Posts Tagged ‘Black Francis’

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The Pixies have still got it of course. Black Francis and company are on the comeback trail with a brand new song, “On Graveyard Hill.” It’s the lead track from the band’s forthcoming full-length, “Beneath the Eyrie”. The album will be the group’s seventh studio effort when it’s released on September 13th.

“On Graveyard Hill” seethes with the manic energy of classic Pixies, with Black Francis’ vocals as the most distinctive feature. Recorded without any effects or distortion, he sounds like a new man. Beneath the Eyrie arrives with twelve songs about “witches, Daniel Boone, misfits,” and other spooky stuff. Halloween 2019 soundtrack? Signs point to yes. The album was produced by Tom Dalgety, who most recently racked up some Grammy nominations with the band Ghost.

The official audio for ‘On Graveyard Hill’ by Pixies taken from new album ‘Beneath the Eyrie’.

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Surfer Rosa is one of those perfect debut albums, that lets you know what you’re in for right out of the gate. The blueprint for the album, and for so much of the guitar-based music that followed over the next decade or so, is set within the first minute of the lead track, “Bone Machine.” David Lovering’s spare yet ferocious drums, the sound of them so vast that you wonder if he’s actually playing an oil rig. Kim Deal’s muscular, melodic bassline, underpinning but never overstepping. Joey Santiago drawing blood out of a few crystal-sharp notes of guitar. Black Francis (aka Frank Black) yelping for sixteen bars of agitated verse over a relative lull of music before Santiago yanks the song back into a chorus of blistered lips and “uh-oh!”—the first instance of the loud/soft motif that the band further refine and recalibrate through another dozen frenetic and thrilling songs, most of which combust around the two-minute mark.

The Pixies made Surfer Rosa not long after their formation in Boston, Massachusetts, and just a few weeks after the release of their debut mini album, Come On Pilgrim. Both releases were themselves culled from a March ’87 demo, The Purple Tape, which included embryonic versions of several Surfer Rosa songs: “Break My Body,” “I’m Amazed” and the album’s most straightforwardly hardcore moment, “Broken Face.” At the urging of their British label, 4AD Records, Surfer Rosa saw the Pixies replace Purple Tape producer Gary Smith with a relatively unknown recording engineer, Steve Albini, who was best known at the time for his work with his own band, Big Black. After a get-to-know-you dinner at Lovering’s place, the band and Albini set to work on the record at the newly opened Q Division Studios in Somerville, a few miles north of Boston, which had ironically been recommended to them by the ousted Smith.

Famously opposed to both the title “producer” and the concept of receiving royalties on albums he worked on, Albini was paid a flat fee of $1,500 for his ten days of work on the album, out of a total recording budget of $10,000. He would be similarly forthright in his critiques of the band’s performances, alternately hailing them as “genius” or dismissing them entirely.

In press interviews at the time, the band would characterize Albini as a “brainiac” who loved lo-fi and instruction manuals but had little enthusiasm for “anything human-sounding”—the result of which meant that those ten days of recording were spent honing guitar and drum sounds, with vocal parts left until the very last evening. Special effects were eschewed in favor of an abrasive, unadorned—and soon to be much copied style that found its perfect foil in the Pixies’ deceptively delicate (and often delicately played) songs. Even overdubbing was generally avoided. “He hates overdubs,” Deal had told Melody Maker.

Though the two would later on form a deep friendship (as evidenced by their joint panel at this year’s SXSW festival), Deal was somewhat dismissive of Albini’s methodology in subsequent interviews. But Albini always had a fan in Black Francis. “I like him because he likes loud,” he exclaimed in the same interview. “All the needles were on red. He totally overloaded the tape.”

Assistant engineer John Lupner, meanwhile, was struck by the lengths Albini went to authentically capture the particular sound of Q Division Studios. Not everything was quite so meticulously planned, however. According to John Murphy—Deal’s husband at the time—the abrupt end to “Where Is My Mind?” came about by accident, as a result of the tape running out while the band was playing. “The tape started to go click click click,” he told Frank and Ganz, “and they went, ‘Well, we got most of it.

