- 21-05-2020, 23:02
- 2020 | Pop | Alternative | Indie | Psychedelic | Lo-Fi | FLAC / APE | Mp3
My computer lost its damn mind and in the the process of bringing back its sanity I pretty much lost all my Ariel Pink MP3's. I have been able to find some already from online and on here but still missing a lot. 9 Ariel Pink classics in a row. That row is very wayward and I doubt anyone got them in the order that they should have been in. Anyway what I mean is from Haunted Graffiti 2: The Doldrums onwards, which includes Sacred Famous, FFWD, House Arrest, Lover Boy & Worn Copy. Then his 4AD Years Before Today, Mature Themes and now Pom Pom. In 2003, Ariel Pink was an art school dropout living in L.A., working at a record store by day and recording druggy, lo-fi psychedelic pop with any free moment. He was still almost completely unknown by the time of Worn Copy, but had already issued at least a half-dozen albums of his specifically damaged songs in the form of handmade CD-Rs. Ariel Pink Worn Copy Rarity; Ariel Pink Worn Copy Rare; Worn Copy: Ariel Pink’s Haunted Graffiti: 4: 2004: The Doldrums: Ariel Pink’s Haunted Graffiti: 2: 2005: Welcome 2 Our World. FACT Mix 152: Ariel Pink’s. Oct 03, 2010 The Human Ear Volumes look like something worth getting hold of, well the ariel pink included tracks i guess.
Artist: Ariel Pink
Title: Worn Copy
Year Of Release: 2005 / 2020
Label: Mexican Summer
Genre: Indie Pop, Lo-Fi, Psychedelic
Quality: 320 / FLAC (tracks)
Total Time: 1:15:51
Total Size: 178 / 373 Mb
WebSite: Album Preview
Tracklist:Title: Worn Copy
Year Of Release: 2005 / 2020
Label: Mexican Summer
Genre: Indie Pop, Lo-Fi, Psychedelic
Quality: 320 / FLAC (tracks)
Total Time: 1:15:51
Total Size: 178 / 373 Mb
WebSite: Album Preview
01. Trepanated Earth (Remastered) (10:52)
02. Immune to Emotion (Remastered) (2:37)
03. Jules Lost His Jewels (Remastered) (3:50)
04. Artifact (Remastered) (4:47)
05. Bloody (Bagonia's!) (Remastered) (1:31)
06. Credit (Remastered) (3:24)
07. Life in La (Remastered) (6:43)
08. The Drummer (Remastered) (4:54)
09. Cable Access Follies (Remastered) (2:12)
10. Creepshow (Remastered) (5:20)
11. One on One (Remastered) (3:07)
12. Oblivious Peninsula (Remastered) (4:18)
13. Somewhere in Europe/Hotpink! (Remastered) (4:28)
14. Thespian City (Remastered) (3:06)
15. Crybaby (Remastered) (3:24)
16. Foilly Foibles (Remastered) (8:07)
17. Jagged Carnival Tours (Remastered) (3:12)
Ariel Pink's Haunted Graffiti's official debut, The Doldrums, won praise for having the Animal Collective's graces and for being an uncanny perversion of the Me Decade pop-radio that worshipped the golden calves of Dylan, McCartney, Carpenter, and Orlando. Pink's second album, Worn Copy, furthers his cult-baiting mystique as a bedroom hermit from suburban L.A. who conjures up ghosts by burning a roll of avocado-green shag carpet un-vacuumed for 30 years.
To his credit, Pink has sharpened his songwriting and studio touches-- he has several 1970s AOR-pop Muzak formulas nailed, making his freakitude compelling and digestible. That's a quality Ween and Redd Kross sometimes failed to capture-- quotation marks were clearly and fashionably marked on their odes to that decade's trash culture. But the problem remains that if the fashionably shoddy production values are removed from the sound, Pink's music would melt into the air.
Still, Worn Copy's first half is a gas. Opener 'Trepanated Earth' begins with a hazy, synth and flanged guitar. Pink then mumbles something romantic before one of his split personalities interrupts, 'The human race is a pile of dogshit!' and 'Mankind is a Nazi!' After a few false starts and jumbled rickets, he then becomes a charming easy-listening opening act for the Wings 75 tour. 'Immune to Emotion' is nasally congested 'I'm OK, You're OK' pop that could serve as country club luncheon entertainment. 'Jules Lost His Jewels' is a 33rpm power-pop raveup cranked or 'Alvin-ized' (as composer John Oswald might put it) to 45 with bloodlines that can be traced to the Mothers of Invention's 'Take Your Clothes Off When You Dance'.
