Tag Archives: Kim Deal

The Pixies: No Longer Kim-less But Still Without a Deal

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Pixies Logo 2

The Pixies announced via their website this morning that Kim will in fact be playing bass and providing background vocals on their upcoming tour- just not the one we have grown accustomed to hearing and seeing. Kim Shattuck, lead guitarist and vocalist from The Muffs, will be stepping into the role recently vacated by Kim Deal, at least on the road. It had been speculated that Jeremy Dubs would be filling that spot after appearing on the new Pixies single “Bagboy,” which has been receiving mixed reviews since its release last Friday. The band has scheduled a European tour this fall and has already sold out four of the nineteen shows.  According to their website, this is the first leg of an “extensive, worldwide tour.” No word yet on when they will be hitting the States.

“Bagboy” is still available to download for free via the band’s website.  The video is also available to watch on Youtube.

2013 European tour dates
9/29 Paris, France
10/2 Brussels, Begium (Sold Out)
10/3 Brussels, Belgium (Sold Out)
10/5 Amsterdam, Holland
10/8 Berlin, Germany
10/10 Prague, Czech Republic
11/1 Vienna, Austria
11/2 Geneva, Switzerland
11/4 Milan, Italy
11/7 Madrid, Spain
11/9 Lisbon, Portugal
11/13 Copenhagen, Denmark
11/14 Oslo, Norway
11/15 Stockholm, Sweden
11/18 Dublin, Ireland (Sold Out)
11/19 Dublin, Ireland
11/21 Manchester, England
11/22 Glasgow, Scotland (Sold Out)
11/24 London, England

Are Kim-less Pixies a Big Deal?

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Pixies

Much like the announcement Kim Deal was leaving the Pixies came out of left field, the news of a new single and video this morning came with little advanced fanfare as well. “Bagboy” is the first single released by the band since their 2004 reunion produced the download-only song “Bam Thwok-” ironically one of the few Pixies songs written and sung by Deal.

Given the infamous infighting between Deal and Pixies leader Black Francis throughout the band’s first incarnation, it came as no surprise that the bassist formally left the group two weeks ago. However, the cynics amongst the music world might point to the lusterless “Bagboy” as reason enough for her exit, though the background vocals sound an awful lot like Ms. Deal. Hours after the single was released, however, it was revealed that Francis’ friend Jeremy Dubs channeled his inner-Kim and sang the ditty’s chorus.

Whether Deal’s reasons for departing were due to more disputes with Francis or something else, the outpouring of support she’s received in the aftermath has been plentiful. That, along with the very mixed reviews this current release is garnering, makes one wonder how much support a Kimless Pixies will get. Meanwhile Deal has the Breeders to fall back on, along with many side projects to keep her busy.

Today’s developments have reaped quite a bit of attention, as witnessed by the buzz spreading across various music outlets and social media sites. But as the cliche goes, “everyone loves a good train wreck.” Only time will tell whether this new direction turns out to be a “Gigantic” success or “Death to the Pixies.”

UPDATE: The Pixies are no longer Kim-less, but a Kim by any other name than Deal might not prove so sweet.  http://www.pixiesmusic.com/2013/07/introducing/

First Splash: Revisiting The Breeders’ Pod

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The-Breeders-Pod

With The Breeders set to release a 20th Anniversary reissue of Last Splash next month, followed by a tour featuring that album’s lineup, little attention has been paid to their debut album, Pod-despite many fans considering it the band’s best.

Originally intended as a side project for The Pixies’ Kim Deal and Throwing Muses’ Tanya Donelly, The Breeders released Pod in 1990, to much critical acclaim. Rounding out the lineup was Josephine Wiggs on bass and Slint’s Britt Walford (billed as Shannon Doughton) on drums. While Deal and Donelly are both credited as the album’s guitarists and vocalists, it is Deal who provides lead vocals, with Donelly supporting her with rich harmonies as well as an occasional background vocal.

Pod starts out with the slow-moving “Glorious.” Despite its triumphant title, the song sets a tone for the early portion of the album, successfully combining a subtle darkness and sensuality accented by Wiggs’ subdued bass line. The shimmering, brooding guitar effects add a piercing intensity otherwise not found in this quiet song.

Next comes “Doe.” While sharing the previous track’s tone, this fellatio-focused tune (“It’s so salty, Timmy”) appropriately features see-sawing sequences of slower and faster tempos, with Donelly closing out the song with breathy background sighs.

Track three is a riveting, dare I say, better version of the Beatles’ “Happiness Is a Warm Gun.” Whereas the original version plods along, with each verse sloppily blending into the next, The Breeders successfully make each stanza a carefully-crafted highlight. The momentum slowly builds, leading up to the machine gun-like refrain of “Mother Superior jumped the gun” before gently closing with the titled chorus, sung by Donelly.

“Oh” sees the band slowing down once again and could be the opening track’s sister. Using that vernacular, “Hellbound” would be the distant cousin, as it is easily the closest the band comes to “rocking out.” This fast-paced romp also marks an end to the darker sounds alluded to earlier, but does so without disrupting the overall cohesiveness of the record.

“When I Was a Painter” has a playful feel to it and while not sounding like the Pixies, contains a quiet-loud-quiet exchange, not unlike Deal’s other band. This is followed by “Fortunately Gone,” a catchy pop tune that has ultra-sweet harmonies that could melt a glacier. This short song is also a prime reason the repeat button was invented.

Inevitably when a member of a well-known band forms a side project, their new output will be compared to their old. If  “When I Was A Painter” contains a common format utilized by the Pixies, “Iris” probably comes the closest to sounding like that band-however, not in an annoying fashion.

“Opened” is another uptempo, bass-driven number, drenched with guitar and sprinkled with sparse spoken word verses by Deal.

Not surprisingly “Only In 3’s” is the sole song co-written by Donelly, as it has her Throwing Muses / Belly touch all over it. But make no mistake: while Deal is credited with writing most of Pod‘s material, one can easily hear hints of Donelly’s influence throughout the album. With that in mind, “Lime” sounds a lot like a Throwing Muses ditty, despite being written by Deal.

Metal Man” closes out Pod and holds the distinction of being the weakest song on the album. Co-written by Deal and Wiggs, it is the sprinkles on top, rather than the cherry. In other words, it adds little flavor to what is otherwise a tasty debut from The Breeders.

When the album came out, Karen Schoemer of the New York Times wrote,  “The angular melodies, shattered tempos and screeching dynamics recall elements of each of the women’s full-time bands, but Pod has a smart, innovative edge all its own.”

The Breeders followed up Pod with the Safari EP in 1992. It was their last release to feature Donelly and first to contain Kim’s twin sister, Kelley.

Though Last Splash received greater exposure via alternative radio, MTV and had the benefit of  Kim’s full-time focus after the breakup of the Pixies, Pod was a groundbreaking release. One needs no further proof than to consider recording engineer Steve Albini’s assertion that it is the album he felt he got both the best sound for a band as well as the best performance.