by Mike Mineo

Despite ambition’s positive impact on art in general, an artist can face a large obstacle in managing to present this ambition without an ill effect on the work itself. This is applied specifically to artists that are consummate individualists, opting to record every instrument and aspect of production in their basements. These artists are trailblazers of personality on record, a stark opponent to the corporate-bound machines of today. Ariel Pink is certainly a personality on record. He is a rare exhibition of DIY recording with a technical likeness to artists that excelled in this personalized format; there are many examples of this ideology – from Todd Rundgren and Joe Meek to R. Stevie Moore and Jandek – even if their sounds are not remotely comparable. As such examples show, reclusive behavior and enigmatic presences are common characteristics of so-called “outsider artists.” Pink’s personality is much too boisterous for this grouping though, and this is why it becomes such an essential part of his music, for better or worse. His whimpers and yelps have no regard for conventional tone, his arrangements are almost never in ABA form, and his style of production emphasizes a demeanor that is both earnest and painfully personal. These aspects are usually indicative of avant-garde leanings, and while Pink is certainly avant-garde, he possesses a rare knack for melody that is superior to his peers. His songs manage to be infectious or, at the very least, interestingly successful even in the face of anticipated ambition. His utilization of home recording and resourceful songwriting creates an impression that is rare for DIY artists, being that of an inimitable likeness early in their career.

There is little for me to expand upon in regard to Pink’s background (since I did so here), but if there was only one word of advice I could give someone about his material, it would be to focus on the music more than the demanding personality on record. One could go on about his influence on emerging genres like chillwave, and that is certainly a fine point, but I hope that aspects like this and his audible personality do not overshadow the music for some people. When listening to any of Pink’s previous albums it can be an initially daunting task to focus on such, especially considering Pink’s mixture of mouth-beat percussion and cassette-like production that remain far from conventional polish. How they add to a dizzying array of musical styles, from the whimpering ’60s pop of “Among Dreams” to the brooding post-punk of “Haunted Graffiti” and “Gray Sunset”, is consistently exceptional. And these are only examples from his breathtaking debut album, The Doldrums. The releases that followed brought more of the same innovation and variation, his gauzy production being the only constant in a thunderous unveiling of creative techniques and melodic wizardry.

Ariel Pink’s Haunted Graffiti represents Mr. Pink (real name: Ariel Rosenberg) and his backing band, which until the recent release of Before Today was not utilized with the utmost precision in a studio environment. Here, he pushes aside his tendency of working alone and strikes up collaboration with a very proficient band and producer. The results, as expected, are a far cry from Pink’s earlier material, production-wise. ’60s cover “Bright Lit Blue Skies” eases listeners into this sharper production with an extraordinarily catchy song, even if it is precisely the same as the original. If anything, the accessible is a great lead-in to “L’estat (Acc. to the Widow’s Maid)”, the first true test as to whether Pink’s ambitious songwriting can fit seamlessly into clarified production. “Bright Lit Blue Skies” is a stark contrast to what listeners expect from Pink, as it utilizes a very predictable structure, yet its appearance is almost essential in allowing the constant variation of “L’estat (Acc. to the Widow’s Maid)” to flow and flourish.

Anyone who was fortunate enough to focus on the actual music of Pink’s past material should not be surprised that this song, and several others on Before Today, do not suffer from increased clarity. In fact, many benefit from this. Pink demonstrates precisely the same amount of quality here as on predecessors like The Doldrums and House Arrest. Unlike the lukewarm response of those though (which I respectfully disagree with), the critics are due to eat this one up because it represents what they have been anticipating: a version of Ariel Pink that retains his unparalleled ambition, but with a greater sense of clarity that is implemented efficiently enough as to not dilute the creativity that has built his reputation up to this point. The most fearful qualm I had about Before Today was that it would be an example of over-production, like if Steve Albini produced for a band that relied on mellow keyboards as opposed to roaring guitars. The production team of Pink, Rik Pekkonen, and Sunny Levine (Quincy Jones’ grandson) work magic here though, and the delicate transitioning from humble lo-fi bedroom pop to glossy sleekness could not have been conquered better. Pink did not write music different for a different mode of production, and his own confidence in his songwriting is what makes Before Today a commendable feat.