Oddly, albums such as The Doldrums, Worn Copy and House Arrest were not widely embraced initially, though their inventiveness and strange beauty was usually recognized by reviewers, if not begrudgingly. Critical opinion was divided: Ariel Pink was either a self-indulgent “weirdo” or a pop music genius.
Twenty years on, Ariel’s music still stupefies. The quantity of ideas and moods expressed through a modest recording enterprise seems supernatural, not human. Indeed, Hedi El Kohlti, in his superb new liner notes for Underground, compares Ariel’s explosive creative period between 1998 and 2004 to a character in Phillip K. Dick’s A Scanner Darkly who has all of 20th century modern art beamed into his brain at flash cut speed. Did Ariel Pink, at the age of 20, receive a similar instantaneous “download” of all of the secrets of pop music?
To his credit, Pink has sharpened his songwriting and studio touches-- he has several 1970s AOR-pop Muzak formulas nailed, making his freakitude compelling and digestible. That's a quality Ween and Redd Kross sometimes failed to capture-- quotation marks were clearly and fashionably marked on their odes to that decade's trash culture. But the problem remains that if the fashionably shoddy production values are removed from the sound, Pink's music would melt into the air.
Still, Worn Copy's first half is a gas. Opener 'Trepanated Earth' begins with a hazy, synth and flanged guitar. Pink then mumbles something romantic before one of his split personalities interrupts, 'The human race is a pile of dogshit!' and 'Mankind is a Nazi!' After a few false starts and jumbled rickets, he then becomes a charming easy-listening opening act for the Wings 75 tour. 'Immune to Emotion' is nasally congested 'I'm OK, You're OK' pop that could serve as country club luncheon entertainment. 'Jules Lost His Jewels' is a 33rpm power-pop raveup cranked or 'Alvin-ized' (as composer John Oswald might put it) to 45 with bloodlines that can be traced to the Mothers of Invention's 'Take Your Clothes Off When You Dance'.
Oddly, albums such as The Doldrums, Worn Copy and House Arrest were not widely embraced initially, though their inventiveness and strange beauty was usually recognized by reviewers, if not begrudgingly. Critical opinion was divided: Ariel Pink was either a self-indulgent “weirdo” or a pop music genius.
Twenty years on, Ariel’s music still stupefies. The quantity of ideas and moods expressed through a modest recording enterprise seems supernatural, not human. Indeed, Hedi El Kohlti, in his superb new liner notes for Underground, compares Ariel’s explosive creative period between 1998 and 2004 to a character in Phillip K. Dick’s A Scanner Darkly who has all of 20th century modern art beamed into his brain at flash cut speed. Did Ariel Pink, at the age of 20, receive a similar instantaneous “download” of all of the secrets of pop music?
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Ariel Pink - Worn Copy MP3
Ariel Pink - Worn Copy FLAC
Ariel Pink - Worn Copy MP3
Ariel Pink - Worn Copy FLAC
- Re-Up this Album
- 21-05-2020, 23:02
- 2020 | Pop | Alternative | Indie | Psychedelic | Lo-Fi | FLAC / APE | Mp3
Artist: Ariel Pink
Title: Worn Copy
Year Of Release: 2005 / 2020
Label: Mexican Summer
Genre: Indie Pop, Lo-Fi, Psychedelic
Quality: 320 / FLAC (tracks)
Total Time: 1:15:51
Total Size: 178 / 373 Mb
WebSite: Album Preview
Tracklist:Title: Worn Copy
Year Of Release: 2005 / 2020
Label: Mexican Summer
Genre: Indie Pop, Lo-Fi, Psychedelic
Quality: 320 / FLAC (tracks)
Total Time: 1:15:51
Total Size: 178 / 373 Mb
WebSite: Album Preview
01. Trepanated Earth (Remastered) (10:52)
02. Immune to Emotion (Remastered) (2:37)
03. Jules Lost His Jewels (Remastered) (3:50)
04. Artifact (Remastered) (4:47)
05. Bloody (Bagonia's!) (Remastered) (1:31)
06. Credit (Remastered) (3:24)
07. Life in La (Remastered) (6:43)
08. The Drummer (Remastered) (4:54)
09. Cable Access Follies (Remastered) (2:12)
10. Creepshow (Remastered) (5:20)
11. One on One (Remastered) (3:07)
Worn Copy Ariel Pink
12. Oblivious Peninsula (Remastered) (4:18)
13. Somewhere in Europe/Hotpink! (Remastered) (4:28)
14. Thespian City (Remastered) (3:06)
15. Crybaby (Remastered) (3:24)
16. Foilly Foibles (Remastered) (8:07)
17. Jagged Carnival Tours (Remastered) (3:12)
Ariel Pink Worn Copy Rarity
Ariel Pink's Haunted Graffiti's official debut, The Doldrums, won praise for having the Animal Collective's graces and for being an uncanny perversion of the Me Decade pop-radio that worshipped the golden calves of Dylan, McCartney, Carpenter, and Orlando. Pink's second album, Worn Copy, furthers his cult-baiting mystique as a bedroom hermit from suburban L.A. who conjures up ghosts by burning a roll of avocado-green shag carpet un-vacuumed for 30 years.
