No one sounded like the Pixies in the late '80s to early '90s. Energized by the very real and sometimes visible tensions between singer Black Francis (née Charles Thompson) and bassist Kim Deal, the foursome—rounded out with drummer David Lovering and guitarist Joey Santiago—made a series of albums that sound as visionary and otherworldly today as they did on release. In the oceanic expanse of '90s alt-rock bands, the Pixies' art stood alone until their 1993 split. Despite a trio of new albums since their 2004 reunion, it's been clear that their pervasive magic had ebbed away. But here on Doggerel, their eighth album in their 35 years together, they come closest to making what fans think of as a Pixies record. The opener "Nomatterday," which switches tempos near its middle for an arty interlude, is a beautiful example of Francis' howled vocals, Santiago's distinct, discordant guitar, Lovering's simple, forceful drumming, and menacing bass underpinning from Paz Lenchantin, who joined the band in 2014. Best of all, it radiates some of the requisite madness that once made their music so special. However, where they were once eternally provoked and urgently reaching, old age has set in as Francis sings about being loaded at the 7-Eleven ("Vault of Heaven"), and in "Dregs of the Wine"—the first Santiago original ever recorded by the band—divulges a mundane reason why he and his ex-wife split: "While I prefer the original version of 'You Really Got Me'/ She will defer to the Van Halen version." In an odd twist of sequencing, Doggerel closes with its two strongest numbers. Its most memorable moment, "You're Such a Sadducee," is a stomping pop tune with cascades of vocals and a whiff of "Wave of Mutilation" and the title track effectively wields the loud-soft dynamic that was once the Pixies' most striking songwriting weapons. For new fans, there is much here to recommend, but fanatics will likely find something still missing; the struggle to live up to the Pixies continues. © Robert Baird/Qobuz