As reviewers have already mentioned, a prior introduction for Before Today is not necessary unless you wish to experience the production transitioning. This album is no sequel per say, which could have been argued for any of his prior releases. Before Today seems like a new step altogether, even if Pink threw in a handful of old songs on the album. One of these, “Beverly Kills”, is inferior to its original, and this has nothing to do with the quality of production. Like the original, the chirpy synths complement Pink’s alternating falsetto and spoken-word with a successfully vintage ’80s feel. However, the hook here – “can’t stop the press!” – is significantly less ardently spoken than the original and probably does not even require the exclamation point in this instance. The plan was to add more subtlety to a track with some swift melodic moves, but it instead dampened its biggest punch. And while the re-workings of “Can’t Hear My Eyes” and “Revolution’s a Lie” are nice, they are mainly unnecessary and the latter is the dullest effort on the album. As for the other re-working (if you can even call it that), “Round and Round” is probably known to you already as one of the best songs of 2010. A far cry from its original “Frontman/Hold On (I’m Calling)”, it finds the perfect balance between suave lo-fi electronica and soaring rock anthems. It is generally faultless and I wish more pop artists would follow suit in making pop songs both infectious and adventurous. One cannot foresee the track’s structural future despite accurately and enjoyably singing along. How could a pop song be better? For Ariel Pink, it can’t.

Two of the most interesting new songs are “Butt-House Blondies” and “Menopause Man”, which in their titles alone evokes Pink’s tendency to hold nothing back; as long as it fits within the context of the song, it is fair game. “Butt-House Blondies” lives up immensely to its name by being arguably the most rocking song in Pink’s discography, recalling grunge specifically but also Queens of the Stone Age’s blend of hard-rock and neo-psychedelia. Pink’s coarse verses clumsily find their way over repeating guitar riffs, preparing for an energetic chorus that finds a little more than a groan accompanying extreme distortion. It works surprisingly well for Pink, who has touched upon elements of rock in songs like “Haunted Graffiti” but never quite in the hard-rocking vein of “Butt-House Blondies”. Easily the song’s best moment comes around the minute-and-a-half mark, where one of the finest guitar solos I have heard in from a new artist in years takes place. These type of solos are a dying breed in ambitious rock music, and when someone like Pink decides to tackle it and achieve extraordinary success you can’t help but yearn for the days when such solos were customary. Now, it usually appears as extraneous filler that simply reflects the vocal melody, but not for Ariel Pink. His ambition is too ahead of that, and on “Butt-House Blondies” it shows over the grunting of a sexually pleasured woman. Hey, and while Pink is far from a sex symbol, concisely excellent guitar solos can make some women do almost anything.

“Menopause Man” is easily the most reminiscent of Pink’s early material. A placidly thumping bass line and sporadic scattering of keys help churn out one of his metaphysical tales of gender transformation, as listeners again find unique topics and understated production go hand-in-hand. “Rape me, castrate me, make me gay,” he sings after the soul-tinged chorus. “Lady, I’m a lady from today.” When he cries out “make me menstrual!” you probably won’t even be surprised, simply because the first reaction is usually toward the music. The verses, while subdued, usher in an exceptional chorus that borrows some elements of soul in its falsetto-bearing loop. This track is quite exceptional, and addictive enough that even homophobes will shout out “Rape me, castrate me, make me gay!” with gleeful confidence. Reminiscences” is somewhat of a throwaway and “Hot Body Rub” is more for suave feel than melody, but their instrumental additions are not a detriment to the album. In fact, nothing here is really a detriment apart from the dull “Revolution’s a Lie”. So you can simply pretend the album is 12 tracks instead of 11 and have little reason to skip over anything.