To his credit, Pink has sharpened his songwriting and studio touches-- he has several 1970s AOR-pop Muzak formulas nailed, making his freakitude compelling and digestible. That's a quality Ween and Redd Kross sometimes failed to capture-- quotation marks were clearly and fashionably marked on their odes to that decade's trash culture. But the problem remains that if the fashionably shoddy production values are removed from the sound, Pink's music would melt into the air.
Still, Worn Copy's first half is a gas. Opener 'Trepanated Earth' begins with a hazy, synth and flanged guitar. Pink then mumbles something romantic before one of his split personalities interrupts, 'The human race is a pile of dogshit!' and 'Mankind is a Nazi!' After a few false starts and jumbled rickets, he then becomes a charming easy-listening opening act for the Wings 75 tour. 'Immune to Emotion' is nasally congested 'I'm OK, You're OK' pop that could serve as country club luncheon entertainment. 'Jules Lost His Jewels' is a 33rpm power-pop raveup cranked or 'Alvin-ized' (as composer John Oswald might put it) to 45 with bloodlines that can be traced to the Mothers of Invention's 'Take Your Clothes Off When You Dance'.
Oddly, albums such as The Doldrums, Worn Copy and House Arrest were not widely embraced initially, though their inventiveness and strange beauty was usually recognized by reviewers, if not begrudgingly. Critical opinion was divided: Ariel Pink was either a self-indulgent “weirdo” or a pop music genius.
Twenty years on, Ariel’s music still stupefies. The quantity of ideas and moods expressed through a modest recording enterprise seems supernatural, not human. Indeed, Hedi El Kohlti, in his superb new liner notes for Underground, compares Ariel’s explosive creative period between 1998 and 2004 to a character in Phillip K. Dick’s A Scanner Darkly who has all of 20th century modern art beamed into his brain at flash cut speed. Did Ariel Pink, at the age of 20, receive a similar instantaneous “download” of all of the secrets of pop music?
To his credit, Pink has sharpened his songwriting and studio touches-- he has several 1970s AOR-pop Muzak formulas nailed, making his freakitude compelling and digestible. That's a quality Ween and Redd Kross sometimes failed to capture-- quotation marks were clearly and fashionably marked on their odes to that decade's trash culture. But the problem remains that if the fashionably shoddy production values are removed from the sound, Pink's music would melt into the air.
Still, Worn Copy's first half is a gas. Opener 'Trepanated Earth' begins with a hazy, synth and flanged guitar. Pink then mumbles something romantic before one of his split personalities interrupts, 'The human race is a pile of dogshit!' and 'Mankind is a Nazi!' After a few false starts and jumbled rickets, he then becomes a charming easy-listening opening act for the Wings 75 tour. 'Immune to Emotion' is nasally congested 'I'm OK, You're OK' pop that could serve as country club luncheon entertainment. 'Jules Lost His Jewels' is a 33rpm power-pop raveup cranked or 'Alvin-ized' (as composer John Oswald might put it) to 45 with bloodlines that can be traced to the Mothers of Invention's 'Take Your Clothes Off When You Dance'.
Oddly, albums such as The Doldrums, Worn Copy and House Arrest were not widely embraced initially, though their inventiveness and strange beauty was usually recognized by reviewers, if not begrudgingly. Critical opinion was divided: Ariel Pink was either a self-indulgent “weirdo” or a pop music genius.
Twenty years on, Ariel’s music still stupefies. The quantity of ideas and moods expressed through a modest recording enterprise seems supernatural, not human. Indeed, Hedi El Kohlti, in his superb new liner notes for Underground, compares Ariel’s explosive creative period between 1998 and 2004 to a character in Phillip K. Dick’s A Scanner Darkly who has all of 20th century modern art beamed into his brain at flash cut speed. Did Ariel Pink, at the age of 20, receive a similar instantaneous “download” of all of the secrets of pop music?
Ariel Pink Worn Copy Rare
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Ariel Pink - Worn Copy MP3
Ariel Pink - Worn Copy FLAC
Ariel Pink - Worn Copy MP3
Ariel Pink - Worn Copy FLAC
- Re-Up this Album