The music is a slow dance between celestial bodies, heavenly but melancholic. Pixies – 'Indie Cindy' album review. Deal’s symbolic contributions were as important as her musical ones: The cool, down-to-earth woman who defused Francis’ showy angst. Forgetting everyone.” Later, on “Havalina,” he spots a javelina—an ornery, boar-like animal not uncommon here—walking across a plain. 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. 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. 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. 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. Titled Indie Cindy, the record collects material from three EPs released over the past few months. 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. Bossanova and Trompe Le Monde make sense to me here, when it’s 110 degrees by lunch and the concrete ripples in the heat. So he sees the boar, and in two short lines, the song is over. 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. Doolittle is their most famous album and for understandable reasons. “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. The album’s lows aren’t so much bad as routine. 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. ... unless your parties involve sitting around a MacBook reading Pitchfork.

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