Album Review: Ariel Pink's Haunted Graffiti - Mature Themes

Ariel Pink's Haunted Graffiti
Mature Themes
Rating: Meh

Sometimes I really have no idea what to make of Ariel Pink. Most of his earlier output to me is practically unlistenable art-wankery which was not exactly a good selling point, and then he goes and gets his act together on 2010's Before Today which hit just the right amount of perfect pop song craft and weird experimentation. Following that release, Pink has been flitting around on tour, having meltdowns at Coachella and various other strange behavior, teasing everyone with hints of new music to come. New release Mature Themes basically runs off the template set down on Before Today but unfortunately skews too far on the experimental side to be a complete success. Contrary to its title, Mature Themes has a surprisingly juvenile streak running through it, which tends to negate the impact of the more structured, intelligent pieces. By record's end you are just baffled by the resulting collection of tracks that veer wildly from patient, measured genre exercises to skronky Zappa-esque excursions into madness. It's the aural equivalent of whiplash.

The most depressing thing about Mature Themes is how brilliant the songs can be. First single "Only In My Dreams" is a gorgeous slice of sun-kissed California pop that should be a staple of anyone's mix tape this summer.



Closing track "Baby" turns out a smoky vocal from Pink that glides along its slick R&B vibe, "Early Birds of Babylon" strikes out into early 80s Goth territory, drawing from Pink's infatuation with Bauhaus and Sisters of Mercy, and "Farewell American Primitive" features glossy production and sparkling guitars.



But too often, these tracks are experimental messes that serve nothing more to alienate and taunt the listener to see how long they can endure the tomfoolery. Lead track "Kinski Assassin" is a ludicrous new wave skreed with comical vocals and asinine lyrics,



while even more egregious is "Schnitzel Boogie" which is actually a song about ordering hot dogs in the drive-thru lane of Weinerschnitzel, and "Nostradamus and Me" is a pointless chillwave exercise, which drones and moans its way through its 7+ minute run time.



Occasionally through the goop and mire of the this record there are hints of what could have been. The krautrockisms of "Driftwood," slick synth pop of "Symphony of the Nymph," and the delightful quirky pop of "Live It Up" do much to keep the record entertaining while still being anti-pop. But too often, we get tired sketches that should have been edited or thrown in the dustbin, from the tired herky jerky punk pop of "Is This The Best Spot?" to the muddled Balearicism of "Pink Slime."

After the demented pop brilliance of Before Today, Mature Themes ultimately comes across as its schizophrenic twin, so much alike and yet so needing some major antipsychotic medication. Baffling at first, the record eventually comes into a clearer focus on the more thoughtful tracks, but the disastrous, almost joke-like songs that litter the record refuse to let the whole coalesce into what could have been a brilliant record. As it is, Mature Themes never quite loses its juvenile nature.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and piques one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.