Ariel Pink:
Ariel Pink returns with a new album on November 17th, entitled pom pom.
Across its 17 tracks and 69 minutes, pom pom is unfiltered Ariel, a pied piper of the absurd, with infectious tales of romance, murder, frog princes and Jell-O. The record sees the Los Angeles native strike it out alone, returning to the solo moniker he has adopted for well over a decade when cementing his name as a king of pop perversion. From demented kiddie tune collaborations with the legendary Kim Fowley (songs like ‘Jell-O’ and ‘Plastic Raincoats In The Pig Parade’ were written with Fowley in his hospital room during his recent battle with cancer), to beatific, windswept pop (‘Put Your Number In My Phone’, ‘Dayzed Inn Daydreams’), scuzz-punk face-melters (‘Goth Bomb’, ‘Negativ Ed’), and carnival dub psychedelia (‘Dinosaur Carebears’), pom pom could very well be Ariel Pink’s magnum opus.
“Although this is the first “solo” record credited to my name, it is by far the least “solo” record I have ever recorded.” – Ariel Pink.
pom pom is Ariel Pink’s third studio album for 4AD, following his Haunted Graffiti releases Before Today (2010) and Mature Themes (2012). pom pom will be available as a 2xLP, CD and digital download. Pre-order on iTunes from today and receive ‘Put Your Number In My Phone’ instantly.
The Black Lips:
Atlanta's beloved sons the Black Lips entered last year through a screaming cloud of sweat, smoke, blood, and beer mist, in front of a dangerously packed hall in New Orleans' French Quarter. If a band's bipolarity runs on a touring vs. recording-an-album spectrum, then the previous year was the mother of all manic spells.
After a spring and summer running the usual festival circuit in North America and Europe, the Lips embarked on a two-month fall tour of the Middle East. They were tailed by Georgia rock-doc royalty Bill Cody, of Athens, GA - Inside/Out fame, who filmed the band playing for kids in Tunis and Cairo who had just overthrown their government, kids in Iraq who barely have a government, and kids in Dubai whose government is richer than God (and might control a genie).
As Cody assembled his footage into the feature Kids Like You and Me, the band returned home from the New Year's maelstrom and began settling into album mode. Songs had piled up in the two years since 2011's Arabia Mountain. "We went into the studio with about 80% of the record written," says bassist Jared Swilley. "which is a little more than usual for us. Joe (Bradley, drums) usually puts together all the parts for his songs on his own, and Ian (St. Pe, guitar) writes a lot of his music. I like to make mine a little more collaborative, like Cole (Alexander, also guitar)."
Recording for Underneath the Rainbow ("We were going to call it The Dark Side of the Rainbow, then we googled it and realized that's what they call that thing where you watch The Wizard of Oz while listening to Pink Floyd and it syncs up") was split between New York with Thomas Brenneck, who was recommended by Arabia Mountain producer Mark Ronson, and Nashville with the the Black Keys' Patrick Carney, who offered to help produce in a Mexico city hotel room just before dawn. "It was one of those super-late-night/super-early-morning drunktalk sort of situations, so we weren't sure if he meant it," explains Jared. "People do that all the time."
Early internet conjecture, based around on the album's lead single ("Boys in the Woods"), Carney's choice of a country studio in Nashville, and an offhand reference to "roots music," pegged Underneath the Rainbow's sound as a blend of southern rock with throwback C&W and blues. Which is a weird description for a record containing the first Black Lips' song with a prominent synth ("Funny"), and even less apt for an overall album that owes just as much to the kiwi pop of New Zealand's South Island and the Chicago South Side's Crucial Conflict as it does the standard American South. "They got it all wrong," says Jared, "they were asking 'Is there a "radical departure" or "new direction" on this album?' so I said, no it's still roots music, which is what we've been doing from the start and which all rock and pop music derives from."
"Although ["Funny"] is a new direction as far as it having more of a commercial sound," adds Cole.
