Pixies: Beneath the Eyrie review – Moving into new wild ways
Beneath the Eyrie
In 2013, Pixies made their comeback after a 23-year hiatus with Indie Cindy, clearly marking two timelines for the band; classic Pixies with bassist Kim Deal in tow and modern Pixies sans Deal.
In this new era, the format of the alt-rock band is certainly more focused on frontman Black Francis but on the group’s seventh album, the strongest moments are when Paz Lenchantin, the group’s full-time bassist since 2016, shares the mic.
Twisted fairytales, dark morals and fallen folk heroes string this album together and while the music could go as warped as the content – the percussion more thunderous, the guitars more sinister perhaps – we’re introduced to wild, wondrous and wicked characters.
A scare at bedtime is courtesy of the underwater felon Catfish Kate, whose victims are taken down with a swinging melody. A two-part ode to surfers lost at sea unfolds across the witchy Long Rider and Los Surfers Muertos with Lenchantin taking the lead and reincarnation gets a look in on the wistful Daniel Boone, a sister track to 1987’s Caribou. On this timeline, Pixies respectfully honour the past but they’re nicely moving on with the new.