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Pixies - Doggerel (2022)

vom: 29.09.2022

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Musical Over Dose
                is proud to present
                Since January 2002

another new release, have fun

.: about release :.

Name       .:. Pixies - Doggerel

Genre       :  Rock
      Source      :  CDDA
      Type       .:. Album

Artist      :  Pixies
      Label       :  Bmg Rights Management (Warner)
      Titel       :  Doggerel

Tracks      :  12
      Playtime    :  42:12
      Size        :  81,83 MB

Encoder     :  VBRNEW - LAME3.100 - V0
      Quality     :  VBR kbps / 44.1kHz / Joint-Stereo
      Bitrate     :  avg. 270kbps

[ Tracklist ]

01.Nomatterday                                           04:11
            02.Vault of Heaven                                       04:00
            03.Dregs of the Wine                                     03:30
            04.Haunted House                                         03:32
            05.Get Simulated                                         03:18
            06.The Lord Has Come Back Today                          02:42
            07.Thunder and Lightning                                 03:19
            08.There's a Moon On                                     02:51
            09.Pagan Man                                             03:02
            10.Who's More Sorry Now?                                 03:14
            11.You're Such a Sadducee                                03:54
            12.Doggerel                                              04:39

Total  42:12 Min

In the press release for Pixies’ new record
      Doggerel, the band’s inimitable vocalist/guitarist
      Black Francis is quite clear on the direction
      intended with the album. “We’re trying to do things
      that are very big and bold and orchestrated,” he
      said. “The punky stuff, I really like playing it but
      you just cannot artificially create that shit.
      There’s another way to do this, there’s other things
      we can do with this extra special energy that we’re
      encountering.”

Given Pixies’ output since their reformation in
      2004, Francis’ words hardly instil much optimism.
      2014’s Indie Cindy was an absence of ideas, a
      numbing disappointment that, even with the 21-year
      lag since they initially broke up in 1993, felt
      disorientating given the calibre of their work
      during phase one. Head Carrier (2016) was a little
      better, and so again was Beneath the Eyrie in 2019,
      Pixies’ last release ahead of Doggerel. Perhaps it
      was the growing influence of bassist Paz Lenchantin,
      who, having joined for Head Carrier, undoubtedly
      brought a freshness and a rejuvenated energy to what
      was, sadly, becoming a tired outfit. The record even
      contained a few bangers, most notably ‘On Graveyard
      Hill’, a rare occasion in the past few years where
      Pixies have managed to bridge the gap between where
      they were, and where they want to be.

So given how tepidly attempts at experimentation and
      reimagining their sound has gone so far, it’s fair
      to say that Doggerel didn’t land with the
      expectation typically associated with one of the
      most influential alternative bands of the late 1980s
      and early ’90s. The first thing to say, then, is
      that this is the best Pixies record since they’ve
      reformed. Across Doggerel’s 12 tracks, Francis and
      co. rip through a range of styles, from furious
      grunge to acoustic pop swoons, often, if not always,
      with a gusto that on occasions almost gets you
      feeling excited again. You could describe some of
      it, even, as big, bold and orchestrated.

Things kick off simply enough with the punchy
      ‘Nomatterday’. While hardly the band’s most
      impactful album opening track, its lack of frills
      and strong-enough chorus make for a decent start.
      Elsewhere, the titular song pairs a spaced, desert-
      rock vibe with some cookie-cutter, if nonetheless
      oddly entertaining, notions of a life of nomadic
      wanderings (“On the road to somewhere, on the road
      to nowhere / It’s the same to me”). The song also
      gives guitarist Joey Santiago one of his first two
      Pixies songwriting credits, contributing the lyrics,
      while also writing the music for the excellent
      ‘Dregs of the Wine’. Alongside tracks such as the
      tender folk piece ‘Who’s More Sorry Now?’, there is
      a distinct impression that Pixies are displaying an
      intention to continue searching for a new space to
      belong.

As was the case on previous releases, such as the
      aforementioned ‘On Graveyard Hill’, some of the best
      moments on Doggerel however come when the band
      continues to draw on their mighty back catalogue,
      while retaining their presence firmly in the
      present. Most notable here is ‘Get Simulated’, an
      absolute ripper of a tune on which Francis’ largely
      restrained vocal performance is matched effectively
      with instrumentation similarly paired-back and
      considered. Continually threatening to burst from
      its meticulous, contained structure, it never does,
      leaving its listeners desperate for more without
      feeling at all stood up.

But this wouldn’t be a typical post-reformation
      Pixies record if it represented a totally smooth
      transition into whatever it is the band are now
      aiming for. ‘Vault of Heaven’ struggles to get out
      of first gear, as both the storytelling and the
      performances languish and falter with little aplomb.
      ‘You’re Such a Sadducee’ is the worst thing here, if
      just for Francis’ offensive rhyming of “sadducee”
      with “sad to see”. Attempting to be disarming and
      irreverent, it instead feels contrived and
      performative, and very much not in keeping with
      what, at times, makes Doggerel tick.

Given their recent run, the prospect of a new Pixies
      record that could be worth more than a handful of
      listens seemed fantastical. Beneath the Eyrie may
      have felt like a step forward, though context is
      key; if stood up against much of their earlier work,
      there’s no real comparison to be made. While still
      failing to scale the unassailable heights weary fans
      yearn to believe the band are still capable of
      reaching, Doggerel does restore some credibility to
      the idea that Pixies aren’t just worth seeing for
      their back catalogue. Though far from the end
      product, it does do that one thing which for a few
      years it was feared may not have been possible - it
      instils hope. Hope that, perhaps, this band has some
      future yet.

https://www.pixiesmusic.com

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