Pixies Look For Post Reunion Studio Glory On Edgy ‘Doggerel’ (ALBUM REVIEW)

Photo Credit: Tom Oxley

Doggerel marks the Pixies’ fourth studio album since reconveying in 2004, this equals the same number of albums they released in their original incarnation. To say that levels of expectations have dropped significantly would be an understatement, but the band has delivered serviceable if unremarkable, rock in recent years and that workmen-like feeling continues throughout their newest effort. 

These tracks are no longer shape-shifting, short blasts of alternative chaos which inspired a generation of players, in fact, Doggerel has moments where the songs are so ho-hum it can feel as if the Pixies have devolved into a local bar band, but that steadiness seems to suit them as they age. 

The group (Black Francis: vocals, rhythm guitar, Joey Santiago: guitars, David Lovering: drums, percussion, Paz Lenchantin: bass, backing vocals) ease into songs like the relaxed “Pagan Man”, or the 50’s inspired pop of “Haunted House” or the cliched blues rock of “There’s A Moon On”, injecting just enough of their style, like the old pros they are, to keep things interesting.

However, for every inspirational outing, like the ear-catching “The Lord Has Come Back Today” which dabbles with round bass, acoustic strums, and warbling guitars, there is a dull, non-descript, or over long snoozer like “Vault of Heaven”. The eerie/sweet “Thunder and Lighting” is a neat Flaming Lips-sounding offering, while the closing title track tries to get creepy, poppy, and funky all at once, only to disintegrate between all the sounds. One consistent is the gorgeous production from Tom Dalgety as each note and sound ring beautifully throughout Doggerel.  

The psych-laced “Dregs of the Wine” (the first writing credit from Santiago), the twangy “Who’s More Sorry Now?” and the tense swirling “Get Simulated” all winningly recall the band’s heyday in parts with odd lyrics, slashing guitars, harmonies, stomping drums, and rich bass. On the flip side, an effort like “You’re Such A Sadducee” tries to recapture those old feelings but gets weighted down and drawn out, as do the two songs slammed into one postpunk opener “Nomatterday”.        

While the Pixies reunion years haven’t been on par or surpassed their original incarnation (like fellow Massachusetts compatriots Dinosaur Jr. have), the music on Doggerel has instead evolved, aged, and mellowed into more straight-ahead rock with classic Pixie flair sprinkled in every now and then. 

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