Ariel Pink – pom pom (ALBUM REVIEW)

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arielpinkalbumListening to any of Ariel Pink’s work requires serious patience. He’s an indie rock oddball, and one of the genre’s most polarizing figures, indeed. On his latest record pom pom, the candy pink colored cover glaring like a big fat warning, he’s toying with a retro, throwback sound. 60s and 80s-inspired, sugary mouthfuls of pop, the songs on pom pom are ultimately hit or miss.

pom pom is glossy and quirky, occasionally obnoxious, and then sometimes totally catchy and wonderful. And if you thought Pink was bizarre already, you’ll be totally sold on the idea when you learn that the record is a kind of weird homage to a legendary D-list Hollywood debutante called Angelyne. Was she a singer? An actress? Does anyone really know? And better yet, does anyone care? At a recent promotional event for pom pom, Angelyne made an appearance with Pink by her side, and though it’s still not clear what his obsession with her really is (other than pure kitsch), Pink has made her an integral part of his inspiration for this novelty record.

All of this aside, it’s important to note that with or without a has-been 80s LA fixture like Angelyne, there are some gems on pom pom. “One Summer Night” is a dreamy synth concoction with fabulous harmonies that soar and flow. This is one of those tunes that reminds us how apt Pink is at capturing the spirit—nay, the vibes—of Los Angeles. A little hazy, a little gritty, and a little sun-drenched, “One Summer Night” is all breathy urgency.

A few songs read intensely like odes to 80s glam pop, specifically the spacey and chaotic “White Freckles”, a robotic story of high maintenance beauty and materialism. It’s cacophonous and strange, but also pure dance floor bait. There isn’t much depth here, and it’s unclear whether or not there’s supposed to be. Instead there’s a lot of fun, or at least it seems that way. There’s no telling with Pink. One thing’s for sure, he’s an image-obsessed artist, and this may be the best example of that characterization yet.

There’s a bit of classic Pink noir here, too, particularly on “Not Enough Violence”, a foreboding 80s pop jam that’s cold and electric, mechanical and mean. It’s so dark, it’s almost difficult to listen to, as it gives the feeling that danger is on the way.

The stronger moments of pom pom come in the form of the 60s inspired tunes, like the pleasantly psychedelic “Put Your Number in My Phone” and “Dayzed Inn Daydreams”, both smooth and effortlessly cool. These songs also add softness to the record that it desperately needs. After too many kooky electro jams like “Jell-O” and “Sexual Athletics”, songs like these are greatly appreciated, and you may find yourself wishing there were more like them on pom pom.

 It’s hard to fault any unconventional artist who dares to put work out there, but Pink doesn’t need all of this cotton candy pink fluff clouding his music. It speaks for itself, and it’s innovative and cool, even when it’s ultra referential. pom pom is an interesting enough album on its own, without being such a flashy show piece.

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