Let’s be honest with ourselves; the first time we heard anything by the Pixies was ‘Where is my Mind’ at the end of Fight Club.  And that’s fine. Who am I to judge? Belittling people on how they first heard a band is the same toxic attitude that stops people from discovering new music, and I will not stand for it. Not when the Pixies are dropping their seventh studio album Beneath the Eyrie. You will not ruin this experience of these people.

Coming in with their blend of genres that get them labelled as alternative-rock by those with objective categorisation fetish, Eyrie is their third album after their great hiatus. Opening with ‘In the Arms of Mrs. Mark of Cain’ we are treated to, what can only be described as, a very Pixies track — building up with a heavy mix of electric guitar and percussion. It blends at an Allegretto tempo that gives it that extra bounce that’s balanced by a cool, steady arrangement. It’s New England Gothic meets Western Folk. And before you know it, ‘Graveyard Hill’ opens, with an allegro moderato tempo and warmer harmonic arrangement, it’s the other side of the Pixie coin. It’s the LA Post-punk band.

It’s what we’ve come to expect from them. Usually, that is a set up for a negative review, but Eyrie is peak Pixies with a sound paradox that makes them instantly recognisable and iconic while being fresh and new. Every track is unmistakably the Pixies. There is nothing on this LP that sounds like anything they’ve done before. They get into your head with ease and stay there for the rest of the day. With this, the album stays fresh from start to end; it doesn’t slip into the one track void or become white noise. The mix of proto-Grunge, Folk-Blues, and New Wave, create what can only be called Dream Punk.

Not one but two tracks stand out on Eyrie. The sixth track ‘Sliver Bullet’ builds with a Western guitar opening mixed with Dead Beat lyrics until it jumps on the right beat at the midpoint with a machinegun drum riff. ‘Daniel Boone’ the eleventh track, takes it in the opposite direction. A slower, dreamer song that is mixing acoustic and electric arrangements with fantastical lyrics and a bittersweet undercurrent, making it sound like an acid trip put to music.

Beneath the Eyrie is out 13th September.