Wed 19 Jan 2011
Einstein Music Journal has a couple of Laneway passes to give away – one double pass to the Auckland Laneway Festival on January 31 and one double pass to the Wellington Laneway event on February 1. Here’s how you can enter the draw:
We’d like to find out what you like most about EMJ, so to go into the draw all you need to do is email us the name of your favourite artist we’ve featured on EMJ. Please put either Laneway Auckland or Laneway Wellington in the subject line and email your name and answer to email@example.com
Entries close at midnight on Monday, January 24.
Ariel Pink Interview
Originally published in Real Groove magazine, July 2010
Ariel Pink’s Haunted Graffiti has evolved from using armpit and mouth percussion to a high fidelity sound, despite only spending three hours in a studio for their latest album Before Today. By Sarah Gooding
The modern embodiment of David Bowie, Marc Bolan and Syd Barrett, Ariel Marcus Rosenberg exudes the free spirit of the ‘70s. “You’ll just have to take whatever I can give you, because I can’t be held responsible for the accuracy…” he trails off, his smile audible on the phone. The Los Angeleno has been recording under the name of Ariel Pink for 14 years, during which time he’s produced seven genre-defying albums of cult significance. Pink has gained notoriety for his distinctly DIY approach to recording that harks back to another era in its use of 8-tracks and cassettes. His music blends everything from new wave to stadium rock all with a psychedelic nostalgia.
His latest album Before Today leaked on the internet a month before its mid June release. “I thought that it was something to be concerned about, but apparently it actually could be good. The record label doesn’t mind it! I think it’s good. I mean there’s obviously some algorithm that just is bigger than them somehow, but they know what they’re doing. And if the record is good and it’s received well, then it can only help sales, and if it’s not received well, it reflects on… you know.”
It’s clear from listening to his songs that Pink devours music, having once taken a record store clerk position so that he could surround himself with it physically and figuratively. “That’s why I probably got into music, so I wouldn’t have to pay for it eventually. People of our calibre shouldn’t have to pay for music they listen to!”
Pink has said he would ideally like to cut down on his live performances to record comfortably and unrushed, but believes the future of music lies in live shows, and sees the Haunted Graffiti continuing as “an increasingly live show”. “I only play as much as I do ‘cause I have to. It’d be nice to have a holiday, but it’s still what pays the bills. Recordings don’t do anything. They get played and stuff but they don’t pay me anything.”
“I think recorded music is going to go extinct pretty soon. People are not going to have the brain or the energy, they just delve into all the different variations and faceless playlists. Kids that are born nowadays are never going to really ever experience records… I think eventually it’s just going to be live performance… Music is going to be experienced socially from now. There’ll be creative ways of making that happen.”
The band is becoming more “solid”, he says, but they’re only just starting: “We’re just getting our feet wet.” A healthy approach, considering the success of past tour mates Animal Collective, who initially signed Pink to their Paw Tracks label, their first act who wasn’t a member of Animal Collective. Wellington electronic artist Signer was also on the tour, and remains similarly underexposed. But Pink holds no resentment.
“Oh man, are you kidding me? Lucky me, man! If they hadn’t have become so huge who knows if there would be a climate for this kind of music, or for any kind of music that’s different for that matter? They’re part of the social fabric, they’re so embedded that people are influenced by them and they don’t even know it. They don’t have to like them, they just come out of high school playing like Animal Collective.” He shouts an abrupt “NO!” when asked if he’d like to replicate their conscious dwelling. “That’s a frightening thing to think about. But you know, oddly enough it happens, the longer I stick around.”