Ariel Pink’s emergence has been a slow but steady process over the past decade. With Before Today he has solidified his impending importance this coming decade, thanks mainly to the attentiveness of the Pink/Pekkonen/Levine production team. It was clear this album is not more polished sounding because Pink wants more radio airplay; if he did, there would be more songs in the vein of “Bright Lit Blue Skies” included. Here, his songwriting is as innovative and unpredictable as ever, except with a more cohesive vision and style of production that allows this ambition to flow freely and without restraint, which even with great songwriting was sometimes the case with the weaker moments of his previous material. To Ariel Pink fans there was never potential to fulfill, since that fulfillment was already accomplished immediately with the ever-durable The Doldrums. Still, to elicit a serious response there was acknowledgment that a more polished product would be demanded, one that did not sound like bedroom demos despite how seamlessly that technique fit within his songs. Before Today is a nearly flawless representation of an artistic transitioning, all while retaining the quality aspects that provided the artist with recognition in the first place.

9.0/10.0

RIYL: Washed Out, Neon Indian, Frank Zappa, John Maus, R. Stevie Moore, Nite Jewel, Ducktails, Panda Bear, Wavves, Ganglians, The Chameleons UK, Todd Rundgren, Joe Meek, The Smiths, Caribou, Interpol, Phantom Power, Memory Cassette, Real Estate, Girls, Memoryhouse, Animal Collective

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Ariel Pink’s Haunted Graffiti – Round and Round

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Ariel Pink’s Haunted Graffiti – Bright Lit Blue Skies

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Ariel Pink’s Haunted Graffiti – Beverly Kills

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Official Web Site

MySpace

BUY

ARIEL PINK DOWNLOADS (scroll down  a bit)

The post Ariel Pink’s Haunted Graffiti – Before Today (2010) appeared first on Obscure Sound: Indie Music Blog.

by Mike Mineo

The intimidation of Ariel Pink is notorious. His ambition is not necessarily what arouses such feelings, as quality melodies and upfront hooks are always present through a wide array of styles. Rather, it is the quantity and breadth of his work, a trait that can be attributed to his incessant tendency to write music. Pink has recorded hundreds of songs that sound nothing alike, their dates of origin varying between the mid ’90s and late ’00s. Despite tackling a comprehensive range of styles throughout this somewhat extensive span, he showcases a remarkably consistent presence in his approach that makes an Ariel Pink song immediately known despite its context or genre. After he had dropped the jaws of Animal Collective’s four members (who also run Paw Tracks Records), Pink worked at a rapid pace releasing material under their label. Much of the ideas came from material he wrote in either the ’90s or early ’00s, modifying them with precision until they were presentable. New ideas arose during this time as well, but unloading the extensive Ariel Pink vault was certainly a necessity that contributes to enjoyment of his current endeavors and appreciation for his recent influence. Otherwise, it would be difficult to accurately recognize him as one of the most essential influences in the recent “chillwave” movement, where artists like Washed Out, Neon Indian, and Memory Cassette have paid subtle tribute to Pink’s incredible past work.

Many consider the release of The Doldrums in 2004 to be what ignited recognition for Ariel Pink’s Haunted Graffiti outside of his native Los Angeles. The album has a very understandable cult-following, which feeds on Pink’s eccentric personality and general presence. That this personality sheds through so prominently of his music is more reminiscent of the past, where artists like Michael Jackson or Mick Jagger could have few effective copycats simply because their stage presence alone was so groundbreaking and original. This album encompassed a very creative period for Pink (real name: Ariel Rosenberg), from around 1998 to 2003, where he could churn out a few quality songs per week if required. This came with a prerequisite knowledge that the style of production was going to be traditionally that of Pink. Lo-fi bedroom recordings were a description often used for him, which is true in a way. Some critics brushed him off as a quantity-over-quality artist as a result, but those who gave his music found a practically unlimited source of ambition that few songwriters of the decade could match. Some parts were out of key, others had pops in the recordings or awkward transitions, but his talent was evident in more ways than one. This would understandably make him a perfect source of enjoyment for the avant-garde faithful like Animal Collective, but Pink’s grasp of rock music and synth-pop always made him appear like a more natural fit for those seeking adventurous pop music in a nostalgic vein, rather than an approach fixated on the future developments of electronica.

