Ariel Pink – Pom Pom

An album like Pom Pom isn’t supposed to make sense right away. Part of the charm of Ariel Pink’s newest collection of tracks is that it’s difficult to pinpoint what inspires his incredibly eccentric and flamboyant methods of expression.  Nostalgia and hindsight certainly constitute a foundation, but Ariel Pink’s presentation hints at something much more twisted. Pom Pom explores various eras of pop music, from the ‘60s to the ‘80s, but marches in a direction that is both contemporary and forward-thinking. It’s silly, bizarre, and intoxicating. As far as Ariel Pink is concerned, making sense is outdated.

“Plastic Raincoats in the Pig Parade” sets the tone of the album perfectly as Ariel sings “Mannequins are so afraid”, pointing out the nondescript and repressed qualities of the common man. Throughout Pom Pom, Ariel takes pride in his idiosyncrasies and filters his music through a gauntlet of psychedelic rock, pop, synth pop, new wave, and post-punk. What emerges is noticeably singular, an impressive balance between immediacy and strangeness. Songs like “Black Ballerina” and “Not Enough Violence” are, without a doubt, out of the ordinary, but their whimsical nature proves enticing. “Negativ Ed” is one of the few tracks that doesn’t quite leave an impact since its progression is nothing more than a straight line. Nonetheless, the majority make their presence known in a variety of ways.

Working with a relatively lo-fi recording, Ariel still manages to pack as much color as possible into what amounts to over an hour of sweet and sour rhythms that never fail to amuse. “White Freckles” is an astounding highlight with its morphing tempo and its vibrant implosion that disrupts a series of indelible vocal harmonies. However, Ariel ventures into the night as much as he does into the sunlight. On the eerie “Four Shadows”, Ariel channels his inner Robert Smith. Accompanied by airy synthesizers and lyrics about a string of premeditated murders, “Lipstick” plays out like an ‘80s slasher flick. As he bounces from one idea to the next, Ariel keeps the mood light with plenty of satire, like his parody of old jingles on “Jell-O”, as well as his playful singing voice. Whether Ariel is dabbling into the absurd or the familiar, Pom Pom’s artistic range is nothing short of outstanding.

The record’s weirdest moments, such as “Exile on Frog Street”, showcase the enjoyment that comes with spontaneity. The musical circus that is “Dinosaur Carebears” incorporates a deluge of cartoonish effects before locking into an easygoing psychedelic groove. Nonetheless, Ariel Pink also exhibits his sentimental side toward the end of the album. The heartfelt backing vocals on “Picture Me Gone”, for instance, allow the chorus to lift off toward the sunset of a blossoming magenta skyline. It provides a wonderful preview for the heartbreaking finale “Dayzed Inn Daydreams”. On this emotionally captivating song, Ariel imagines himself dying young before fulfilling his purpose in life, even going as far as to use the word “stillborn”. He vulnerably sings, “Letters on paper, thrown away. The story ends untold.” It is in this moment of insecurity and apprehension that Ariel Pink truly opens up, unveiling a troubled soul desperately seeking closure before the clock runs out. It’s a sobering conclusion to an album of escapism, and it’s fucking brilliant.

Ariel Pink’s Pom Pom is a celebration of life in its happiest, darkest, and most awkward moments. The balance between Ariel’s pop sensibility and audacity has never resonated more strongly. His ability to craft exuberant melodies and his penchant for the abnormal come together in 17 tracks of psychedelic madness. Additionally, his sense of humor gives him the energy to undermine convention. Being lost is rarely this much fun.

Favorite Tracks:
White Freckles
Dayzed Inn Daydreams
Four Shadows
Dinosaur Carebears
Picture Me Gone