Complete B-Sides: 1988-97 (2026 Remaster)
Pixies
Complete B-Sides: 1988–97 (2026 Remaster) is an expanded, newly remastered edition of Pixies’ classic B-sides compilation, issued June 26, 2026 on 4AD as part of the band’s 40th‑anniversary celebrations. Originally released in 2001 as Complete ‘B’ Sides and focused on 1988–91 singles, the collection now appears on vinyl for the first time and stretches to 25 tracks, gathering non‑album cuts and rarities spanning their first run through the 1997 Debaser reissue. The core sequence moves chronologically from the Surfer Rosa and Doolittle era—River Euphrates, live versions of Vamos and In Heaven (Lady in the Radiator Song), Manta Ray, Weird at My School, Dancing the Manta Ray—through cult favorites like Wave of Mutilation (UK Surf), Into the White, Bailey’s Walk, The Thing, Velvety (Instrumental), Winterlong, Build High, Evil Hearted You, and Letter to Memphis (Instrumental).
For the 2026 edition, all tracks have been remastered from the earliest analogue tapes by engineer Kevin Vanbergen, with new artwork by longtime 4AD designer Chris Bigg using archive photos originally shelved in the late ’80s and early ’90s. The fourth vinyl side (or closing section on digital/CD) adds six live cuts—Planet of Sound, Tame, Debaser, Holiday Song, Cactus, and Nimrod’s Son—sourced from early‑’90s singles and the 1997 Debaser (Live) EP, highlighting how ferocious and chaotic these songs became on stage. Heard as a whole, the remaster charts Pixies’ evolution from noisy, cowpunk‑inflected outliers to extraterrestrial pop eccentrics: Joey Santiago’s abrasive guitar assaults on River Euphrates, the surf‑goth drift of Wave of Mutilation (UK Surf), Kim Deal’s melancholic Neil Young cover I’ve Been Waiting for You, and the Stones‑y swagger of Santo all reveal different “axes” of the band hidden in the margins of their single releases. In that sense, Complete B‑Sides: 1988–97 (2026 Remaster) functions both as a fan‑service deep‑cuts trove and as an alternative history of Pixies’ peak years, told through the songs that didn’t make the albums but still feel central to their legend.
Complete B-Sides: 1988-97 (2026 Remaster)
Pixies
Complete B-Sides: 1988–97 (2026 Remaster) is an expanded, newly remastered edition of Pixies’ classic B-sides compilation, issued June 26, 2026 on 4AD as part of the band’s 40th‑anniversary celebrations. Originally released in 2001 as Complete ‘B’ Sides and focused on 1988–91 singles, the collection now appears on vinyl for the first time and stretches to 25 tracks, gathering non‑album cuts and rarities spanning their first run through the 1997 Debaser reissue. The core sequence moves chronologically from the Surfer Rosa and Doolittle era—River Euphrates, live versions of Vamos and In Heaven (Lady in the Radiator Song), Manta Ray, Weird at My School, Dancing the Manta Ray—through cult favorites like Wave of Mutilation (UK Surf), Into the White, Bailey’s Walk, The Thing, Velvety (Instrumental), Winterlong, Build High, Evil Hearted You, and Letter to Memphis (Instrumental).
For the 2026 edition, all tracks have been remastered from the earliest analogue tapes by engineer Kevin Vanbergen, with new artwork by longtime 4AD designer Chris Bigg using archive photos originally shelved in the late ’80s and early ’90s. The fourth vinyl side (or closing section on digital/CD) adds six live cuts—Planet of Sound, Tame, Debaser, Holiday Song, Cactus, and Nimrod’s Son—sourced from early‑’90s singles and the 1997 Debaser (Live) EP, highlighting how ferocious and chaotic these songs became on stage. Heard as a whole, the remaster charts Pixies’ evolution from noisy, cowpunk‑inflected outliers to extraterrestrial pop eccentrics: Joey Santiago’s abrasive guitar assaults on River Euphrates, the surf‑goth drift of Wave of Mutilation (UK Surf), Kim Deal’s melancholic Neil Young cover I’ve Been Waiting for You, and the Stones‑y swagger of Santo all reveal different “axes” of the band hidden in the margins of their single releases. In that sense, Complete B‑Sides: 1988–97 (2026 Remaster) functions both as a fan‑service deep‑cuts trove and as an alternative history of Pixies’ peak years, told through the songs that didn’t make the albums but still feel central to their legend.