This made his eventual role as one of chillwave’s biggest influences fairly accidental, at least in the sense that even Pink likely did not expect to spur perhaps this decade’s first relevant stylistic movement in indie-music. The critics that initially dismissed him would be even more surprised. Well, now that his influence is utterly undeniable, it might be time to give Pink a little more credit. This feature is written as a vital introduction to Ariel Pink’s work, which is often more inaccessible than it should be. His discography is intimidating at a mere glance, so I will attempt to make it easier. Pink himself actually did a great job of this on Grandes Exitos, a self-released 2009 tour EP that served as a greatest hits of sorts for Pink’s career up to that point. The 23 tracks there are great selections, and I urge everyone to check it out. Pink has yet to release a flawless album per say, but I find this is the closest one can get. Apart from the questionable omission of “Haunted Graffiti”, “Gray Sunset”, and “Let’s Build a Campfire There”, I consider it an outstanding introduction. It is hard to argue about the omission of certain songs though for a songwriter as greatly consistent as Pink, since even his occasional flourishes of mediocrity are fascinating. What I am saying is, check out Grandes Exitos first. The compilation is so accessible that it makes the subsequent journey through Pink’s discography that less intimidating. Then listen to The Doldrums and go from there.

Animal Collective’s accessible Merriweather Post Pavilion did wonders for their reputation. Like that, Ariel Pink’s newest album, Before Today, could finally prompt some well-deserved recognition. It is his first attempt at “slick production”, which essentially means he is using a drummer as a percussionist instead of his mouth and recorded in a decent studio. It will certainly appeal to those begging for a crisper display of Pink’s songwriting, but many will also wonder about the album’s cohesiveness. It is an acceptable thing to ask too, considering Pink is more impulsively creative than most songwriters would dare to be. One thing that tied everything from Pink’s post-punk fixations to his forays into ’70s soul was the traditionally lo-fi presence of his voice and backing instrumentation; he was heavy on bass, scratchy guitars, and organ-like stabs of synth, with various layers of any instrument taking lead when necessary. The quality itself was occasionally muddled, but never to the point where it obscured the melody too much. The melodies are too strong to blur in.While generally intentional, it was also a technique that supplemented his songs beautifully. His stylistic preferences often were of that vintage sort, from the ’60s pop of “Interesting Results” to the Scott Walker/Depeche Mode hybrid “Envelopes Another Day”, so it created feelings of nostalgia but also excitement when considering that his career just starting. It is a rare feeling to feel like you are listening to a classic from an artist who is not even in his prime yet, and this is precisely the feeling many received when listening to The Doldrums or any of his other releases.

A review of Before Today will be published closer to its release on June 8th, but in the meantime I feel an obligation to prepare you before that time. I believe that many will be anticipating this album quite a bit if they give these songs, or any on Grandes Exitos, a chance. It may sound a bit out there first, but I strongly stress to keep listening. “For Kate I Wait” is easily one of his most popular songs, also sounding the most modernistic with its glossy layers of synths and whiny, romanticized croon. It is a great example of Pink’s exhilarating harmonizing ability, which hits full stride toward the end when he flaunts a Michael Jackson influence with a series of high-pitched additives. It is very hard to not get lost in this song, and is highly recommended for nighttime listening (along with most Ariel Pink songs) due to its pulsating richness and serenely brilliant use of bass. The moody “Gray Sunset” should bring to mind The Cure, Echo & the Bunnymen, and other somber post-rockers in the best way possible, Pink’s vocals reaching incredible range in establishing moods that could simply not be produced successfully past the ’80s. He pulls it off though. Pink’s ability to interweave a variety of his own vocal melodies contributes immensely to his success, and it is notable and most of his songs. It works especially well on “Envelopes Another Day”, where he collides his highest and lowest pitch in a chorus that brings back the ominous allure of gloomy synth-pop.

