Pixies is hailed as one of the most iconic modern indie bands of the past couple of decades. With hits such as “Where Is My Mind?” off of the album “Surfer Rosa” and “Here Comes Your Man” from “Doolittle,” Pixies has established itself as a  staple of indie rock. 

The band was formed in the mid-to-late ‘80s by lead singer Black Francis, guitarist Joey Santiago, bassist Kim Deal and drummer Daving Lovering. However, in 1993, Deal left the band. With a couple other bassist changes over the years, Emma Richardson joined the band for their new album, “The Night The Zombies Came”. 

“Doolittle” and “The Night The Zombies Came” provide a compelling contrast to one another. Released in 1989, “Doolittle” is Pixies’ breakout album and cemented their sound to the general public. The album offers many moments of loud to soft shifts in their songs, giving a sense of quiet chaos to the album. Many moments on “Doolittle” reaffirm that Pixies dabble in a variety of sounds, not quite falling fully into one specifically.

As a first-time listener of Pixies, I was intrigued by the very chaotic yet meticulously sounding instrumentals, as many of the instrumentals came to the forefront of my listening experience. This is because the lyrics in “Doolittle” are actually quite simple, with many repeating phrases and words, letting the instrumentation become the primary focus. 

With that being said, the newest record by Pixies was released on Oct. 25 –  35 years after “Doolittle.” The 13-track album “The Night The Zombies Came” begins with the song “Primrose,” which provides a far softer introduction compared to the introductory song in “Doolittle.” Already, the difference in style to how Pixies performed then and now is evident in merely the first song of both albums.  

Whether this new softer delivery is a good thing or not is up to listener interpretation, but I felt that the shift to a softer and more direct approach in songs made them more listenable. However, this made the songs much less unique and recognizable. I feel songs like the title track “Jane (The Night the Zombies Came),” l represent this record — well-written songs that are totally lacking in identity. 

However, this isn’t to say there aren’t great moments on “The Night The Zombies Came.” The second track, “You’re So Impatient,” is a catchy song for the record with an infectious hook. 

The fourth track, “Chicken,” is especially addicting with a very dreamy guitar. The sentiment of “Chicken” is incredibly inventive as well, which is something I appreciate in Pixies.

“Now I’m dealing with decapitation, I’m begging you, please.” 

Unfortunately, there were just too many songs on this album that felt misplaced or forgettable for me to appreciate it as much as “Doolittle.” Songs on this record like “Johnny Good Man” maintained aspects of their breakout record, like simpler lyricism and heavy guitar, but just don’t contain the instrumental ferocity of early Pixies to back them up.

Like any band that has lasted as long as Pixies, it is only natural to see some change in style. Especially with the addition of a new bassist, creative visions shift and what the band wants to create may differ from their original sound. The final track on the album,  “The Vegas Suite,”  has softer and more listenable delivery in songs like the title track and the final track. Overall, Pixies’ newest creative offering is technically great, but is a far cry from their earlier, more halting soundscape. However, “The Night The Zombies Came” is still definitely worth a listen.

Edited by Ava McCluer | amccluer@themaneater.com

Copyedited by Chase Pray and Emma Short | eshort@themaneater.com

Edited by Annie Goodykoontz | agoodykoontz@themaneater.com