If there’s an overarching theme to Surfer Rosa, it’s a Lynchian scratching away at the underbelly of modern life to reveal tales of voyeurism, incest, and other deviant behavior. Francis put these preoccupations—that include a rather ahead-of-its-time portrayal, in “Bone Machine,” of a pedophile priest (or “preachy-preach” in Pixies vernacular)—down to his “real hardcore Pentecostal” upbringing. It’s not all about molestation, though. Two songs (“Broken Body” and “Tony’s Theme”) reference superheroes, while several others draw on a six-month period Francis spent as an exchange student in Puerto Rico the inspiration for both the Spanglish lyrics in “Vamos” and “Where Is My Mind?” with its dreamy evocation of snorkeling “in the Car-ibb-e-an.”

Though vocals were left until the final day of recording, they were by no means an afterthought. Indeed, the interplay between the band’s two vocalists, Francis and Deal, would become another Pixies trademark. In keeping with his vérité style, Albini abandoned studio trickery in favor of natural acoustics. Deal’s two most memorable vocal performances—her lead on the bouncing, pop-toned single, “Gigantic” and the oo-oohs that run throughout “Where Is My Mind?”—were recorded in the bathroom, its natural echo proving preferable, as far as Albini was concerned, to any available studio effect. The latter song’s false start jarring and seemingly throwaway on first listen is instructive as to the attention to detail from both band and engineer. Deal’s first ooh, which precedes Francis’s curt instruction to “Stop,” has a sharp rawness to it. When her voice returns in the song proper, it’s engulfed in an underwater haze much more befitting the lyrical reverie.

There are further spoken interjections elsewhere: some within the songs, such as the aforementioned opening to “Bone Machine” and Deal’s similar announcement that “Tony’s Theme” is about “a superhero named Tony,” and some in between. “I’m Amazed” begins with Deal mid-sentence, gossiping about a teacher who’s “into field-hockey players.” “Oh My Golly!” ends with Francis yelling “You fuckin’ die!” at her. He goes on to clarify that he’d done so in jest, in response to her warning that no one mess with her equipment.

Surfer Rosa was released in March 1988 in the UK and remained available only as an import in the United States until late summer, when 4AD signed a North American distribution deal with Rough Trade. Initial U.S. pressings paired the album with Come On Pilgrim. The two works were then reissued separately in 1992, after Elektra Records took on the 4AD catalogue.

Having received largely positive press notices, Surfer Rosa sold solidly in the interim, if unspectacularly—perhaps in part because, like so many landmark albums, it found itself a little far ahead of the curve. Winning the hearts and minds of college radio and Melody Maker (which named the album the best of 1988) would not yet yield widespread success. The album did not go gold in the U.S. until 2005, by which time the Pixies had disbanded, lain dormant for a decade, and then reunited for the first of several deservedly lucrative world tours.

By then, of course, Surfer Rosa had been well and truly canonized as one of the most influential albums of its time, with Nirvana and myriad others taking the Rosa model and running with it, many of them queuing up both to sing its praises and to summon Steve Albini to work his magic to record his own band’s album In Utero . Kurt Cobain listed it as his second favorite album of all time (after Iggy and the Stooges’ Raw Power)

Among the earliest advocates for the band, meanwhile, was one of rock’s greatest statesmen, David Bowie, who would later lament, “I thought it was a hell of a shame that America didn’t recognize its own with the Pixies.” His 2002 album Heathen includes a well-judged cover of Rosa’s “Cactus,” a short and sweet ballad about a prisoner so desperate for something—anything from his wife that he ends up begging her to smear her dress with blood and “send it to meeee.”

Another important step in the album’s elevation came a few years earlier, with David Fincher’s clever use of “Where Is My Mind?” in a pivotal scene toward the end of Fight Club. Since then, that song in particular has become so inescapable that you’ll even hear gentle piano renditions in HBO prestige dramas. Surfer Rosa regularly appears on all-time “best-of” lists online and in print.

