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Ariel Pink's Haunted Graffiti
House Arrest + Lover Boy


ballbearings pinatas six (2 cds) 2002 - OUT OF PRINT

(NOTE: HOUSE ARREST -SINGLE DISC- REISSUED ON PAW-TRACKS FEB 2006)

Disc 1 HOUSE ARREST
Ariel Pink's Haunted Graffiti 5

01. hardcore pops are fun (4:22)
02. interesting results (2:36)
03. west coast calamaties (3:59)
04. flying circles (3:32)
05. gettin: high in the morning (6:55)
06. helen (4:17)
07. every night i die at miyagis (3:59)
08. house arrest (5:10)
09. alisa (2:54)
10. the people i'm not (6:06)
11. almost waiting (4:51)
12. oceans of weep (5:00)

Bonus Tracks:
13. netherlands (8:58)
14. higher and higher (5:00)


all songs written, performed and recorded by
ariel pink at 1245 norton ave. los angeles
california oct. 01 - july 02
on MT8X Yamaha 8 Track cassette.

special thanks to alisa pink, john maus, matt fishbeck,
colin lipe, brandt larson, r. stevie moore, demolisten,
ballbearings pinatas, kurt ressler, jeff eliassen, family

no sequencers were used in the making of the music.





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Disc 2 LOVER BOY
Ariel Pink's Haunted Graffiti 6
(March 2006: now available as a single disc at CD Baby)

01. don't talk to strangers (3:23)
02. didn't it click? (3:19)
03. credit (3:40)
04. one on one (2:22)
05. she's my girl (3:25)
06. poultry head (2:19)
07. older than her years (2:45)
08. so glad (6:25)
09. want me (2:18)
10. loverboy (1:49) with John Maus
11. jonathan's halo (3:59)
12. hobbie's galore (4:11) by R. Stevie Moore
13. I don't need enemies (holy shit! single 45) (3:26) with Matt Fishbeck
14. let's get married tonite (3:30)
15. ghosts (3:53) with John Maus

Bonus Tracks:
16. phoebus palast (7:17) with coL
17. blue straws (2:12) with Brandt Larson
18. the birds they sing in you (1:20) with coL
19. new trumpets of time (5:25) with coL
20. doggone (shegone) (2:44)

2 cds chock full of home-taped super-pop. Don't miss out on the craze that is currently sweeping the nation. These songs seem like lost jems from decades past that would have changed the world had they been discovered / made then, yet, now they have been made - so brace yo self. All sounds on these albums were made or played by Ariel, including the drum sounds, which are made by his mouth (with a few track exceptions). Behold the bounty of LA's prolific underground pop visionary. Collaborations on Lover Boy w/ John Maus, coL, Matt Fishbeck, and Brandt Larson. Don't miss out on the craze that is currently sweeping the nation!!!

©2002 Ariel Pink/Demonstration Bootleg



Also available @ iTunes for download
Also available @ Amoeba, Hollywood - filed under Rock - Ariel Pink
Also available @ TowerRecords.com




SPIN.COM

MAGAZINE REVIEWS

Ariel Pink's Haunted Graffiti
"House Arrest" (Paw Tracks)
By Laura Sinagra
February 21, 2006

Noise-pop experimentalism: crazy good, or just crazy?

Remember in The Wall when no matter how high poor Pink got, he couldn't break free from the bricks, and the worms ate into his brain? Well, imagine those were the kind of worms that sang Beach Boys harmonies. That's probably what's burrowed into the head of Ariel Pink, a 27-year-old California dreamer whose nom de tape suggests the wiggy offspring of Syd Barrett and Shakespeare's shape-shifting Tempest sprite. He's a human aerial, too, making eight-track pop that snags '70s AM radio fragments from the ether of collective memory. These concoctions get drug-smudged with off-time lyrics and happy-hippy percussion that periodically kicks in with a smoked-out Concert for Bangladesh propulsion. As to whether Ariel Pink is as outsider-art crazy as he sounds, does it matter if his music is a schizoid jumble or just the genius hum of a crammed cranium? His champions in Animal Collective don't split hairs, so why should you?

Admittedly, Ariel Pink's debut, The Doldrums, was a rabbit-hole trip, but House Arrest has more what you might call "songs." The best one, "Interesting Results," pokes fun at both puffed-up critics and deluded slacker artistes: "Every time I sit down and I try / I get interesting reeeee-sults!" The best part is, that's kinda true. "West Coast Calamities" catalogs nonhardships like "too much breeze and sunshine," while "Gettin' High in the Morning" exuberantly states the obvious. If there's melancholy here, it's in the title track, where Pink implicitly admits that memory can be cacophonous. In "The People I'm Not," he laments his shifting self, his compressed falsetto making it all sound like Bread in a bread-box. But when he sings "This. Is. Not. Trying," our ambient egomaniac intentionally protests too much. Living is always "trying," in both senses of the word. And you get the feeling that Ariel Pink lives to try.

SEE ALSO: R. Stevie Moore, Phonography (Flamingo, 1976) Vote:
GRADE: A-


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