17 Songs, 1 Hour 6 Minutes

EDITORS’ NOTES

With 17 songs and over an hour of music, Pom Pom reminds us of the daring experiments from Ariel Pink's formative DIY releases. But the eclectic songwriting, turn-on-a-dime influences and lush production demonstrate just how much the California musician has evolved. Sure, the album is all over the place—we’re warmed by the ‘60s-influenced pop sunshine of “Plastic Raincoats in the Pig Parade” one moment and tangled in the knotty guitars of "White Freckles” the next. But the everything-at-once aesthetic is held together by an undercurrent of electro melancholy that’s most evident on icy, synth-based tracks like "Picture Me Gone” and the ultra-poised “Lipstick". As the mosaic ends with the bittersweet shimmer of “Dayzed Inn Daydreams”, Pom Pom’s kaleidoscopic beauty leaves our head spinning.

Mastered for iTunes

EDITORS’ NOTES

With 17 songs and over an hour of music, Pom Pom reminds us of the daring experiments from Ariel Pink's formative DIY releases. But the eclectic songwriting, turn-on-a-dime influences and lush production demonstrate just how much the California musician has evolved. Sure, the album is all over the place—we’re warmed by the ‘60s-influenced pop sunshine of “Plastic Raincoats in the Pig Parade” one moment and tangled in the knotty guitars of "White Freckles” the next. But the everything-at-once aesthetic is held together by an undercurrent of electro melancholy that’s most evident on icy, synth-based tracks like "Picture Me Gone” and the ultra-poised “Lipstick". As the mosaic ends with the bittersweet shimmer of “Dayzed Inn Daydreams”, Pom Pom’s kaleidoscopic beauty leaves our head spinning.

Mastered for iTunes
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Ratings and Reviews

4.4 out of 5
105 Ratings
105 Ratings
snitchurmom80

The New Ween

True alternative album. Reminds me of early Ween. Good album to “vibe” to, as well ;)

exzisd

Hyped

Im so hyped on this. Ariel has been blending his unique sound with pop sensibilities and a sense of humor that makes you take a step back when you start to take yourself too seriously. I love the tracks I’ve heard so far. This is the best work I’ve heard since Before Today. If you haven’t seen the music video for Put Your Number In My Phone check it out! Support this awesome artist.

White Mario

Everything an Ariel Pink wanted and more

This album is genius. So much to hate about Pink and so difficult to understand what his aim really is but this album fails to disappoint a fan of recent albums MT and BT. It's difficult for an album such as this to meet expectations.

About Ariel Pink

Ariel Pink is a Los Angeles-based one-man band. His lo-fi Baroque music was first discovered and then distributed by indie group Animal Collective, who began releasing volumes of Ariel Pink home recordings on their Paw Tracks label. In 2008, Pink formed a new band with keyboardist/guitarist/backing vocalist Kenny Gilmore, drummer/vocalist/guitarist Jimi Hey, and guitarist Cole M. Greif-Neill, who became known as Haunted Graffiti. Drummer Aaron Sperske later replaced Jimi Hey.

Ariel Pink was born Ariel Marcus Rosenberg in Los Angeles on June 24, 1978. By age ten he was writing songs. His early influences were pop acts such as Hall & Oates, Michael Jackson, 10cc, Fleetwood Mac, and David Bowie. After a stint studying visual art at the California Institute of the Arts, Pink switched his artistic focus to songcraft for good, recording over 500 songs for a vault's worth of music. In 2003, while attending an Animal Collective show, he passed a disc of his recordings on to the band via future Graffiti drummer Hey. The group soon began releasing Pink material on their Paw Tracks imprint. First up was 2004's warped The Doldrums, which gained Pink both critical acclaim and a cult following. Worn Copy (2005) and House Arrest (2006) followed. After the Paw Tracks releases, Pink emptied his backlog of recordings on various limited-edition/low-profile releases: Lover Boy in 2006, Scared Famous and Underground in 2007, and the compilation Oddities Sodomies, Vol. 1 in 2008.

As the lo-fi movement became more fashionable and gained popularity, Pink's influence grew. He signed with indie label 4AD late in 2009. His first album for 4AD, Before Today, appeared the next year. Recorded with a four-piece band, it was his highest-fidelity recording to date, and it was a major critical success. In 2011, Pink released the 16-minute song "Witchhunt Suite for WWIII," which was previously featured on 2007's tour-only album YAS DuDette, as a single to commemorate the tenth anniversary of 9/11. He also reteamed with R. Stevie Moore on the double album Ku Klux Glam, which appeared early in 2012. In August of that year, the third Haunted Graffiti album, Mature Themes, arrived, boasting a darker, more eclectic approach that spanned '60s bubblegum homages and a cover of Donnie and Joe Emerson's 1979 soul-pop song "Baby."

In May 2013, Human Ear Music reissued Thrash & Burn, a 94-minute-long collection of musique concrète pieces Pink recorded in 1998 (the label had issued the set as a cassette-only release in 2006). Early Live Recordings appeared on the label by the end of the year. The 2014 double album Pom Pom found Pink returning to his solo moniker and featured songs co-written with Kim Fowley. In 2015, Pink provided backup vocals on recordings by Miley Cyrus, Mild High Club, and Soko. Pink and Weyes Blood collaborated for a 12" EP titled Myths 002, which was released by Mexican Summer in early 2017. Later in the year, Pink's solo single, "Another Weekend," was issued by the label. This preceded his first full-length in three years, Dedicated to Bobby Jameson, which was inspired by the '60s cult musician and L.A. counterculture figure. ~ Vincent Thomas

HOMETOWN
Los Angeles, CA
BORN
June 24, 1978

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