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Pixies
Spoon and Fazerdaze
2024 is a momentous year for Pixies. 35 years since groundbreaking Platinum-certified album Doolittle catapulted the band into the UK Top Ten, and 20 years since their celebrated reformation at Coachella, Pixies are deep into their second act. Bigger than ever, playing to fans spanning multiple generations, and in the midst of their most creative purple patch. A brand new album – titled The Night the Zombies Came – marks the group’s tenth studio record (if you count 1987’s Come On Pilgrim). 13 new songs that will arrive aptly in time for Halloween amongst a 2024 touring schedule taking in circa 70 shows across the globe – and even more to be announced in 2025.
Spend an hour or two in the company of Charles Thompson IV, and the conversation will soon fall to zombies, bog people, Druidism, medieval theme restaurants, shopping malls, the Masons, surf rock and the practice of slaughtering lambs in Monmouthshire. Along the way, he might take in Shirley Collins, the distinctive dry drum sound of 1970s’ Fleetwood Mac, and the sestina, a poetic form attributed to the 12th century Provencal troubadour Arnaut Daniel.
Out of such disparate wonders are Pixies’ albums made. “Fragments that are related,” as Thompson (better known as Black Francis) puts it. “And juxtaposed with other fragments in other songs. And in a collection of songs in a so-called LP, you end up making a kind of movie.”
Since their earliest days in late 80s’ Massachusetts, and on past their 2004 reformation, Pixies have worked this way — proclaiming their love for both Hüsker Dü and Peter, Paul and Mary, relishing both loud and quiet, singing somewhat kaleidoscopically of reincarnation, scuba diving, Luis Buñuel, necromancy, Samson and Delilah and the 1986 comedy drama Crimes of the Heart. From the start their music has been imagistic, contradictory, electrifying. They stand as one of the most influential, revered and deeply adored bands of all time.
The juxtaposed fragments that make up this year’s The Night the Zombies Came are perhaps the most cinematic of their career — gothic meets sci-fi shlock, horror flicks, dark folk tales and Ennio Morricone westerns.
Early on, the band noticed the songs were dividing into two camps: what they came to call the ‘Dust Bowl Songs’ — country-tinged, ballad-esque numbers such as Primrose and Mercy Me, and on the other side, the album’s furious punk numbers such as You’re So Impatient and Chicken. Only Jane (the Night the Zombies Came) keeps its feet in both camps — reminiscent of early 60s Phil Spector, the band hitting the sweet spot between mushy and abrasive, it’s a track that Thompson allegedly likened to being chased by a swarm of bees.
For this outing, the band returned to work with producer Tom Dalgety, who has steered Pixies since 2016’s Head Carrier and on through 2019’s Beneath the Eyrie and 2022’s Doggerel, and whom Thompson refers to as “a good master of a lot of information” and drummer David Lovering calls “a fifth Pixie now.”
