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Dustin Prinz - Eleven

Few musicians take the time to master their instrument in the way that Oklahoma City singer-songwriter Dustin Prinz has; he’s a guitar virtuoso in every sense of the word, and Eleven gives him the chance to show just how far he can push that skill.
04/15/2014 | Comments 0

Horse Thief – Fear in Bliss

Listening to Horse Thief’s previous release — the haphazardly melodramatic Grow Deep, Grow Wild — felt like a chore. Whatever potential the Oklahoma City folk-pop act demonstrated on the EP was obscured behind a formulaic, contrived and ultimately hollow cloud. But it at least offered a glimmer of promise for a band consisting of, frankly, five pretty talented dudes. Critics saw it; the band’s management saw it; its current label, Bella Union, saw it; and its increasingly fervid fan base saw it.
04/08/2014 | Comments 0

Colourmusic — May You Marry Rich

There’s always a sense of danger when debuting songs in a live setting and playing them well. Without having heard the studio versions, expectations are set according to the live incarnations. But capturing the breadth of free-flowing atmosphere and sheer volume on a disc, vinyl or digital file isn’t the easiest thing to do, especially for a band as vociferous as Colourmusic.
04/01/2014 | Comments 0

Em and the MotherSuperiors — Churches into Theaters

As titles go, Churches into Theaters is an apt descriptor for the debut album from Oklahoma City rockers Em and the MotherSuperiors. It’s a reverential record, one that shares the gospel of classic rock, blues and soul but embraces the need to refashion it for modern times, channeling The Dead Weather, Grace Potter and Cage the Elephant along the way.
03/25/2014 | Comments 0

Rachel Brashear — Revolution

Rachel Brashear’s second EP, Revolution, starts with a kick to the shins.
03/18/2014 | Comments 0
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Pixies stick


For a band that hasn’t released an album in two decades, the Pixies are mighty busy.

Phil Bacharach November 9th, 2011

Pixies with Imaginary Cities
7 p.m. Tuesday
Coca-Cola Bricktown Events Center
425 E. California
ticketstorm.com
866-966-1777
$42.50

The Pixies’ heyday lasted only long enough to make five albums, but it proved enough time to make the band one of alternative rock’s most influential. Like The Velvet Underground a generation earlier, the Pixies didn’t set the commercial world ablaze, but their records fanned the flames for scores of musicians drawn to the group’s edgy brand of rock.

And perhaps no Pixies record left a greater impact than “Doolittle.” The landmark 1989 work encapsulated their signature sound of stop-start lyrics, gleefully angular guitars and extreme dynamics. Music critics have hailed it among the best albums of all time.

More than 20 years later, “Doolittle” still throws a mean punch — so much, in fact, that the reunited Pixies, who will play the Coca-Cola Bricktown Events Center on Tuesday, are performing the record in its entirety on this current tour, which began in 2009.

“We’re just shocked, ’cause it’s been three years,” said lead guitarist Joey Santiago. “But we’re more than obliged to do it. We put a lot of time and effort in putting on the show. Right now, this is pretty awesome. It still feels good.”

Formed in Boston in the mid-1980s, the group — Santiago, vocalist/guitarist Black Francis, bassist Kim Deal and drummer David Lovering — emerged from a seemingly schizophrenic hodgepodge of musical leanings that ranged from surf to folk. Together, however, they created a strange alchemy that seesawed between hushed, relatively calm verses and Francis’ caterwauling choruses.

“I knew it was different just because we were really conscious of not being derivative,” Santiago said. “We tried not to sound like other bands.”

A number of other acts, however, ended up sounding a lot like the Pixies. Even Kurt Cobain famously confessed that Nirvana’s watershed hit, “Smells Like Teen Spirit,” adhered to the Pixies’ loud-quiet-loud blueprint. The group’s cult status peaked with “Doolittle.” Eventually certified gold, it produced two college-radio hits with the psychedelic “Monkey Gone to Heaven” and the hard-candied pop of “Here Comes Your Man.”

It also marked the beginning of the end. Tensions escalated between Francis and Deal and, despite two more discs, the Pixies broke up in 1993. Francis launched a solo career as Frank Black, while Deal concentrated on her own band, The Breeders. Santiago scored film and TV; Lovering became a magician.

Hostilities can fade, however. A 2004 series of reunion shows paved the way for a “Doolittle” 20th-anniversary tour that has yet to stop.

“I would say we just have more appreciation for what we are. I mean, the Pixies are pretty lucky. And it’s even luckier that we’re in it, you know what I mean?” Santiago said. “At least we made those great albums. I guess we weren’t that mature in hindsight, because we broke up, but, hey, everybody has to have their swan song. At least we’re mature enough to trudge through whatever tensions and stress we had.”

Photo by Chris Glass

 
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11.09.2011 at 09:40 Reply

They earned the right to cash in, and cash in...and keep cashing in.  If you are on the fence about seeing them, go! You won't regret it as they are still ferociously tight and exciting (it doesn't feel like a nostalgia show) and easily blow away most of their younger indie compatriots.  I still listen to Doolittle, a classic, because it is well constructed and devoid of trendy production. 

 

 
 
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