Indie Cindy ［2LP+CD］＜初回生産限定盤＞

Unlike the slew of legendary acts -- including My Bloody Valentine, Boards of Canada, and Daft Punk -- who surprised fans with new albums in 2013, Pixies emerged from their lengthy recording hiatus more cautiously. By releasing a series of EPs that were eventually collected as Indie Cindy for 2014's Record Store Day, the band eased fans into their new material. In some ways, the album feels like what the band would be doing two decades on from their peak even if they hadn't taken a break. Aside from "Snakes," which tempers the biblical post-punk of their early work into something resigned instead of vengeful, most of these songs continue the sci-fi riff rock of the band's later albums and Frank Black's first two solo albums (producer Gil Norton even suggested that the bandmembers pretend that they'd spent their hiatus touring in outer space). "Blue Eyed Hexe," a rocker in the mold of "U-Mass," proves Black Francis' scream is still spine-tingling. "What Goes Boom" sounds like a beefier version of "Alec Eiffel," while "Indie Cindy"'s mix of shouty, stream-of-consciousness verses and dreamy interludes recalls Frank Black's "Los Angeles" more than his Pixies work. The least contrived songs are the best: "Magdalena" creates tension between its heavy guitars and soft vocals in a way that's less expected, and more interesting, than the band's famed loud-quiet-loud dynamics. Meanwhile, "Greens and Blues" combines the album's spacy motif with heartfelt songwriting and lyrical guitar work from Joey Santiago, who also helps elevate "Jaime Bravo" and "Ring the Bell." ~ Heather Phares

2004年の再結成以来、〈フジロック〉への出演など話題に事欠かなかった彼らだが、スタジオ・アルバムとしては何と23年ぶり。キム・ディールの脱退、キム・シャタック(マフス)の加入&脱退を経て、パズ・レンチャンティン(元ズワン)が正式に加わり、本作でようやく完全復活宣言に至ったと受け取って差し支えないだろう。プロデュースは3作目『Doolittle』以降、密に絡んできたギル・ノートン。緊張感漲るドラムにせよ、良い意味で粗っぽいギターにせよ、往時のままの挑戦的な雰囲気がある。時にはナイーヴに、時にはポップに爆発するそんな〈ピクシーズ節〉に枯れや老成は無縁で、そこが素晴らしい。この〈THEオルタナ/グランジ〉なサウンドを引っ提げての〈サマソニ〉公演も楽しみだ。
bounce (C)吾郎メモ