A band that by no means need any introduction (but nonetheless are the utmost deserving of one) are ‘80s rock outfit, Pixies. Forged in multiple line-up changes, and ever-expected reunions, the quartet have paved the way for new bands finding their edge in sophisticated rock ever since the release of their debut album Come On Pilgrim in 1987.
While not making their permanent mark until the unveiling of Surfer Rosa saw ‘Where Is My Mind’ become the staple track of every coming-of-age flick, Pixies have sure spent the last four decades reinventing what it means to be a veteran rock band.
Sitting at twelve tracks long, their latest release, and eighth album, Doggerel, paints a feral landscape of gritty rock in their fourth-reunion era that sees the band take a turn towards a more gruesome folk project.
‘Nomatterday’ opens the album with intense sci-fi effects that immediately bleed into insistent percussive beats that let the way for ferocious rock energy as vocalist Black Francis bursts onto the scene with his instantly recognisable crooning vocals. At the two-minute mark, the listener is pulled into a parallel dimension as the track suddenly shifts into woozy instrumentation that makes for an utterly surreal audial experience.
Transitioning into ‘Vault Of Heaven’, we find ourselves stepping into a world drenched in desert-rock swagger, whereas ‘Dregs Of Wine’ offers a slower, more sultry step back with basslines pulled straight out of Red Hot Chili Pepper’s playbook. Taking a nod to Manchester’s acid-fueled ‘Hacienda’ scene, roaring drums take the limelight as Francis channels the vocal energy of The Who’s Pete Townshend, plummeting the record straight into 60s fuelled rock soundscape.
With the intro ringing vaguely reminiscent of The Jam’s ‘English Rose’, ‘Haunted House’ takes its place as the track most closely resembling a ballad on the record, as the band lament on apparitions in a spirited jab at 90s pop.
Travelling through the twangy string sections of ‘Get Stimulated’ and breezy vocals of ‘The Lord Has Come Today’, ‘Thunder & Lightening’ (as the title most aptly suggests) climaxes in a storm of climbing guitar scales and whispered tones as it breaks out.
Eighth track and first single to be plucked from the record, ‘There’s A Moon On’ comes in full throttle with driving guitar lines and stunning vocals. Perfectly crafted with peaks and troughs in the pace, the track finds its home in crunchy percussion and howling melodies in an unforgettably sultry twist.
‘Pagan Man’ offers the most authentic Pixies track. Steeped in their classic 80s sound, layered vocals and melodic pop flourishes that make for an enchanting earworm more than worthy of being placed amongst such bold and dynamic cuts.
Moving through to the penultimate track after breezing through the jazzy undertones of ‘Who’s More Sorry Now’, ‘You’re Such A Sadducee’ opens in an almost punk-rock energy that takes wanton inspiration from acts such as The Sex Pistols. With this number, the band follow on from the religion-infused narratives of ‘Vault Of Heaven’ and ‘The Lord Has Come Back Today’, and pay homage to the alt-rock intonations that are found prevalent in earlier cuts such as ‘Here Comes Your Man’.
A dozen tracks in, the record amalgamates in the title offering ‘Doggerel’, with Stone Roses-laden percussive intermissions and funky basslines that make for an apt end to this new era of Pixies.
Finding the balance between the brooding nature of ‘Vault Of Heaven’ and the breezy intonations of ‘Pagan Man’, with Doggerel, the band straddles the boundary of producing a dark and visceral record, whilst subtly maintaining an intense pop edge.
Through Doggerel, Pixies take their tumultuous history in stride, and never let their infectious rock swagger fail or falter. Nearly forty years on and Pixies have managed to keep their legendary status and show no signs of hanging up their guitar strings any time soon.
Words by Lana Williams
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