"Honestly, that synth getting in there was a fluke."
show less
Ariel Pink returns with a new album on November 17th, entitled pom pom.
Across its 17 tracks and 69 minutes, pom pom is unfiltered Ariel, a pied piper of the absurd, with infectious tales of romance, murder, frog princes and Jell-O. The record sees the Los Angeles native strike it out alone, returning to the solo moniker he has adopted for well over a decade when cementing his name as a king of pop perversion. From demented kiddie tune collaborations with the legendary Kim Fowley (songs like ‘Jell-O’ and ‘Plastic Raincoats In The Pig Parade’ were written with Fowley in his hospital room during his recent battle with cancer), to beatific, windswept pop (‘Put Your Number In My Phone’, ‘Dayzed Inn Daydreams’), scuzz-punk face-melters (‘Goth Bomb’, ‘Negativ Ed’), and carnival dub psychedelia (‘Dinosaur Carebears’), pom pom could very well be Ariel Pink’s magnum opus.
“Although this is the first “solo” record credited to my name, it is by far the least “solo” record I have ever recorded.” – Ariel Pink.
pom pom is Ariel Pink’s third studio album for 4AD, following his Haunted Graffiti releases Before Today (2010) and Mature Themes (2012). pom pom will be available as a 2xLP, CD and digital download. Pre-order on iTunes from today and receive ‘Put Your Number In My Phone’ instantly.
The Black Lips:
Atlanta's beloved sons the Black Lips entered last year through a screaming cloud of sweat, smoke, blood, and beer mist, in front of a dangerously packed hall in New Orleans' French Quarter. If a band's bipolarity runs on a touring vs. recording-an-album spectrum, then the previous year was the mother of all manic spells.
After a spring and summer running the usual festival circuit in North America and Europe, the Lips embarked on a two-month fall tour of the Middle East. They were tailed by Georgia rock-doc royalty Bill Cody, of Athens, GA - Inside/Out fame, who filmed the band playing for kids in Tunis and Cairo who had just overthrown their government, kids in Iraq who barely have a government, and kids in Dubai whose government is richer than God (and might control a genie).
As Cody assembled his footage into the feature Kids Like You and Me, the band returned home from the New Year's maelstrom and began settling into album mode. Songs had piled up in the two years since 2011's Arabia Mountain. "We went into the studio with about 80% of the record written," says bassist Jared Swilley. "which is a little more than usual for us. Joe (Bradley, drums) usually puts together all the parts for his songs on his own, and Ian (St. Pe, guitar) writes a lot of his music. I like to make mine a little more collaborative, like Cole (Alexander, also guitar)."
Recording for Underneath the Rainbow ("We were going to call it The Dark Side of the Rainbow, then we googled it and realized that's what they call that thing where you watch The Wizard of Oz while listening to Pink Floyd and it syncs up") was split between New York with Thomas Brenneck, who was recommended by Arabia Mountain producer Mark Ronson, and Nashville with the the Black Keys' Patrick Carney, who offered to help produce in a Mexico city hotel room just before dawn. "It was one of those super-late-night/super-early-morning drunktalk sort of situations, so we weren't sure if he meant it," explains Jared. "People do that all the time."
Early internet conjecture, based around on the album's lead single ("Boys in the Woods"), Carney's choice of a country studio in Nashville, and an offhand reference to "roots music," pegged Underneath the Rainbow's sound as a blend of southern rock with throwback C&W and blues. Which is a weird description for a record containing the first Black Lips' song with a prominent synth ("Funny"), and even less apt for an overall album that owes just as much to the kiwi pop of New Zealand's South Island and the Chicago South Side's Crucial Conflict as it does the standard American South. "They got it all wrong," says Jared, "they were asking 'Is there a "radical departure" or "new direction" on this album?' so I said, no it's still roots music, which is what we've been doing from the start and which all rock and pop music derives from."
"Although ["Funny"] is a new direction as far as it having more of a commercial sound," adds Cole.
"Honestly, that synth getting in there was a fluke."
