Who could have ever imagined that three of the most buzzed about bands of the year – Ducktails, Washed Out, and Neon Indian – would sound like Ariel Pink? Pink, who has been a critical lightning rod ever since the release of his first official album, The Doldrums, on Animal Collective’s Paw Tracks label, was surely never any blogger’s idea of the “next big thing.” While his music shares the boombox fidelity and classical pop song craft of the now universally adored Daniel Johnston, it also often has a dry, ironic edge to it, thus making it impossible to project any ideas of childlike innocence onto it. Pink always seems determined to push things too far, often derailing perfectly written pop songs into a pileup of overdriven synths, random vocals noises, and drums playing off beat.
It’s this streak of self-sabotage (or defiant genius, depending on who you ask) that has become the most contentious thing about Pink’s music, because the other things – the fetishization of 70s and 80s soft rock, the “cheesy” synths, the 8 track cassette recording fidelity – have suddenly become cool. Whether it’s the revival of Balearic dance music or the still lingering effects of Daft Punk’s Discovery or just the simple truth that lo-fi music full of synthesizers has never been cheaper or easier to make, the fact is that things long considered impossibly cheesy, like gated drums and “Euro” and “Trance” keyboard presets and keybasses, are now everywhere. So much of the critical discourse about Pink’s music, especially the idea that his music was a parody of the “shallow” and “self-absorbed” popular music of the 70s and 80s, doesn’t seem relevant anymore, because we’ve all stopped equating “overproduction” and synthesizers with inauthenticity. Whereas before Pink’s music was saddled with both an unpopular sound and a prickly, experimental attitude, now it’s just the latter.
Neon Indian, the Pitchfork-certified one man project of Austin, Texas’ Alan Palomo, sounds like Ariel Pink’s synth pop songs (see: Scared Famous’ “The Kitchen Club” or House Arrest’s “Flying Circles”) scrubbed mostly clean and with a more obvious “music for hip stoners” vibe. “Deadbeat Summer, ” “Terminally Chill,” and “Should Have Taken Acid With You” could all be Pink songs, except that his versions would be angrier and weirder. Palomo’s music views the 1980s as a memory playground for stoners, where old keyboard sounds trigger instant reveries, whereas Pink’s music sounds more like bad memories that can’t escape their milieu, sort of like how so many of my worst memories would be soundtracked by Rancid or NOFX because that’s what I was listening to around the time they happened.
Just like Neon Indian, Washed Out jack Pink’s synth pop steez (listen to the chorus of Scared Famous’ “Gopacapulco” and tell me that’s not a Washed Out song in the making), but instead of couching the sound in a druggy, easygoing nostalgia, Ernest Greene (the man behind Washed Out) has created the 2009 equivalent of yacht rock. The video to “Feel It All Around” is seriously just some twentysomethings with tattoos snorkeling, going down waterslides, taking cellphone pictures of each other, and eating in fancy, neon-lit restaurants. The fact that music once made exclusively by bedroom weirdos can now soundtrack a tropical vacation speaks volumes about how music and aesthetics have changed since 2004.
Matt Mondanile’s Ducktails – my personal favorite of the three – basically sounds like instrumental versions of Ariel Pink songs. From the cheap sounding drum machines to the hazy, 8 track tape production to the often brittle guitar sound, Pink’s and Mondanile’s aesthetics are almost identical, though once again Pink has never seemed interested in the kind of full-on blissout you’ll find on a Ducktails album.
It’s clear that Ariel Pink has had a far larger impact on indie rock than anyone could have ever imagined. But Pink’s statement around the release of this year’s “Can’t Hear My Eyes/Evolution’s a Lie” 7″ that “Everything you think you know [about his old music] is WRONG- DEAD WRONG. THIS is me, naked, without the buffer of awful tape noise drowning out any lack of vision..” and his recent signing to 4AD raise some interesting questions. Is Ariel Pink without the “awful tape noise” and campy falsetto and 8 track tapes really even Ariel Pink? Perhaps he’s seen so many artists gain success sounding like him that he’s tired of just being a cult hero, or maybe he wants to prove he’s a “good” musician. As excited as I am to see these questions answered, I’m also a little worried that all those things that made Pink such a distinctive artist are soon going to disappear.
POSSIBLY RELEVANT :::
Ariel Pink and Vivian Girls – Lexington, 4.6.09
MP3 :::
Ariel Pink – The Kitchen Club
Ariel Pink – Immune to Emotion
Ariel Pink – Helen
Ariel Pink – Flying Circles
Ducktails – Backyard
