Thursday, May 1, 2008

The Ariel Pink afluent psychedelicpunkisurfpopavantcosmicsurrealisticexperimental box of goodies!










So guys,starting this bunch of posts with a cheesy spicy psychedelic appetizer.Here are presented some early Mr. Ariel Pink's wonderfull works that he had the kindness and extreme generosity to offer to all of us. So the recordings are:
1.HIITS-attention! 1996 - 1997, actually the papermache tape (although song titles don't match,but hey,this is a part of the game i suppose!)
2.Underground-1998
3.Welcome 2 our World-??(from 1999 maybe?)
4.FF+-2001
5.Yas Dudette 98-06
Most of these works are from tapes Ariel had issued privately in the 90s in redicolously limited quantities.Also hosted here is a mini exhibition (well mostly sleeves) of Ariel's wonderfull collage/graphics art(more extensive in files bellow.
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.
–Alex Henderson, All Music Guide

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: http://www.humanearmusic.com/
from Wikipedia
SOOOO,here we go:
get FF+
get artwork here
Also be informed that Matt and Eric (OUR Matt and OUR Eric ,aka Vas Deferens Org) are going to produce the forthcoming Ariel Pink album!
Thanks Ariel for all those great recordings you offered !
YOU ARE A REAL MUTANT!

32 comments:

fpunky said...

10,000 Dollars. You weren't just whistling Dixie.

EastVanner said...

Thanks to Mutant Sounds and Ariel Pink for such a thing on the internet. I will blow weedsmoke in the air as a "Cool Salute" to the sounds I hear from this. Greetings from Vancouver. I will ride my bike to this fer shur and think about fantic irony and how it lays waste to the subtle truth, OK? - OK!

Anonymous said...

wow!!! terribly amazing news. if I would have taken anyone for understanding Pink, its VDO, I know you guys will do a great job.

-luminous insect

fuzztunnel said...

This is an awesome post, and some awesome news. I can't wait to hear what VDO can do to Ariel's music!

If you're interested or would like to add these links to this post, I have the no-longer-available Ariel Rosenberg's Thrash n' Burn 2CDR compilation:

Disc 1:
http://sharebee.com/92b97cc2
Disc 2:
http://sharebee.com/92cf2868
Art:
http://en.wikipedia.org/wiki/Image:Thrashnburnpre.jpg

Mars said...

Congratulations!
I met Ariel in Atlanta a few years back, great guy! Can't wait to hear your collaboration!!

Anonymous said...

thanks for this!

and i search for some stuff from simon fisher turner..

Anonymous said...

I'm sick of people dismissing him as "lo-fi"

I have a cassette 8 track and I have no idea how in the hell he is getting his sounds. Any home recorder knows how hard it is to shed the cheap, thin, boxy sound.

Pinks' sounds are rich, colorful and vibrant. Anybody have any ideas on how he is getting the sounds he is?
(And I already know he beatboxes his drums)

Electric Voodoo said...

"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

jonny mugwump said...

er,these are downloading instantly and then there's nothing there- am i doing something wrong- any ideas?

:)

Andrew Meehan said...

Haha. I guess it was only a matter of time. The Mutant is all-encompassing. Ariel is a way-talented beast and a helluva nice guy.
...and to hear the Vas Deferens is producing his new stuff...uhhhh.

I've been told by friends of AP's that him and Matt Fishbeck have some glamorous tunes tucked deep on a hard drive. Wait I will.

Anonymous said...

Track 1 & 2 are missing on the hiits compilation..

Anonymous said...

Uh... I don't get the tracklistings of these, they don't seem to sync up with any of the discographies I find on the Web... Anyway, thanks for posting them!

Anonymous said...

what?

Anonymous said...

jjjjjjjjjjjjj

Anonymous said...

Ariel Pink's Duh! [edition of 1]

the CD is titled DUH, and it contains digitally remixed versions of songs that appeared on a cassette from 2004 titled ELAN.
the CD is unofficial, deleted, and vastly inferior to the cassette versions (chorus plug-in pretty much ruined all the audio transfers on the CD version).
it means literally, you have the ONE and only Copy of those songs in that form!

congrats!,
ariel

http://www.zshare.net/download/12402501cf75f257/

Anonymous said...

Big thanks

Anonymous said...

Many thanks

egg it said...

all of the disgusting people in the world humming these tunes.. i'm glad i can be a part of it

thanks

TUESDAY said...

"'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."

Mush said...

This is amazing, really wonderful. Many thanks to you and Ariel Pink for these treasures.
Now try and get B.R. Wallers aka The Rebel (he from Country Teasers) to do something similar- all of his unreleased stuff that you can only get from the man himself. That stuff is amazing!

Anonymous said...

I wonder if it's just me.. They .zip downloads only take a second. And then they won't unzip. (Error-1) Any ideas? Thanks- C

Anonymous said...

does anyone know where to get scared famous/ff>> online?

Anonymous said...

download errors: download managers can let this happen. if youre not using a downloadmanager try a different browser.

BIGALKE said...

hey Fuzztunnel-

will you please re-upload those Thrash N Burn links!?

thanks

howardbobjohnson said...

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.

howardbobjohnson said...

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.

Anonymous said...

He records just like all of us, except he is just a lot better. he knows his shit in and out, he knows what sounds good in certain in different parts. he is the real deal.

Anonymous said...

Does anyone know where to download "Thrash and burn"?

Anonymous said...

When Does The AP And VDO COME OUT?????? IS THIS FOR REAL???

Devo said...

i met ariel pink the other day after a concert in winnipeg. it was the most amazing thing to ever happen to me. while he was performing he licked my face, as well as another persons. after the concert i met him and got an autograph and picture. hes one of the coolest people ever. him and gary wilson are my heros.

Jonathan said...

I know, old post...but Ariel Pink is a total madman! Love him. Thank you!