![Ariel Pink The Doldrums Rarest Ariel Pink The Doldrums Rarest](http://www.portlandart.net/archives/Knit_PCC_Cas_s.jpg)
Mp3.please log in first. Ariel Pink’s eleventh full length album and his debut on Mexican Summer. Dedicated To Bobby Jameson is a woozy psychedelic pop journey through the tragic ups and downs reflected in Bobby Jameson’s life story, and his continuous struggle for success in the music industry (having recorded with Frank Zappa, and The Rolling Stones). Decayed and slowed tape warbles shine throughout. Los Angeles’s prodigal songwriting son Ariel Pink shares his eleventh studio album, Dedicated to Bobby Jameson, September 15. The album’s title makes a direct and heartfelt reference to a real-life L.A.
Originally a handmade CD-R release a couple years back, “The Doldrums” by Ariel Pink’s Haunted Graffiti was discovered by the Animal Collective during one of their west coast tours and became an immediate favorite. Los Angeles’s prodigal songwriting son Ariel Pink shares his eleventh studio album, Dedicated to Bobby Jameson, September 15 via Mexican Summer.
Musician, long presumed dead, who resurfaced online in 2007 after 35 reclusive years to pen his autobiography and tragic life story in a series of blogs and YouTube tirades. “His book and life resonated with me to such a degree,” Pink states, “that I felt a need to dedicate my latest record to him.”. Dedicated to Bobby Jameson begins at the end and ends at the beginning. Raised in Beverly Hills, Ariel Pink (born Ariel Marcus Rosenberg) started out as a visual artist before becoming a recording artist in the late ‘90s while attending Cal Arts. Between 1996 and 2004, he honed his craft writing, performing, recording, and producing a body of work that was experimental, impressionistic, and improvisational—often creating melodic accompaniments and percussive elements with his voice, as opposed to traditional drums or drum machines. In 2003, Pink attracted the attention of Animal Collective’s Paw Tracks label, earning his home recordings a small and devoted fan base through a series of limited edition reissues. Drawing upon a list of long-forgotten iconoclasts and trailblazers like the Shaggs, the Cure, the Velvet Underground, Destroy All Monsters, the Godz, Cabaret Voltaire, and R.
Stevie Moore, Pink set himself to the task of redefining the musical lexicon for himself and others. “This mission,” he says, “remains mine to this day.”. Though critically misunderstood at the time, Pink’s lo-fi recordings wielded an enormous influence with insiders and outsiders, earning him the unsolicited distinction as “the godfather of chillwave” and the face of the emergent genre of Hypnagogic Pop. Upon signing to the landmark record label 4AD in 2009, Pink’s fortunes with critics began to reverse, and his resulting first single, “Round and Round,” was named the #1 Record of 2010 by Pitchfork.
Since that period, Pink’s influence has grown, even as he and his work have waxed and waned within the popular political conversation. His music, in its earnest genre drag, continues to polarize. His embrace of the dark edges of human folly and despair is juxtaposed with superficial joy, touching on aspects normally avoided in pop music like sarcasm, suspicion, nihilism, self-loathing, and denial. These shadows of the self make their brighter counterparts—love, desire, nostalgia, dreams, acceptance, and epiphany—all the more transcendent, striking deep chords of emotion with fans. In his frenzied portrayals of humanity’s baseness and beauty, Ariel Pink spins pathos into paradise. Bobby Jason - this, by the way, is a curious gentleman. In the sixties, he played music and did it so well that he won the recognition of many, including, for example, The Beach Boys or The Rolling Stones.
He worked with Keith Richards, Jimmy Page, Frank Zappa and many others. Being a promising actor, he could not reconcile himself to the fact that music did not bring him income and increasingly leaned on drugs. All this led to overdoses, rehabs, frustrations and attempts at suicide. He was even twice declared dead, but every time brought back to life. He tried to continue to write music, but by the mid-eighties completely abandoned the case, so nothing and not released from the late sixties.
