Their second-best album, and Bossanova, to warm listeners up? What a treat from Pixies. The pairing of their third and fourth studio releases brings on an hour of quality entertainment. The band has not lost a step since reforming in 2004, and though their latest efforts are ways off the quality of Doolittle, the group are keen to keep those classics in place. So much so, they performed Bossanova and Trompe le Monde in full. For those who have heard the band live in the past, the closeness to the studio sound and live rendition is all part of Pixies’ charm. Their performance at the O2 Academy in Leeds was a masterclass in live performance. Enter, play, leave. No bits of chatter to pad the time, no moments of improvisation. A straight-shooting piece of work, an honest cut of quality. That’s what Bossanova and Trompe le Monde Live offers. Black Francis and the band sound monumental as they promise to “just start playing”.
Pixies does exactly that, and don’t stop for eighty minutes. Signs of brilliance are not far off. A hearty, heavy version of Rock Music is a defining moment for this live double album. Slight variations are brought into play during the Bossanova tracks, mainly for Is She Weird. A panting, slightly slower tempo brings on a menacing layer for the song. It makes all the difference for those who are fans of the original works and want the same fundamentals as the studio sound. Subtleties are all the difference for this live release. Early highlights like Is She Weird and All Over the World come from the slightly muddy mix. It’s not a crisp live recording. Do not expect a clean listening experience. But then, would it be Pixies if that were the case? There is an alternative thrill at the heart of every release of theirs, live efforts included. It takes most of Bossanova live to warm to this set, but such is the speed of these efforts.
Few songs from Pixies last more than a few minutes, and they never need to. For those who missed Pixies on their recent tour, Bossanova and Trompe le Monde are a fantastic experience. It’s very close to how the band operates on stage, though usually with some contemporary tracks thrown in there. Those who want the harsh punk and alternative sounds the band were best known for during their first run are served well with Bossanova and Trompe le Monde. For those Trompe le Monde enthusiasts, this double-bill live album is a treat. Brilliant versions of the underrated fourth album in Pixies’ discography. Joey Santiago sounds excellent as ever, the wailing guitar riffs an ever-present compliment to Francis’ vocal range.
David Lovering is essential as ever, guiding the likes of Planet of Sound into place as Santiago roars on through. It’s the spirit of the band that is not lost, and hearing it is still intact is a treat. Thrills like Head On are the band at their best. As complete an overlap of the instrumental consistencies, the slight variation in Francis’ voice after decades of work. These are the subtle changes which bring out a new layer of thrilling, punk intent for Bossanova and Trompe le Monde. Moreso the latter album than the beloved, defining release. Just give Space (I Believe In) and Motorway to Roswell a listen. A full playthrough of two ambitious albums is a delight not just for dedicated Pixies fans, but those who want a taste of their live show skills before heading to a gig.
