I have always wanted to be an Ariel Pink fan. As a fan of lo-fi weirdo rock, Ariel always seemed like a perfect fit for my tastes. In the early-aughts he spearheaded a return to lo-fi aesthetics, when nearly everyone else sounded shiny and new, even noise bands, and well before the massive lo-fi movement of the last few years. His outsider approach to performance and presentation also jibbed well with my proclivities. When it came down to it though, I just couldn't get into his music as much as I tried. I remember seeing him open for Animal Collective some years back and having such high expectations, only to be drastically let down. His monotone performance gave the impression that his tossed-off attitude wasn't ironic or studied at all, it was just tossed-off, and, I figured, if he didn't give a shit about his music, then neither did I. I also kind of figured he would disappear as fast as the early hype that surrounded him would.Much to my surprise, Ariel didn't disappear, instead he formed a more cohesive touring and studio unit behind him, dubbed "Haunted Graffiti," and now with "Before Today" has finally started to live up to the promise of actually being Ariel Pink.
The album begins with what sounds like a krautrock jam between Can and Neu! until Ariel launches into a homage to Eddie Murphy's James Brown Celebrity Hot Tub skit. It's a small grin-inducing thing, but also indicative of what is to come - which are superb pop nuggets on the experimental tip undercut by Ariel's cockeyed sense of humor. There have been a lot of people who have noted the influence of various 70s and 80s artists at play here, but there is no greater influence throughout "Before Today" than Frank Zappa and the Mothers of Invention. Upfront, the band delivers the most overtly Zappaesque moment with "L'estat (Acc. To The Widow's Maid)." The weirdo tale of a jealous upper class widow combines mind-boggling song progressions with 60s pop influences and bizzaro little flourishes, similar to classic-era Zappa. Things continue to stay strange with the casiotone-damaged "Fright Night." The song sounds like it was composed by a bunch of amateurs for a late night local cable horror movie showcase at first, but grows increasingly brilliant on repeated listens.
Another major influence on the album's sound is 70s lite rock. Songs like "Round and Round" and "Beverly Kills" somehow manage to channel schmaltz into a couple of incredibly fine pop songs. Sometimes the band goes too deep into the rabbit hole on songs like "Can't Hear My Eyes," and "Reminiscences," both of which highlight all that was bad about popular 70s music, of which there was plenty.
Album centerpieces "Butt-House Blondies" and "Little Wig" rock the hardest and make for the best songs as well. Opening with a guitar squall reminiscent of either the Scorpions, Husker Du or the Butthole Surfers (depending on your frame of reference), "Butt-House Blondies" tells the tale of a 16 year old girl who had no business entering parenthood but gets knocked up anyway. The lyrics are acidic and the song rocks, what more you need is beyond me. "Little Wig," the tale of an over-privileged underachiever, calls to mind Bowie at his most coke fueled and finds the band showing off their chops across the board. The song twists and turns with a dramatic fury lacking from the rest of the album.
The album loses steam toward the end. The final four tracks are simply forgettable, stopping Ariel just short of the greatness that has always alluded him. Nevertheless, "Before Today," is a huge step in the right direction and one that puts Ariel back in the game. What he does next is anyone's guess, but if this album is any indication, it will be worth while to pay attention once again to Pink and his Haunted Graffiti.
"L'estat (Acc. To The Widow's Maid)" live
"Round & Round" stripped down live version
"Bright Lit Blue Skies" live
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