But he wrote a couple of articles in the magazine Rolling Stone about his life. Around the same time, he took himself in hand and, finding strength in himself, quit with alcohol and drugs. And he continued to write stories from his life. But this time already in a separate book, and later - in the blog. It was the life of Bobby Jameson, who unfortunately did not become two years ago, and inspired Ariel Pink so much that he, having felt the kinship of souls with the old hippie, devoted to him a whole record. In musical terms, Ariel Pink remained true to himself: a loose pop psychedelic.
![Ariel Pink The Doldrums Rarest Ariel Pink The Doldrums Rarest](http://www.paw-tracks.com/images/pink4.jpg)
Sometimes with hontologicheskim plaque. Pleasant music for a variety of states of mind.
The alternative pop-rock and lo-fi recordings of Ariel Pink's Haunted Graffiti are full of intrigue, and full of contradictions. Pink, a male singer, composer, musician and producer who is based in Los Angeles, provides songs that are melodic, catchy and familiar; songs that, in their own unorthodox way, recall the most immediate, accessible, straight-forward FM pop-rock of the '70s and '80s. But Pink's work also comes across as bizarre, trippy, skewed and twisted; and a lot of that strangeness comes from his production style. As a songwriter, Pink has a real sense of pop-rock craftsmanship, but his very muddy way of producing and his oddball, kooky sound effects make the late '90s and early 2000s recordings of Ariel Pink's Haunted Graffiti (which is really the name of a project, not an actual group) sound highly eccentric.
At times, Pink (who plays guitar, bass and keyboards) sounds like he is singing into a mono cassette recorder in a basement or a garage back in 1977; he really goes out of his way to sound as underproduced and demo-like as possible. But once you get past his production style, it becomes apparent that Pink has strong pop-rock instincts (sometimes adding a touch of blue-eyed soul). The Southern Californian brings a long list of influences to the table: influences ranging from David Bowie, John Lennon, the Bee Gees, Hall & Oates and the Raspberries to Frank Zappa, Brian Eno, Roxy Music and late '70s/early '80s new wave. Some of Pink's melodies wouldn't have been out of place on Bowie's Station to Station album in 1976; some of them would have worked well for A Flock of Seagulls, Men at Work or the Talking Heads in the early '80s. But because Pink's production style is so quirky and off-center, those comparisons may not come as easily to listeners who don't have a taste for the bizarre; and depending on who you talk to, Ariel Pink's Haunted Graffiti is either mindlessly self-indulgent studio masturbation or the work of an insane musical genius. There are some listeners who just plain don't comprehend what he is doing, but the small cult following Pink acquired in the late '90s and early 2000s tends to be highly enthusiastic; Pink's admirers really swear by him and insist that there is a method to his madness.
Pink recorded his first Haunted Graffiti project, The Doldrums, in 1999 and 2000; that disc was followed by Vital Pink a few years later. At first, The Doldrums and Vital Pink were only CD-Rs that Pink burned on his home computer and circulated himself, but in 2004, Pink landed a record deal with the independent Paw Tracks label (which seemed to admire his do-it-yourself work ethic and made him the first Paw Tracks artist who wasn't a part of the Animal Collective). In October 2004, The Doldrums was reissued by Paw Tracks and enjoyed much better distribution; Paw Tracks' version of The Doldrums spans 1999-2003 and also contains the material from Vital Pink. Ariel Pink (born Ariel Marcus Rosenberg on June 24, 1978) is an avant-garde/hauntology musician who is based in Los Angeles. He attended Beverly Hills High School in Beverly Hills, California. Later attending the School of Art at the California Institute of the Arts. Married to Alisa Daniels, July 2002 - still married.
Pink has been recording his music on tape since 1996 but it wasn't until after he passed a CD-R to the New York-based band Animal Collective that his commercial musical career took off. He has since caught the attention of various media sources, especially in the Los Angeles area. As most of his albums are self-made, many of them have never been heard by fans. Pink produces and plays almost all of his own music, and is noted for creating drum sounds using primarily his mouth, and sometimes his armpits.
His home recording technique gives his music a very lo-fi sound, to the point where new listeners may mistake the era of his music. Pink cites R. Stevie Moore-friend, mentor, and 'father of home recording'-as one of his major influences.
