the indie underground.
The Pixies changed all that, and with Doolittle laid the groundwork for Nineties rock. The album's breathtaking mix of noisy, almost surflike guitars, sweet pop melodies and primal-scream-therapy vocals inspired a generation of would-be rock stars: Nirvana adopted the Pixies use of quiet, mumbled verses and loud, crashing choruses, Courtney Love aped their banshee wails, and Beck drew inspiration from their catalog of surrealistic lyrics.
Doolittle chugs into action on a New Wave bass line and frontman Black Francis' adrenalized barking about a weird scene from a Luis Bu–uel movie. "Debaser," with its cool, crisp guitar line and lyrics about "slicing up eyeballs," sets the tone of the album. From there, the band careens back and forth from menacing to melodic, as Francis and bassist Kim Deal screech, snort and coo their way through tunes such as "Wave of Mutilation," "I Bleed," "Dead" and "Gouge Away.
"Despite the bizarrely violent song titles, the Pixies were schoolyard nerds at heart -- the only person Francis was scaring with his lyrics was himself. They turned out to be prescient: Within five years, awkward pop stars from Pavement to Weezer represented the new cool, and "Monkey Gone to Heaven" and "Here Comes Your Man" were classics.
MARK KEMP
(RS 910 – November 28, 2002)
