Ariel Pink's Haunted Graffiti
Grandes Exitos

Is it up to me to lift the de-veil on Ariel Pink? Grateful task. Thank you.

Firstly, let me say that the double CD in question is nothing more than a collection of tracks from an elephantine discography relegated to an unspecified number of independent labels and self-produced cassettes. I inform you right away that I adore its raw content. And if it weren't a compilation, it would certainly compete for the title of the best (under)production of this year. Step by step, then: A. P. H. G. is a primarily solo project, destined to structure itself into a band, cultivated by the Californian multi-instrumentalist Ariel Rosenberg since the dawn of the millennium and dedicated to impromptu revisitations of pop from recent decades, served in a syrupy lo-fi sauce; not due to the adoption of any specific artistic artifice but simply due to the lack of means at his disposal and thanks to an inherent playful nature.

Nothing new, then, you might say: the usual American alt/neo/post minstrel, etc. Instead, what impresses here, besides the versatility and prolificity of the subject, is how young Ariel manages to impart to the material an aura of classicism that only great talents can render. If we stripped away the patina of low fidelity that permeates the 23 songs that make up "Grandes Exitos", which is also an integral part of the fascination the whole work exerts on me, we would be faced with tracks that wouldn’t pale in the productions of S. Merrit, B. Eyes, or C. F. T. P. A., albeit with due distinctions and just to mention some similar yet much more celebrated figures.

Naive and ingenious, he enthusiastically and effortlessly delivers covers of the Smiths and synth-soul pieces complete with falsetto choirs, alternates garage pop with guitar ballads with a psychedelic air. Thus "Jules Lost His Jewels" is the smile that blossoms on the first listen, "For Kate I Wait" is the quintessence of pop cocoon, "She's Gone" and "My Molly" are garage rock masterpieces worthy of a future Nuggets dedicated to these noughties, "Life in L.A." intrigues and moves with its off-key rhythm, "I Wait" and "Spires In The Snow" recall the naivety of the best C86 generation, "Helen" and "Alisa" would embellish Caribou’s catalog, "The Drummer" is enviable soul pop, "Evolution Is A Lie" is contagious, laid-back surf.

For the complete discography, I refer you to the internet. The day he enjoys production adequate to his talents, this guy will rock. In the meantime, don’t be refractive, wear rose-colored glasses and join the cult.