Showing posts with label the smiths. Show all posts
Showing posts with label the smiths. Show all posts
Wednesday, February 5, 2014
Monday, July 1, 2013
Why I'm Glad That Kim Deal Left the Pixies
The release of "Bagboy," the Pixies' first new song in nine years and their first startlingly good one in 22, will probably kick off a new set of gripes and sighs from fans still recovering from Kim Deal's announcement that she had left the band last month. It's always sad to see an excellent team split up, but in the curious case of the Pixies, it's also a relief.
It's hard to remember how mind-blowing it was when the Pixies reunited in 2004. Their influence and popularity had grown exponentially since their break-up, and most of us thought we'd never get a chance to see them. No former indie rock band sparked more of a will-they-or-won't-they debate--it seemed obvious that Pavement and Guided by Voices were coming back, while Hüsker Dü and the Smiths were always a lost cause. And as anyone who caught that first comeback tour can tell you, it was glorious. All the songs and insanity that a superfan could hope for.
But if the Pixies' legacy had grown in their absence, it seemed to diminish with every year that they spent touring without a new album. Here they are again, the Pixies, on another summer tour playing the old hits. A lot of people were fine with this, judging how how lucrative those tours have been. But I want to know that my favorite bands are pushing themselves artistically, and not just resting on their classics. Anything to show that they were an actual band again, not just a nostalgia act like the Eagles.
It's quite possible that a new Pixies album would not have been good. But it would have been better than nothing, which is what they were doing. The fact that they've finally released a new song now that Kim's left, and have promised to play new songs on their upcoming tour, makes me wonder if Kim was holding them back. Of course she was a crucial part of the band, but as "Bagboy" proves, Black Francis, David Lovering and Joey Santiago can be exciting without her. They even sound good enough to fool Rolling Stone and Pitchfork into mistakenly reporting that Deal appeared on "Bagboy" in their initial news stories. The Pixies are going to be fine.
Greg Kot once wrote of My Bloody Valentine (I can't find the exact quote) that when a band reunites, they get one comeback tour, a victory lap before they need to start releasing new material. The new stuff doesn't have to be great. The mediocre new Stooges album does nothing to diminish Raw Power or Fun House, much less their always-phenomenal live shows. If you're going to tour once and then stop, like At the Gates, then we're lucky that we got to see you again. If you're going to come back for good and release new albums, like Black Sabbath, then we're lucky that you're still a band. But don't just tour year after year without anything to show for it.
I hope that Kim's departure is the kick in the ass that the Pixies need right now, and "Bagboy" indicates that it is. Maybe Frank Black will release a great solo album, or maybe he'll record something new with his bandmates. He's made great records without Deal before, and anything that he writes is still worth a listen. Maybe Kim will do something cool with the Breeders. Maybe Kim Shattuck from the Muffs, Deal's replacement, will bring out something new in the Pixies. Maybe they'll all get back together again in ten years, and it'll be amazing again. But whatever they do, it has to be better than the past nine years of studio silence.
It's hard to remember how mind-blowing it was when the Pixies reunited in 2004. Their influence and popularity had grown exponentially since their break-up, and most of us thought we'd never get a chance to see them. No former indie rock band sparked more of a will-they-or-won't-they debate--it seemed obvious that Pavement and Guided by Voices were coming back, while Hüsker Dü and the Smiths were always a lost cause. And as anyone who caught that first comeback tour can tell you, it was glorious. All the songs and insanity that a superfan could hope for.
But if the Pixies' legacy had grown in their absence, it seemed to diminish with every year that they spent touring without a new album. Here they are again, the Pixies, on another summer tour playing the old hits. A lot of people were fine with this, judging how how lucrative those tours have been. But I want to know that my favorite bands are pushing themselves artistically, and not just resting on their classics. Anything to show that they were an actual band again, not just a nostalgia act like the Eagles.
