Before Today

How do you successfully combine the breezy elements of romantic-boat-pop and fuse it with hipster folk from the deep dirty boroughs of New York? Just ask Ariel Pink.

Pink crafts uniquely bound pop elevated by the foundation of semi-abstract lyrics, to be honest, most of the time I’ve no idea what Pink is talking about, but I enjoy it, it’s like immersion without thinking.

Where does the inspiration for L'estat (Acc. To The Widow's Maid) even come from? Some skitzophrenic has been whispering into his ear. It’s a surf-pop salute, taking a page out of Empire Of The Sun's or better yet Roxy Music's handbook. It borders on jazz, jumping from elevator music production to Pink's spontaneous cry, “DROP”, instantaneously shifting gears, doubling in tempo, backed by a running bass line, sequenced keyboards and pounding tom toms.

“Knock, Knock On The Door”, cries out Pink in his Knight Rider ode, Fright Night (Nevermore), a pantheon of cheesy pop and dirty production, masked by lullaby keys and lo-fi vocals.

Pink has a knack for bringing a strange melodic ambience to his tunes, like a calm without all the stylish excess. Round and Round does just that, unashamedly stealing from the soft porn kitch of David Bowie and Scott walker whilst clutching onto the dusty imprint of Earth, Wind and Fire.
In the 80s this song would have hit number one, no doubt, it’s harnesses the pure DNA of Boston, Bread even better The Cars. Especially when at 1:50, he picks up the phone and politely says, “hello, oh hi!”, swerving deep into Toto territory.

This album makes me feel good, like all giggly and joyous. Which is why I choose to spin Beverly Kills over and over, his call-and-response, car chase effects and rollicking keyboards keeps me on my toes.

My only gripe with this record is the attempt at alienating the listeners through primal freak-out indie tunes, Butt-House Blondies and Little Wig, too much distortion and an overdose of glam, it doesn’t suit the polished pop record Pink is trying to make.

And then the highlight, Can’t Hear My Eyes, what a tune!

Soft echoing tom-toms, a saxophone in reverb and bass in the upper-register can always make you just slightly ill, but Pink does it in a way that makes it you love the retro movement for the umpteenth time.

The record ends the same way it started, damn strange, closing out on our deepest fears, that everything means nothing, that our government is lying to us, aptly titled Revolution’s A Lie. Way too close to Joy Division’s Transmission for my liking, check out the bassline?
Nonetheless it’s quirky and overlaps with strange echoing vocals and peculiar sound effects.

If anyone's aware of the reclusive legend Jandek, then you’ll know that locking yourself in a room for years and recording the sounds of your mind can be fruitful. The same applies to Pink’s case, holed up in his own mind for way too long Ithink it’s paid off.
I’d take a vacation to Pink’s mind, it's weird, wonderful and definitely worth your €9.95

Ariel Pink's Haunted Graffiti - Before Today