Pink boasts a cult following and endorsements from more widely known artists such as fellow Paw Tracks artists Animal Collective. Aside from his music, Pink makes semi-abstract and surreal grotesque drawings, which can be purchased from his unofficial website, ARIEL PINK haunted house, for a hefty price.
Pink is also an avid contributor to Steve Quayle's Genesis 6 project, which is considered the authority on giants; their origins, and their 'unimaginable cruelty, sexual perversity, and cannibalism.' Underground Releases can be purchased from Ariel and his friends' self made label called Human Ear Music. 'Anybody have any ideas on how he is getting the sounds he is?' I have watched him do it and I still have no idea!-Matt' just go on 'his' web site: angelfire.com/la3/zanna/ read his interviews because he tells you, or just read a part of it right here: 'Ariel: Melodies and lyrics float in and out of my brain constantly. If something feels really good, I’ll train myself to recall the melody over a period of time, usually about a month. I rarely learn a song in advance. When I’m prepared to record a song, I sit down and figure the parts out right there for the first and last time on all the given instruments, starting with either guitar, keyboard, or bass, followed by a rhythm track (with my mouth) and then add layers of other melodies, with a desired instrument, and vocal overdubs happen last, invariably.
Of course, many parts to a song may not be planned at first, so I kinda let my fingers wander on the first instrumental track, only to consolidate this “mistake” or “chance-sequence” with each subsequent instrument track, learning the song over many hours of listening, jamming, troubleshooting different approaches, and fine tuning the arrangements as I go, recording over the previous, less developed attempts. When I’m finished recording a song, I quickly mix it down to cassette via stereo RCA’s direct into my home stereo cassette deck.
I listen back and make follow-up mixes, sometimes as many as ten per song.' I just wonder how he is mixing stuff down. He writes incredible songs with great melodies, rhythms, basslines etc. The mixes sound foggy but not muddy, bright but not tinny. They are colorful and not boxy. I just wonder if he uses mics on guitar and bass or lines in, what kind of effects etc.
It sounds like he adds mild distortion to the whole mix to add color but it doesn't sound super compressed because those bright guitars still jump out.anyone of you folks in the know care to shed some light? Anonymous said. Here's what I've been able to determine from things I've seen,read and heard- He's definitely uses the Digitech space station on his guitar, a Casio CZ-5000 appears on most of his tracks (the bass line on the first track of Underground is the factory bass preset). Some of the hazy atmosphere on stuff, such as West Coast Calamities, is his mouth. A Suzuki Omnichord, most visible near the end of 'Gettin High in the mornin'. A microkorg, which has a built in vocoder, and a lot of weird (great) analog clone sounds. I've seen him play a ric and a tele.
The only thing that kills me about his sound is that he gets killer reverb and echo, sounding off a phil spector record, and I'm baffled. This is the most interesting part of his atmosphere and Its a whole lot more than a memory man and tape sludge, how does he do it?? Sincerely - gear addict. Awesome, thanks so much for your input. It also sounds like some of his tracks are sped up and possibly slowed down.
This can alter the texture of any reverb or echo and something is added to the entire mix to give it that brown, hazy kind of sound I just have no idea what! I think 90% of his sound is the quality of the music and how its put together but then there is 10% that has to do with how he manipulates the recording tools he has and he has had years and years and hours and hours to hone that. BLISS 91 comp.tape. NOTRE DAME tapes. TANT QU’IL Y AURA DU TANGO tape. DISCO TOTEM.
HOW TO BECOME A MILLIONAIRE? Comp.tape.
PRIVATE SOUNDS comp. Tape. QFVDLO? Tape. PASSIONS ORGANIQUES comp. Tapes.
ATTENTION A MARIANNE T. Tape. BLOC OPERATOIRE compilation tape. NOMUZIC-tapes(any). MITCH RUSHTON-tapes(any). PENGA-tapes (any).
DARK ENIGMA-CLAUSTROPHOBIA tape. DITTO-TEXAS ELECTRIC tape. STEVE HARTWELL-anything. DINO DIMURO-anything. VIKTIMIZED KARCASS-anything.
RANCID POULTRY-anything. CARL HOWARD-anything. L.G.