Amazon.co.uk Review
If you want to plot a classic rise and fall pattern in the career of a band, look no further than the Pixies. This middle album, third of five, is the pinnacle of their noise equation: taut, terrifying and tightly edited, these 15 tracks (best known: "Monkey Gone To Heaven"; best quality, the insane "Debaser"; or the predatory "Hey") have the confidence that was missing from
Come On Pilgrim and
Surfer Rosa, but without the bloated pomp of
Bossanova or
Trompe Le Monde. Black Francis, as Charles Thompson IV was known then, surfs fast with his and Joey Santiago's guitars, tempered by the groundswell of Kim Deal's fine bass and counter vocals. It is like the last stand of US indie-dom: intelligent music encased in its precious, intricate and trademark Vaughn Oliver sleeve.
Charlie Porter
CD Description
From the opening bars of DOOLITTLE, the Pixies' brilliant duality comes into focus. Chiming guitar streaks waft over anAOR-ready riff, while vocals bark out references to a deliberately obscure culture. "Debaser," for instance, finds singer/songwriter Black Francis alluding to "Chien Andalou," Spanish director Luis Bunuel's surrealist film renowned for a scene where an eyeball is sliced. The Pixies' calling card istheir calculated sonic mayhem. Francis and bass player Kim Deal weave vocal harmonies of inimitable dissonance as guitarist Joey Santiago's leads ring like air-raid sirens. DOOLITTLE perfectly captures The Pixies' refusal to be categorizedinto one form of musical identity. The album's most gorgeous melody is wrapped around the words "cease to exist, givingmy goodbye," and crowned with the title "Wave Of Mutilation." The rest of the album follows suit, and even the love songs bear Francis' warped humor, boasting titles like "Tame" and "Dead." DOOLITTLE is quintessential Pixies. Unflinching in their abrasion, the group created some of the best, most intriguing rock music of the early 1990s.