PIXIES – DOOLITTLE (4AD)
This record is about collision, the collision of styles, the collision of genres, of sounds and these days would be led to believe of personalities. Imagine crossing art school with surf and hardcore and you begin to get an idea of what the Pixies sound like.
The band has always been one of strong personalities and unique qualities. As the record opens with “Debaser” a blissfully rubbery bassline grabs hold of proceedings before a siren guitar part descends and explodes onto the scene prior to a screaming man of insane proportions singing about obscure French art films (Un Chien Andalou) takes over proceedings.
From here the banshee wail vocal style seldom relents as one of the few genuinely original singing voices of any genres works its magic.
By the third song the band is singing along the lines of Charles Manson and a “Wave Of Mutilation” casting a true concern and intrigue regarding the background of the individuals summoning the words. Then this track is followed by a number entitled “I Bleed” that exudes some kind of pre-frenzy calmness before exploding into chaotic scenes of potential homicide and personal disgrace. The ringing sound that remains in your mind/head afterwards is intentional.
When I first got into the Pixies I was prone to singing their songs out loud, most frequently “Here Comes Your Man” and “Monkey Gone To Heaven.” Most explicitly I remember once singing “Here Comes Your Man” and some drippy girl thinking that these words were a come on from me. Perhaps this is why she hung around me for a few months. When however I would sing the words “this monkey’s gone to heaven” and “then God is seven” certain people just thought I was a Jesus freak.
As the record arrives as “Dead” this is almost the first duff track of the collection, only saved by the funny playing on the part of Santiago and Black Francis repeatedly saying “the crapper.” It does however serve as a fine lead into “Monkey Gone To Heaven.”
“Monkey Gone To Heaven” is a genuinely towering song. As the opening bars levitate it above proceedings that slope into a slick Deal bassline and occasional string chimes it performs large big service for the band offering up a kind of happy melancholy that flows spiritually and endeavours to deal with the big questions. Following art house and murderous pretensions you suddenly begin question whether this is the work of a manipulative cult as opposed to a struggling rock band on an independent label.
Unfortunately from this point I have always felt the record peters off. It also suddenly begins to feel distinctly South of the border. “Mr Grieves” plays out like a dusty porch song while “Crackity Jones” is almost basic hardcore punk akin to The Plugz.
The terribly sarcastic “La La Love You” I feel demeans the record with a snide touch that is just too fickle to decipher. I am positive though it is where Kurt Cobain derived inspiration for his vocal method when they performed “Smells Like Teen Spirit” on Top Of The Pops. Its still a very silly song though.
From here I just feel the album ends on a bum note. “There Goes My Gun” is a fun song with another mixed up sentiment that could easily be taken either way including the psychotic. Perhaps it was quite fitting in the end that they used a Pixies song at the end of Fight Club.
Doolittle climaxes with “Gouge Away”, an almost whispered and threatening outro with a sinister tone that could just as easily be swallowed as Black Francis instructing “go away.” Obviously Santiago eventually drops in to turn the track into a cacophony and ends the album with a sense of closure and subtle devastation.
There is no doubting that this is a great band making a great record.
Thesaurus moment: titivate.
Pixies
4AD
This record is about collision, the collision of styles, the collision of genres, of sounds and these days would be led to believe of personalities. Imagine crossing art school with surf and hardcore and you begin to get an idea of what the Pixies sound like.
The band has always been one of strong personalities and unique qualities. As the record opens with “Debaser” a blissfully rubbery bassline grabs hold of proceedings before a siren guitar part descends and explodes onto the scene prior to a screaming man of insane proportions singing about obscure French art films (Un Chien Andalou) takes over proceedings.
From here the banshee wail vocal style seldom relents as one of the few genuinely original singing voices of any genres works its magic.
By the third song the band is singing along the lines of Charles Manson and a “Wave Of Mutilation” casting a true concern and intrigue regarding the background of the individuals summoning the words. Then this track is followed by a number entitled “I Bleed” that exudes some kind of pre-frenzy calmness before exploding into chaotic scenes of potential homicide and personal disgrace. The ringing sound that remains in your mind/head afterwards is intentional.
When I first got into the Pixies I was prone to singing their songs out loud, most frequently “Here Comes Your Man” and “Monkey Gone To Heaven.” Most explicitly I remember once singing “Here Comes Your Man” and some drippy girl thinking that these words were a come on from me. Perhaps this is why she hung around me for a few months. When however I would sing the words “this monkey’s gone to heaven” and “then God is seven” certain people just thought I was a Jesus freak.
As the record arrives as “Dead” this is almost the first duff track of the collection, only saved by the funny playing on the part of Santiago and Black Francis repeatedly saying “the crapper.” It does however serve as a fine lead into “Monkey Gone To Heaven.”
“Monkey Gone To Heaven” is a genuinely towering song. As the opening bars levitate it above proceedings that slope into a slick Deal bassline and occasional string chimes it performs large big service for the band offering up a kind of happy melancholy that flows spiritually and endeavours to deal with the big questions. Following art house and murderous pretensions you suddenly begin question whether this is the work of a manipulative cult as opposed to a struggling rock band on an independent label.
Unfortunately from this point I have always felt the record peters off. It also suddenly begins to feel distinctly South of the border. “Mr Grieves” plays out like a dusty porch song while “Crackity Jones” is almost basic hardcore punk akin to The Plugz.
The terribly sarcastic “La La Love You” I feel demeans the record with a snide touch that is just too fickle to decipher. I am positive though it is where Kurt Cobain derived inspiration for his vocal method when they performed “Smells Like Teen Spirit” on Top Of The Pops. Its still a very silly song though.
From here I just feel the album ends on a bum note. “There Goes My Gun” is a fun song with another mixed up sentiment that could easily be taken either way including the psychotic. Perhaps it was quite fitting in the end that they used a Pixies song at the end of Fight Club.
Doolittle climaxes with “Gouge Away”, an almost whispered and threatening outro with a sinister tone that could just as easily be swallowed as Black Francis instructing “go away.” Obviously Santiago eventually drops in to turn the track into a cacophony and ends the album with a sense of closure and subtle devastation.
There is no doubting that this is a great band making a great record.
Thesaurus moment: titivate.
Pixies
4AD
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