Released - 6/7/10
Label - 4AD
BLURB - First off, my apologies to Ariel Pink's Haunted Graffiti (hereinafter 'APHG'). The Halfway Home Update had them not cracking the Top 10 albums of the year so far. Make no mistake...this is one of the better releases of 2010. "Before Today" is an elaborate, yet funky display of post-punk, noise rock and lo-fi pop that really comes out of nowhere to dazzle the senses. Certain parts of the album feel like 80's dance ballads while others sound like garage rock - all of which come shooting out of the speakers with enough fuzz and haze to fulfill the obligatory lo-fi genre. Yet, the album remains surprisingly interesting, refreshing and new. Side note, I've always wanted to say 'hereinafter' in a post.
Rating - 9 out of 10
FULL STORY - I bought APHG's "Before Today" after listening to a few tracks at Sound Fix's listening booth and being intrigued. I could only preview three tracks, but each of them were disparately different, which would serve as some nice foreshadowing after I actually bought and listened to the whole album. It's been a few weeks and I simply cannot put "Before Today" down.
"Hot Body Rub" opens the album and is enough to scare away some listeners. The track opens with an airplane flying by and moves into an acid-jazz-rock feel. Some of the notes are bent out of key and held, creating the illusion that this is just some stoner rock album by some friends messing around in the basement, although it's not.
The second track, 'Bright Lit Blue Skies' is a pleasantly uplifting track that swings with catchy riffs and bass lines. Huge background vocals fill the chorus with force and depth. The song itself is a much more traditional pop song that sparkles with character, and sounds like it was recorded thirty years ago. Beachy guitar riffs help give the track a bit more of a summer vibe, giving the song a subtle airy quality, keeping it light and fun.
'Fright Night (Nevermore)' drums up some far reaching Neon Indian comparisons. The song is filled with atmospheric synth chords, painting a canvas of 80's pop that comes off a little creepy. The vibe is definitely a little darker, and as the title suggests, it seems like a perfect fit for that Halloween party you may be throwing four months from now.
The party vibe is back in full swing on 'Round and Round.' As a repetitive bass line circles the vocals, the track appears suspended and floating - waiting for something to happen. After a brief pre-chorus breakdown and a simulated a phone call, a huge chorus blasts out of the speakers, captivating the listener, nearly forcing them to at least tap their foot to the beat. Parts of the song do a great job encapsulating the whole 'wall of sound' effect. Rather than hearing the guitar, or hearing the drums, the listener really hears the entire instrumentation as a whole. It's not until you listen to the song fifty times and break it down, that you can distinguish the variety of instruments and effects used. It reminds me of Bibio's 'Lovers' Carvings,' which is a good thing.
Following up 'Round and Round' is 'Beverly Kills.' Mostly driven by bright synthesizer chords and funky bass riffs, the track dances around with a hipster basement dance party vibe. Supplementing the track are all kinds of weird song effects and instruments. This actually does a really cool job of balancing the old and the new. With much of APHG's songs, there is an unmistakable retro feel, so when you have these synthesizers and computer effects mixing with rich, funky bass lines, it really comes off as not only creative, but clever.
'Can't Hear My Eyes' goes more ballad than party and is beautifully constructed with warm and inviting tones. Jazz keyboards, guitars, chimes and even a saxophone solo comprise this slowed down track and is probably APHG's most accessible song - as it's very easy on the ears. To offer up a better description, picture any song that made Billboard's Top 100 on the Adult Contemporary chart in 1979. It probably sounds just like 'Can't Hear My Eyes.'
'Reminiscences' is right in my wheel house. A chilled out instrumental that weaves back and forth between synthesizers and string sections, perfect for that laid back summer drive.
Some of the remaining album does go off on some random tangents (like the above instrumental) and loses some continuity, but the bulk of the songs are strong enough to make this critique seem like a forgettable one. If you're looking for that weird, lo-fi, funky, pop album that might be a little stranger than you'd like...then you've probably just found it.
Tracks
1.) Hot Body Rub
2.) Bright Lit Blue Skies
3.) L'estat (Acc. to the Widow's Maid)
4.) Fright Night (Nevermore)
5.) Round and Round
6.) Beverly Kills
7.) Butt-House Blondies
8.) Little Wig
9.) Can't Hear My Eyes
10.) Reminiscences
11.) Menopause Man
12.) Revolution's a Lie
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