After beginning the series with Underground, Odditties Sodomies Vol. 2 and Loverboy, early 2020 saw the remastered release of three classic albums in the Ariel Pink canon: Worn Copy, The Doldrums and House Arrest. Now, the Ariel Archives series concludes with Cycle 3 (Odditties Sodomies Vol. 1 + Sit n’ Spin) and Cycle 4 (Odditties Sodomies Vol. 3 + Scared Famous/FF>>). Housing fan favourites as well as rare and unreleased material, the series encapsulates the extraordinary range of Ariel’s compulsive musical enterprise. Odditties Sodomies Vol. 1, Sit n’ Spin, Odditties Sodomies Vol. 3 and Scared Famous/FF>> will be released by Mexican Summer on January 29th 2021.
21-05-2020, 23:02
2020 | Pop | Alternative | Indie | Psychedelic | Lo-Fi | FLAC / APE | Mp3
Apr 24, 2020 If Ariel Pink had not resumed recording at the end of the 2000s, after a five-year hiatus, Worn Copy would have been a fitting final word. The monolithic achievement was Ariel Pink’s most adventurous collection, a hybrid world of mutant sounds and instantly memorable songs. Ariel Archives revisits Ariel Pink's historic run of albums as Ariel Pink's Haunted Graffiti with a series of definitive reissues and new collections. The second installment includes The Doldrums, Worn Copy and House Arrest, albums that represent his most classic recordings as the name used for his one-man recording venture. Bassist Tim Koh, longest-serving member of the group and Pink's friend since he put out 'Worn Copy' on his own micro-label Rhystop, sounds fatigued as he describes the 'really long process. We went through tons of people. Ariel quit, and I quit at one point. And Cole our guitarist quit but never came back.
Ariel Pink's Haunted Graffiti - Worn Copy (2003) Ariel Pink and his Haunted Graffiti project take accessible melodies and render them inaccessible under layers of broken keyboards, human beatboxing and four-track tape hiss; he's the lo-fi psych pop disciple of home-recording pioneer R. Ariel Pink's Haunted Graffiti' 'Artifact' from the album 'Worn Copy'.
Artist: Ariel Pink Title: Worn Copy Year Of Release: 2005 / 2020 Label: Mexican Summer Genre: Indie Pop, Lo-Fi, Psychedelic Quality: 320 / FLAC (tracks) Total Time: 1:15:51 Total Size: 178 / 373 Mb WebSite: Album Preview
Tracklist: 01. Trepanated Earth (Remastered) (10:52) 02. Immune to Emotion (Remastered) (2:37) 03. Jules Lost His Jewels (Remastered) (3:50) 04. Artifact (Remastered) (4:47) 05. Bloody (Bagonia's!) (Remastered) (1:31)
06. Credit (Remastered) (3:24) 07. Life in La (Remastered) (6:43) 08. The Drummer (Remastered) (4:54) 09. Cable Access Follies (Remastered) (2:12) 10. Creepshow (Remastered) (5:20) 11. One on One (Remastered) (3:07)
Ariel Pink Worn Copy Rare
12. Oblivious Peninsula (Remastered) (4:18) 13. Somewhere in Europe/Hotpink! (Remastered) (4:28) 14. Thespian City (Remastered) (3:06)
Ariel Pink's Haunted Graffiti's official debut, The Doldrums, won praise for having the Animal Collective's graces and for being an uncanny perversion of the Me Decade pop-radio that worshipped the golden calves of Dylan, McCartney, Carpenter, and Orlando. Pink's second album, Worn Copy, furthers his cult-baiting mystique as a bedroom hermit from suburban L.A. who conjures up ghosts by burning a roll of avocado-green shag carpet un-vacuumed for 30 years. To his credit, Pink has sharpened his songwriting and studio touches-- he has several 1970s AOR-pop Muzak formulas nailed, making his freakitude compelling and digestible. That's a quality Ween and Redd Kross sometimes failed to capture-- quotation marks were clearly and fashionably marked on their odes to that decade's trash culture. But the problem remains that if the fashionably shoddy production values are removed from the sound, Pink's music would melt into the air. Still, Worn Copy's first half is a gas. Opener 'Trepanated Earth' begins with a hazy, synth and flanged guitar. Pink then mumbles something romantic before one of his split personalities interrupts, 'The human race is a pile of dogshit!' and 'Mankind is a Nazi!' After a few false starts and jumbled rickets, he then becomes a charming easy-listening opening act for the Wings 75 tour. 'Immune to Emotion' is nasally congested 'I'm OK, You're OK' pop that could serve as country club luncheon entertainment. 'Jules Lost His Jewels' is a 33rpm power-pop raveup cranked or 'Alvin-ized' (as composer John Oswald might put it) to 45 with bloodlines that can be traced to the Mothers of Invention's 'Take Your Clothes Off When You Dance'. Oddly, albums such as The Doldrums, Worn Copy and House Arrest were not widely embraced initially, though their inventiveness and strange beauty was usually recognized by reviewers, if not begrudgingly. Critical opinion was divided: Ariel Pink was either a self-indulgent “weirdo” or a pop music genius. Twenty years on, Ariel’s music still stupefies. The quantity of ideas and moods expressed through a modest recording enterprise seems supernatural, not human. Indeed, Hedi El Kohlti, in his superb new liner notes for Underground, compares Ariel’s explosive creative period between 1998 and 2004 to a character in Phillip K. Dick’s A Scanner Darkly who has all of 20th century modern art beamed into his brain at flash cut speed. Did Ariel Pink, at the age of 20, receive a similar instantaneous “download” of all of the secrets of pop music?