The greatest band of the ’80s and ’90s is back again, this time to rep its crossover knockout Doolittle with a full-album tour, including B-sides. This monkey just went to heaven for Wired.
Pixies’ Anniversary Doolittle Tour Bleeds Surreal Sonics, Viz
fter celebrating the 20th anniversary of its pop-punk classic Doolittle with thankful fandom across the pond, the legendary Pixies has returned to America to share its noisy love of surreal sonics and eye-candy visuals. That deafening blast you hear is thousands of Pixies monkeys gone to heaven.
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Not that the quartet is being met only with diehards. After fracturing in the early ’90s upon the release of blistering full-lengths like Doolittle, Surfer Rosa and more, the Pixies — guitarist and shrieker Black Francis, bassist and vocalist Kim Deal, guitarist Joey Santiago and drummer David Lovering — are more popular than ever. And judging by the joyous crowd that sold out Wednesday night’s rowdy set at the Hollywood Palladium, the first stop on the final leg of the Pixies’ Doolittle tour wrapping December 1, diehards and new adopters alike have spent time since the band’s 2004 reunion memorizing both its brilliant songs and esoteric B-sides.
Doolittle was always the artiest of the quartet’s releases, from the biblical estrangement of its lyricism to the dark and suggestive sleeve art from graphic designer Vaughan Oliver and photographer Simon Larbalestier, exhaustively collected in the Pixies’ recently released mega-box Minotaur. That spirit was celebrated before the concert with a screening of Luis Bunuel and Salvador Dali’s infamous 1928 surrealist short Un Chien Andalou (mashed at right to the Pixies’ “Debaser”). The film was met with cheers that escalated into howls once its ending bled into the groovy boogie of the B-side “Dancing the Manta Ray.”
By the time the Pixies had galloped through rarely performed B-sides like the sinister “Bailey’s Walk” and the spastic “Weird at My School,” the crowd was ready for the A-list. MORE @ WIRED