Ariel Pink:
Ariel Pink returns with a new album on November 17th, entitled pom pom.
Across its 17 tracks and 69 minutes, pom pom is unfiltered Ariel, a pied piper of the absurd, with infectious tales of romance, murder, frog princes and Jell-O. The record sees the Los Angeles native strike it out alone, returning to the solo moniker he has adopted for well over a decade when cementing his name as a king of pop perversion. From demented kiddie tune collaborations with the legendary Kim Fowley (songs like ‘Jell-O’ and ‘Plastic Raincoats In The Pig Parade’ were written with Fowley in his hospital room during his recent battle with cancer), to beatific, windswept pop (‘Put Your Number In My Phone’, ‘Dayzed Inn Daydreams’), scuzz-punk face-melters (‘Goth Bomb’, ‘Negativ Ed’), and carnival dub psychedelia (‘Dinosaur Carebears’), pom pom could very well be Ariel Pink’s magnum opus.
“Although this is the first “solo” record credited to my name, it is by far the least “solo” record I have ever recorded.” – Ariel Pink.
pom pom is Ariel Pink’s third studio album for 4AD, following his Haunted Graffiti releases Before Today (2010) and Mature Themes (2012). pom pom will be available as a 2xLP, CD and digital download. Pre-order on iTunes from today and receive ‘Put Your Number In My Phone’ instantly.
The Black Lips:
Atlanta's beloved sons the Black Lips entered last year through a screaming cloud of sweat, smoke, blood, and beer mist, in front of a dangerously packed hall in New Orleans' French Quarter. If a band's bipolarity runs on a touring vs. recording-an-album spectrum, then the previous year was the mother of all manic spells.
After a spring and summer running the usual festival circuit in North America and Europe, the Lips embarked on a two-month fall tour of the Middle East. They were tailed by Georgia rock-doc royalty Bill Cody, of Athens, GA - Inside/Out fame, who filmed the band playing for kids in Tunis and Cairo who had just overthrown their government, kids in Iraq who barely have a government, and kids in Dubai whose government is richer than God (and might control a genie).
As Cody assembled his footage into the feature Kids Like You and Me, the band returned home from the New Year's maelstrom and began settling into album mode. Songs had piled up in the two years since 2011's Arabia Mountain. "We went into the studio with about 80% of the record written," says bassist Jared Swilley. "which is a little more than usual for us. Joe (Bradley, drums) usually puts together all the parts for his songs on his own, and Ian (St. Pe, guitar) writes a lot of his music. I like to make mine a little more collaborative, like Cole (Alexander, also guitar)."
Recording for Underneath the Rainbow ("We were going to call it The Dark Side of the Rainbow, then we googled it and realized that's what they call that thing where you watch The Wizard of Oz while listening to Pink Floyd and it syncs up") was split between New York with Thomas Brenneck, who was recommended by Arabia Mountain producer Mark Ronson, and Nashville with the the Black Keys' Patrick Carney, who offered to help produce in a Mexico city hotel room just before dawn. "It was one of those super-late-night/super-early-morning drunktalk sort of situations, so we weren't sure if he meant it," explains Jared. "People do that all the time."
Early internet conjecture, based around on the album's lead single ("Boys in the Woods"), Carney's choice of a country studio in Nashville, and an offhand reference to "roots music," pegged Underneath the Rainbow's sound as a blend of southern rock with throwback C&W and blues. Which is a weird description for a record containing the first Black Lips' song with a prominent synth ("Funny"), and even less apt for an overall album that owes just as much to the kiwi pop of New Zealand's South Island and the Chicago South Side's Crucial Conflict as it does the standard American South. "They got it all wrong," says Jared, "they were asking 'Is there a "radical departure" or "new direction" on this album?' so I said, no it's still roots music, which is what we've been doing from the start and which all rock and pop music derives from."
"Although ["Funny"] is a new direction as far as it having more of a commercial sound," adds Cole.
