Mature Themes is the ninth studio album by the American recording artist Ariel Pink. It was released on August 20, 2012 through 4AD, and is the second album recorded with Pink's band. It is the final album released under Pink's musical project "Haunted Graffiti," as he would subsequently release material under his name starting with his follow-up album, pom pom (2014). The album was recognized as one of "The 100 Best Albums of the Decade So Far", a list published by Pitchfork in August 2014.
Mature Themes is Ariel Pink's grittier, gristlier, and funnier follow-up, an album that clarifies that Before Today was not a sign of things to come but rather just a signpost along his strange journey. Ariel Pink's music began its strange journey early in the last decade, as a CD-R lying on the floor of Animal Collective's tour van. Before then, he'd been heard by almost no one, despite that he'd recorded hundreds of songs, by himself, in what sounded like a windowless dungeon
A4. Only In My Dreams. Acoustic Guitar, Keyboards, Backing Vocals – Joe Bass, Backing Vocals – Tim Drums – Cole Guitar, Keyboards, Percussion, Backing Vocals – Kenny Saxophone – Richard Ross (2)Vocals, Guitar, Drums – Ariel.
After 2010’s Before Today saw Ariel Pink emerge from his lo-fi netherworld to become America’s preeminent avant-pop star, Mature Themes furthers his acclimatization to the spotlight. The album boasts some of his most openhearted tunes: The title track crosswires a tender ‘70s serenade with Kraftwerkian synths; Only in My Dreams is a sun-dappled gem spit-shined by Byrdsy jangle. But Pink’s increasingly sophisticated songcraft is countered by moments of anarchy: Schnitzel Boogie is, indeed, a brown-note polka about craving the titular delicacy.
The sideshow continues with Mature Themes, which pushes further into Pink’s subconscious, a bargain-basement repository of pop-culture ephemera, junky samples, and song fragments. In a more restrictive time, Pink might have found an outlet for his mania, but the relative freedom of today’s music world leaves him without limitations to rail against. His music is garbled by this lack of direction, and he seems to be fighting against himself as much as anyone, sputtering out contrasting ideas and half-formed concepts. Pink is primarily a jester whose music strives for silliness above all; why else punctuate a chorus with Michael Jackson yelps, or write a nearly five-minute track about eating schnitzel? This is fine in one-song spurts, but the maelstrom of inane voices, gonzo effects, nonsense words, and non sequiturs grows exhausting long before the end of the album.
Ariel Pink's Haunted Graffiti performing "Mature Themes" Live on KCRW. Ariel Pink's Haunted Graffiti - Gettin' High in the Morning - Special Presentation. Ariel Pink's Haunted Graffiti - Driftwood.
Ariel Pink's name was printed in my mind as some shi y hipster that made music for nerds and so on. I was completely ready to hate on Mature Themes when I knew about its existence (again, on Pitchfork). God, Jesus, Buda, Superman. I thought i had found gold. It was so pretty, so dreamy, so poppy and infectious at the same time that I couldn't resist for much longer
As always, Pink's lyrics are densely knotted with wordplay and innuendo; his fondness for sound effects approaches Spike Jones levels, and his fondness for dropping violent imagery into his songs makes them all the more jarring and surreal, as on "Is This the Best Spot," where G-spots and H-bombs go hand in hand. Yet all of this weirdness feels like it has more of a point on Mature Themes than it has on his previous albums: sex and love can be strange and complicated.
Tracklist Hide Credits
|2||Is This The Best Spot||1:47|
|4||Only In My Dreams||3:12|
|6||Early Birds Of Babylon||5:15|
|8||Symphony Of The Nymph||4:35|
|10||Farewell American Primitive||2:55|
|11||Live It Up||4:03|
|12||Nostradamus & Me||7:25|
Words By, Music By – Emerson*
- Manufactured By – Hostess K.K.
- Marketed By – Hostess K.K.
- Distributed By – Hostess K.K.
- Mastered At – 101 Mastering
- Mixed At – 101 Recording
- Recorded At – Trion Studios
- Engineer – Kenny Gilmore
- Mastered By – David Ives
- Producer – Ariel Rosenberg, Kenny Gilmore, Tim Koh
- Producer [Additional Production], Engineer [Additional Engineering] – Cole M. Grief-Neil*
NotesJapanese digipak edition including 1 bonus track.
Comes with booklet of Japanese lyrics.
BGJ-10154 is also listed on the back of OBI strip.
Barcode and Other Identifiers
- Barcode: 4 582214 508726
- Matrix / Runout: BGJ-10154
- Mastering SID Code: IFPI L304
- Rights Society: Jasrac
|CAD3230CD||Ariel Pink's Haunted Graffiti||Mature Themes (CD, Album, Dig)||4AD||CAD3230CD||UK, Europe & US||2012|
|CAD3230||Ariel Pink's Haunted Graffiti||Mature Themes (LP, Album)||4AD||CAD3230||US||2012|
|HN1008CD||Ariel Pink's Haunted Graffiti||Mature Themes (CD, Album, Dig)||High Note Records||HN1008CD||Taiwan||2012|
|CAD 3230CD||Ariel Pink's Haunted Graffiti||Mature Themes (CD, Album, Promo)||4AD||CAD 3230CD||US||2012|
|CAD3230, CAD3230CD||Ariel Pink's Haunted Graffiti||Mature Themes (LP, Album + CD, Album)||4AD, 4AD||CAD3230, CAD3230CD||US||2012|