It's quite possible that a new Pixies album would not have been good. But it would have been better than nothing, which is what they were doing. The fact that they've finally released a new song now that Kim's left, and have promised to play new songs on their upcoming tour, makes me wonder if Kim was holding them back. Of course she was a crucial part of the band, but as "Bagboy" proves, Black Francis, David Lovering and Joey Santiago can be exciting without her. They even sound good enough to fool Rolling Stone and Pitchfork into mistakenly reporting that Deal appeared on "Bagboy" in their initial news stories. The Pixies are going to be fine.
Greg Kot once wrote of My Bloody Valentine (I can't find the exact quote) that when a band reunites, they get one comeback tour, a victory lap before they need to start releasing new material. The new stuff doesn't have to be great. The mediocre new Stooges album does nothing to diminish Raw Power or Fun House, much less their always-phenomenal live shows. If you're going to tour once and then stop, like At the Gates, then we're lucky that we got to see you again. If you're going to come back for good and release new albums, like Black Sabbath, then we're lucky that you're still a band. But don't just tour year after year without anything to show for it.
I hope that Kim's departure is the kick in the ass that the Pixies need right now, and "Bagboy" indicates that it is. Maybe Frank Black will release a great solo album, or maybe he'll record something new with his bandmates. He's made great records without Deal before, and anything that he writes is still worth a listen. Maybe Kim will do something cool with the Breeders. Maybe Kim Shattuck from the Muffs, Deal's replacement, will bring out something new in the Pixies. Maybe they'll all get back together again in ten years, and it'll be amazing again. But whatever they do, it has to be better than the past nine years of studio silence.
Thursday, June 14, 2012
Crooked Man at Freddy's
John LaMacchia is one of music's most underrated genre-benders. In Candiria, he didn't just blend jazz, hip-hop and ambience with metal, he actually infiltrated authentic jazz, hip-hop and trip-hop measures into his music. More recently, he teamed up with fellow sonic mavericks in Isis, The Dillinger Escape Plan and Made Out of Babies for a bludgeoning EP as Spylacopa (say, when can we hear more of that?) and produced Julie Christmas' haunting solo album, The Bad Wife, all for LaMacchia's Rising Pulse label. He could already retire on his track record, but his new three-piece Crooked Man indicates that there's more up his sleeve.
Performing in a secluded room at Freddy's in Brooklyn, LaMacchia's band was filled out by bassist Michael Shaw and singer/guitarist Sabrina Ellie. The sparse, drumless lineup recalled the better MTV Unplugged episodes, where the bands ditched the hits in favor of the songs that were best left underproduced. Stripping much of the aggression from the doom metal nightmares of their recent EP, Crooked Man waltzed songs like "The Parting Gift" into murder ballad territory. Much of LaMacchia's acclaim goes to his production and arrangement gifts, so a forum for his songwriting talents was particularly welcome.
On vocals, LaMacchia doesn't have much range, but he's a convincing frontman with a theatrical flair. He embodied Morrissey and Thom Yorke's emotiveness on Smiths and Radiohead covers, and best of all, interpreted the Misfits' "Come Back" as a Nick Cave ballad. If Crooked Man release a covers record, there'll be at least one buyer.
Encoring with a lovely read of "No Surprises," Crooked Man left the impression that the best of LaMacchia may be yet to come. Call it the process of self-development.
Performing in a secluded room at Freddy's in Brooklyn, LaMacchia's band was filled out by bassist Michael Shaw and singer/guitarist Sabrina Ellie. The sparse, drumless lineup recalled the better MTV Unplugged episodes, where the bands ditched the hits in favor of the songs that were best left underproduced. Stripping much of the aggression from the doom metal nightmares of their recent EP, Crooked Man waltzed songs like "The Parting Gift" into murder ballad territory. Much of LaMacchia's acclaim goes to his production and arrangement gifts, so a forum for his songwriting talents was particularly welcome.
On vocals, LaMacchia doesn't have much range, but he's a convincing frontman with a theatrical flair. He embodied Morrissey and Thom Yorke's emotiveness on Smiths and Radiohead covers, and best of all, interpreted the Misfits' "Come Back" as a Nick Cave ballad. If Crooked Man release a covers record, there'll be at least one buyer.
Encoring with a lovely read of "No Surprises," Crooked Man left the impression that the best of LaMacchia may be yet to come. Call it the process of self-development.
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