The earliest iteration of Ariel Pink's strange magic, material issued under the banner of Ariel Pink's Haunted Graffiti, tended toward particularly lo-fi production and intriguingly contradictory songwriting choices. Later albums released without the Haunted Graffiti distinction would offer a somewhat cleaner reading of Pink's fractured pop sensibilities, but the muted, otherworldly production and unexpected twists of early-2000s albums like The Doldrums (2004) and Worn Copy (2005) filtered the influence of Bowie, R. Stevie Moore, and '80s FM pop through a haze of psychedelic confusion.