Apart from ’80s throwbacks, Ariel Pink also has an obvious fondness for ’60s pop and ’70s music in general, specifically a Funkadelic-like fusion of funk, soul, and jazz. The incredibly vintage “Life in LA” shows this off well, its swaying mixture of brass and bass combining perfectly with a deadpan delivery that shows off a series of witty verses that collide with the romanticized view of Los Angeles. The mood of the song is what works best though, and the last three minutes or so are the best with its free-jazz impersonation. Moments like this make comparisons to Frank Zappa abundant, and even if Pink and Zappa tread in different stylistic territory most of the time, it would not be entirely crazy to compare their ambition. After all, Zappa became an unintentional influence as well after listeners finally caught on. I feel that similar circumstances will occur for Ariel Pink. He just needs a push from the media to expose his music to a wider audience. Hopefully Before Today will accomplish that when it releases in June. From the sound of it so far, I would not be surprised. The album’s opener, “Hot Body Rub”, brings Funkadelic to mind instantly in the catchiest way possible. All I will say is, it is a great way to start a very interesting album.

Many of Ariel Pink’s most accessible songs are in the vein of ’60s pop or folk, like “Every Night I Die at Miyagis”, the girl-group pop of “Among Dreams”, and an excellent cover of The Centimeters’ “Interesting Results”. These are all outstanding songs and boast some of Pink’s most melodic songwriting (the covers are not his own obviously, but his personality bleeds even onto them). “Let’s Build a Campfire There” is ridiculously addictive and in this same ’60s folk vein, sounding like a cross of Devendra Banhart or Animal Collective (even though this Pink wrote this song before either came into the public eye). The twinkle of the keys in the chorus, followed by the quick guitar lick, gets me every time. It is anticipatory though, as the most shining moment is the bridge where the melody changes dramatically, inducing a spontaneous burst of emotion that makes his deadpan approaches that much more enjoyable. This is not one of his most inventive efforts, but it is easily one of his most melodic. The most beautiful thing about Ariel Pink’s work is the diversity of efforts. Some tracks are experimental forays into free-jazz and others are instantly accessible re-interpretations of ’60s pop or ’80s synth-pop. You never know what to expect with Ariel Pink, but when quality is this consistent then taking risks as a listener requires less reluctance. Just give him a chance with these songs, Grandes Exitos, and The Doldrums Take it from there, and I can almost guarantee you will fall in love. After all, at this pace he may unexpectedly emerge as one of the most important artists of the decade.

RIYL: Washed Out, Neon Indian, Frank Zappa, John Maus, R. Stevie Moore, Nite Jewel, Ducktails, Panda Bear, Wavves, Ganglians, The Chameleons UK, The Smiths, Caribou, Interpol, Phantom Power, Memory Cassette, Real Estate, Girls, Memoryhouse, Animal Collective

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Ariel Pink’s Haunted Graffiti – Let’s Build a Campfire There

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Ariel Pink’s Haunted Graffiti – Interesting Results

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Ariel Pink’s Haunted Graffiti – Among Dreams

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Ariel Pink’s Haunted Graffiti – Gray Sunset

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Ariel Pink’s Haunted Graffiti – Haunted Graffiti

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Ariel Pink’s Haunted Graffiti – For Kate I Wait

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Ariel Pink’s Haunted Graffiti – West Coast Calamities

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Official Web Site

MySpace

BUY

ARIEL PINK DOWNLOADS (scroll down  a bit)

Other recommended tracks: “The Drummer”, “Envelopes Another Day”, “Helen”, “Alisa”, “Hardcore Pops Are Fun”, “Are You Gonna Look After My Boys?”, “Want Me”, “Lover Boy”, “Can’t Hear My Eyes”, “Beverly Kills”, “She’s Gone”, and many more.

The post Ariel Pink: An Essential Introduction appeared first on Obscure Sound: Indie Music Blog.