The Pixies In Profile

Before alternative rock burst into the mainstream on the backs of acts like Nirvana and Pearl Jam, there was The Pixies. Playing discordant pop songs with an angular post-punk thrust, The Pixies took alt rock to a higher emotional plane at a time when alternative really meant something alternative. Sited by many break-through Grunge bands as a foundational influence, the Pixies broke up (in 1993) before reaping the benefits their stunning originality. That is, until they reformed in 2004.

The Pixies began at the University of Massachusetts, Amherst, where Joey Santiago and Black Francis (neé Charles Thompson IV) shared a dorm room. After kindling a mutual love for American Folk music and post-punk acts like Husker Du, the duo dropped out of school and formed a band. They then recruited bassist Kim Deal -- who, when she joined the band, neither had a bass nor knew how to play one -- and drummer David Lovering. Rehearsals began in earnest in 1986, in Lovering's parents' garage.

After opening for the Throwing Muses, The Pixies were asked by Fort Apache Studios to record a demo -- a recording which helped them sign to 4AD records -- 8 tracks of which became their debut EP, Come on Pilgrim. That, and their first full-length, Surfer Rosa, recorded by Steve Albini and released in early 1988, helped showcase their signature discordant sound -- nearly screamed vocals, furious guitar solos, yet catchy melodies -- and sounded like nothing else being produced at the time.

Many UK mags named Surfer Rosa "album of the year" and so the band toured Europe and the UK extensively. Meanwhile, they signed with major label Elektra, though interpersonal tension mounted in the group. In 1989 they released Doolittle, a cleaner and more controlled album still infused with the band's trademark surrealist angularity. The album became the band's most popular (it was certified gold in 1995).

After the release of Doolittle, the band went on a short hiatus and when they headed back into the studio, Francis had begun to officially restrict Deal's contributions to what he saw as "his" band. In 1990 and 1991, they released Bossanova and Trompe le Monde, respectively, albums which, lacking Deal's input, departed from the earlier sound. Likewise, as their sound evolved, their alliances devolved. In 1993, Francis broke up the band, offering no explanation to the press or to his band-mates.