CD of The Week

Pixies - The Night The Zombies Came (BMG)

Pixies released their tenth album entitled The Night The Zombies Came just in time for Halloween. The horror themes fit nicely alongside their evergreen uber-existentialist vibe. Lyrics about final girls, ghosts, and death dutifully accompany Pixies musicality, at once genre-defying, now more of a subdued homage to their earlier phase. As leaders of the late 80’s alternative/indie rock scene, Pixies disbanded in 1991 after five truly groundbreaking records. Twenty-plus years later, three original members (minus bassist Kim Deal) gathered in the studio to record a few EP’s which eventually became 2014’s full-length album Indie Cindy, an admirable return to form. Now in this “Phase 2,” Pixies have released just as many albums as in their start. 

Alongside band leader Black Francis (vocals, guitar), Joey Santiago (guitars, vocals) and David Lovering (drums, percussion, vocals) have been the stalwarts of the band for nearly 40 years. The position of bassist, however, has been a point of contention ever since their span of reunion shows with Kim Deal between 2003-2013. Deal’s relationship with Francis was strained, to say the least, and the late Kim Shattuck (The Muffs) was brought in to finish the tour. This was around the time Pixies returned to the studio for the aforementioned Indie Cindy. Eventually, super fan Paz Lenchantin (A Perfect Circle) was hired as the full-time bassist, a job which lasted for three more albums. Earlier this year, Pixies announced that Paz was leaving, but the reason being had two sides. Former Band of Skulls member Emma Richardson now more than adequately fills the bassist and backup vocalist role.

Band drama aside, The Night The Zombies Came is a fine album. It would be hard to imagine Pixies releasing a bad album, but for them to reach the same heights as something like Doolittle or Bossanova seems far-fetched. Setting aside any expectations as such, the last five albums have been full of classic Pixies tunes. Here we get the nostalgic energy of tracks “You’re So Impatient” about lovers in a “dead” mall, and “Oyster Beds.” Santiago’s trademark surf guitar deftly headlines “Chicken,” the 4-minute opus to decapitation we never knew we needed. Otherwise, there is a reworking of an old folk song about John Barleycorn (“Johnny Good Man”), a nod to singer-dancer Chubby Checker (“Ernest Evans”), and single “Motoroller,” which perfectly highlights that signature blend of melodic acoustic and electric guitars.

Producer Tom Dalgety (Ghost, Royal Blood) has been behind the decks for Pixies ever since 2016’s Head Carrier. As an experienced audio engineer, he perfectly captures the loudness and quietness Pixies have employed since their inception. Unfortunately, there is a lack of having both loud and soft within the same song that made early tracks like “Tame“ so dynamic. Some have speculated that maybe Pixies have become “Dad” rock, settling into a comfortable retro-alt sound that they helped define but are hesitant to reinvent. Are they the “zombies” that have come? Perhaps, perhaps not, but it seems as if for now, Pixies will likely continue to churn out quirky and clever indie-rock music, unapologetically resting on their laurels.

Don’t miss two shows with Pixies in 2025 on July 22nd and 23rd with local hero Kurt Vile at The Fillmore. 
Review by Dave Lindquist