"Honestly, that synth getting in there was a fluke."
read more
Ariel Pink returns with a new album on November 17th, entitled pom pom.
Across its 17 tracks and 69 minutes, pom pom is unfiltered Ariel, a pied piper of the absurd, with infectious tales of romance, murder, frog princes and Jell-O. The record sees the Los Angeles native strike it out alone, returning to the solo moniker he has adopted for well over a decade when cementing his name as a king of pop perversion. From demented kiddie tune collaborations with the legendary Kim Fowley (songs like ‘Jell-O’ and ‘Plastic Raincoats In The Pig Parade’ were written with Fowley in his hospital room during his recent battle with cancer), to beatific, windswept pop (‘Put Your Number In My Phone’, ‘Dayzed Inn Daydreams’), scuzz-punk face-melters (‘Goth Bomb’, ‘Negativ Ed’), and carnival dub psychedelia (‘Dinosaur Carebears’), pom pom could very well be Ariel Pink’s magnum opus.
“Although this is the first “solo” record credited to my name, it is by far the least “solo” record I have ever recorded.” – Ariel Pink.
pom pom is Ariel Pink’s third studio album for 4AD, following his Haunted Graffiti releases Before Today (2010) and Mature Themes (2012). pom pom will be available as a 2xLP, CD and digital download. Pre-order on iTunes from today and receive ‘Put Your Number In My Phone’ instantly.
The Black Lips:
Atlanta's beloved sons the Black Lips entered last year through a screaming cloud of sweat, smoke, blood, and beer mist, in front of a dangerously packed hall in New Orleans' French Quarter. If a band's bipolarity runs on a touring vs. recording-an-album spectrum, then the previous year was the mother of all manic spells.
After a spring and summer running the usual festival circuit in North America and Europe, the Lips embarked on a two-month fall tour of the Middle East. They were tailed by Georgia rock-doc royalty Bill Cody, of Athens, GA - Inside/Out fame, who filmed the band playing for kids in Tunis and Cairo who had just overthrown their government, kids in Iraq who barely have a government, and kids in Dubai whose government is richer than God (and might control a genie).
As Cody assembled his footage into the feature Kids Like You and Me, the band returned home from the New Year's maelstrom and began settling into album mode. Songs had piled up in the two years since 2011's Arabia Mountain. "We went into the studio with about 80% of the record written," says bassist Jared Swilley. "which is a little more than usual for us. Joe (Bradley, drums) usually puts together all the parts for his songs on his own, and Ian (St. Pe, guitar) writes a lot of his music. I like to make mine a little more collaborative, like Cole (Alexander, also guitar)."
Recording for Underneath the Rainbow ("We were going to call it The Dark Side of the Rainbow, then we googled it and realized that's what they call that thing where you watch The Wizard of Oz while listening to Pink Floyd and it syncs up") was split between New York with Thomas Brenneck, who was recommended by Arabia Mountain producer Mark Ronson, and Nashville with the the Black Keys' Patrick Carney, who offered to help produce in a Mexico city hotel room just before dawn. "It was one of those super-late-night/super-early-morning drunktalk sort of situations, so we weren't sure if he meant it," explains Jared. "People do that all the time."
Early internet conjecture, based around on the album's lead single ("Boys in the Woods"), Carney's choice of a country studio in Nashville, and an offhand reference to "roots music," pegged Underneath the Rainbow's sound as a blend of southern rock with throwback C&W and blues. Which is a weird description for a record containing the first Black Lips' song with a prominent synth ("Funny"), and even less apt for an overall album that owes just as much to the kiwi pop of New Zealand's South Island and the Chicago South Side's Crucial Conflict as it does the standard American South. "They got it all wrong," says Jared, "they were asking 'Is there a "radical departure" or "new direction" on this album?' so I said, no it's still roots music, which is what we've been doing from the start and which all rock and pop music derives from."
"Although ["Funny"] is a new direction as far as it having more of a commercial sound," adds Cole.
"Honestly, that synth getting in there was a fluke."
show less
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