A funny thing happened along the way, though; Pixies once again settled into their place under the radar and moved on, unconcerned with their legacy or the opinions of outside forces. 2016's Head Carrier saw the full implementation of new bassist Paz Lenchantin and this lineup has carried on to date. To be sure, their albums under this lineup haven't inspired the next great rock movement or proved much of a challenge to their classic phase, but they've held true to who they are and crafted the best records they can.
Now, with the release of Doggerel, Pixies have released the fourth album since returning, officially matching the output of their first period; not only that, but (and here's the wild part) Pixies have outlasted not just the vast majority of their peers, but also the vast majority of bands from the movement they inspired. In this context, Doggerel doesn't really need to strive for anything beyond mere existence; Pixies have already survived it all and still come out the other side with something left to say, which is a victory in and of itself.
However, they're obviously not content to simply churn out some songs and call it a day, and Doggerel finds Black Francis and company building onto their established sound and exploring more conventional avenues; Nomatterday sets the tone, with an energetic and electric delivery that gives way to more melodic tendencies. This continues throughout; Vault of Heaven, for all of its spacey imagery and ghostly backing vocals, is a shockingly straightforward song for Pixies. Ditto Dregs of the Wine, which takes its opening debate of The Kinks vs. Van Halen versions of You Really Got Me and typically off-kilter Black Francis verses and inserts a harmonious, massive chorus.
This approach carries over into the supremely catchy Haunted House, which applies a little restraint on their classic quiet-loud-quiet dynamic, resulting in a pleasant, unfussy song that is content to simply do what it says on the tin. Get Simulated follows a similar trajectory, while expanding into a reverb-soaked outro; then, there's The Lord Has Come Back Today, the shortest song on offer and yet another acoustic-based tune that picks up in tempo for a Neil Young-referencing chorus that elevates the song.
The second half offers more of the same, for better and worse; the nocturnal bent of There's a Moon On is a highlight, and You're Such a Sadducee's galloping beat set it apart from much of what came before it, but the majority of the B-side is just more of the mid-tempo, acoustic based songs that we've already heard enough of. These aren't bad songs in a bubble but, in the context of an album dominated by these subdued and melodic songs, it's easy to lose them in the shuffle.
Still, considering this band have now passed 35 years of service, the simple fact that Pixies are trying anything aside from cold nostalgia is welcomed, and Doggerel is arguably the most consistent album of their current run; it's highly unlikely we'll ever get another Doolittle and, frankly, we don't need it. This isn't designed as a calculated effort at recapturing past glories, rather a subtle exploration into conventional territory that hits more than it misses, and one that further reinforces Pixies as the ultimate alt-rock survivors.
September 30, 2022 • BMG
Highlights Nomatterday • Haunted House • There's a Moon On
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