Pixies
  • Black Francis – vocals, rhythm guitar, acoustic guitar
  • Kim Deal – bass, backing vocals, vocals on “Gigantic” (credited as Mrs. John Murphy)
  • Joey Santiago – lead guitar
  • David Lovering – drums

With their new album and second since reforming in 2004, David Lovering, rhythm guitarist/vocalist Black Francis and guitarist Joey Santiago bassist Paz Lenchantin

“Head Carrier” thrives for one simple reason: it sounds like a Pixies album.” “There are bits of enthralling guitar throughout, and the album as a whole feels like a combination of the catchiness of ‘Here Comes Your Man’ and the futurism of “Bossanova”. If the letdown of Indie Cindy caused you to lose faith in the Pixies, let “Head Carrier” bring you back to the flock. It’s one of the best albums of 2016, and an incredible return to form for an all-time great band”

The indie rock legends’ first album with bassist Paz Lenchantin who has been the band’s touring bassist since January 2014, and played an integral part in the recording of Head Carrier features some of their friendliest, jangliest songs yet.  Though they crafted a signature sound and endlessly copied . Pixies‘ music never stayed in the same place for long. During their early years, the band relished change, moving from the album “Come On Pilgrim” scrappy apocalyptic visions to their classic release “Doolittle” with its gleaming pop to “Trompe Le Monde” riff ridden rock at a rapid pace.

Indeed, it could be argued that part of the reason their 2014 comeback “Indie Cindy” underwhelmed was because it tried too hard to recapture the past.

On new album “Head Carrier” the band have made a few changes, the biggest being bassist Paz LenChantin. Replacing a member may be inconsequential for some bands, but for this one, it’s a big deal (pun intended): Founding bassist Kim Deal departed prior to “Indie Cindy” album and the use of a session player on the album only underscored that a vital part of the group’s appeal was missing. Thanks to Lenchantin the Pixies again sound like a full but if not slightly different band again, whether she’s sweetening “Oona”‘s crunch with her harmonies or helping shape the album’s character in general. The rest of the band’s ease at having her in the fold is audible, and “Head Carrier” is a surprisingly nice album. “Classic Masher” and “Bel Esprit” recall the amiable jangle of “Here Comes Your Man” and the band’s cover of “Winterlong,” and the easygoing vibe continues on “All the Saints”‘  and “Plaster of Paris.” However, the niceness turns strange on “All I Think About Now.” A musical thank-you note to Deal written by Black Francis and with vocals by Lenchantin that shamelessly borrows from “Where Is My Mind?,” it manages to be both jarring and overly nostalgic.

The high-speed chase that is “Um Chagga Lagga” and the roaring title track are in the vein of classic Pixies rockers without feeling contrived. “Talent” is even better, a piece of satirical, snotty garage-rock that reaffirms Black Francis doesn’t need to sing about the Bible or aliens to let loose.

With their new album and the second since reforming in 2004, David Lovering, rhythm guitarist/vocalist Black Francis and guitarist Joey Santiago bassist Paz Lenchantin  thrives for one simple reason: it sounds like a Pixies album.” “There are bits of enthralling guitar throughout, and the album as a whole feels like a combination of the catchiness of ‘Here Comes Your Man’ and the futurism of “Bossanova”. If the letdown of Indie Cindy caused you to lose faith in the Pixies, let Head Carrier bring you back to the flock. It’s one of the best albums of 2016, and an incredible return to form for an all-time great band” –

Limited Pink vinyl edition also available

Pixies, 'Head Carrier'

The Pixies‘ first album with new bassist Paz Lenchantin has songs about everything from the ancient Mesopotamian god Baal to a an old cowboy that looks like Jack Palance, but the one guaranteed to interest fans the most is “All I Think About Now,” a frank apology from frontman Black Francis to estranged bassist Kim Deal. “If I could go to the beginning,” he wrote. “Then for sure I would be another way.” The song was actually Lenchantin’s idea, and she sings lead on it. “It’s a song about regret,” says Francis. “But it’s also about good memories.” For a group that has devoted so many years to playing their classics on the nostalgia circuit, they know that a new album is a tough sell for some fans. But the 12 songs on Head Carrier are classic Pixies, full of neck-bulging Black Francis screams and bizarre imagery. “If you’re a fan of anything you’re going to be closed off to change,” says Francis. “I don’t take it personally. Everybody’s gotta make their own decisions about what they’re going to play out of their stereo.”

Paz Lenchantin is the new bassist on this, the Boston group’s sixth album, and their second since they reformed in 2003. Check out the first single ‘Um Chagga Lagga’ for a rollicking taste.

Pixies return to Coachella the American Alternative Rock Band are indie rooted with psychedelia noise rock and surf rock from Boston Massachusetts in 1986 the group consist of Black Francis the primary songwriter,Joey Santiago and David Lovering. The band have always been more succesful in the United Kingdom than in their home country