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House Arrest

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House Arrest album cover
01
Hardcore Pops Are Fun
4:23
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02
Interesting Results
2:44
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03
West Coast Calamities
4:00
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04
Flying Circles
3:56
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05
Gettin' High In The Morning
6:44
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06
Helen
4:14
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07
Every Night I Die at Miyagis
3:57
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08
House Arrest
5:03
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09
Alisa
2:57
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10
The People I'm Not
6:03
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11
Almost Waiting
4:46
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12
Oceans Of Weep
5:03
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13
Netherlands
9:12
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14
Higher and Higher
3:13
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Album Information

Total Tracks: 14   Total Length: 66:15

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Andy Beta

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Andy Beta has written about music and comedy for the Wall Street Journal, the disco revival for the Village Voice, animatronic bands for SPIN, Thai pop for the

01.23.06
Ariel Pink’s Haunted Graffiti, House Arrest
2008 | Label: Paw Tracks

A four-track prankster down'n'out in the Hollywood Hills, Ariel Pink encountered Animal Collective during their west coast tour, handing them a homemade CDR and inviting them into his own little world of music-making — a venture that had expanded to include nearly a dozen lo-fi skewed-pop masterworks. Sticky, psychotic, addictively catchy, rambling, bleary-eyed and clearly off his rocker, Ariel Pink continues not only the tradition of home-taping weirdos like R. Stevie Moore and Jandek, but… read more »

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So what, PC guy

bothaus

^ This has nothing to do with his music. He's a Jew. He's self-depricating. Nothing new there.

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Smashed his career

senatorbobdole

Loved his music, but now that i read this, i can't listen to it: http://pitchfork.com/news/38878-echo-chamber-ariel-pink/

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They Say All Music Guide

Originally released in 2002 as part of a split double-CD set, then re-released with a couple of bonus tracks (including the multipart epic “Netherlands”) in 2006, House Arrest, much like every other Ariel Pink release so far, provides a small sampling of Ariel Rosenberg’s self-recorded compositions, laid down on a trusty eight-track at home. Unlike so many warbling troubadours who seem to think the recorded-in-a-bedroom approach means a license to be maudlin, Rosenberg brings an exuberant joy to his work, finding something that a full band recording might actually kill the spirit of. The queasy tones and gently distanced verses of the opening “Hardcore Pops Are Fun” is instant put-a-smile-on-your-face stuff, helping to set the tone for the whole collection. The demented synth pop merriment of “Flying Circles” suggests an ’80s nugget swathed in psychedelic haze, a gentle breeziness apparent on many other songs like the giddy “Every Night I Die at Miyagis” or the nervous funk of “Alisa,” easily one of the best songs on the album thanks to some exquisite vocals in particular. Though his connection to personal hero R. Stevie Moore is often mentioned, Rosenberg’s role model here often seems to be Andy Partridge instead — check out the distinctly XTC-like hiccupping on “Gettin’ High in the Morning,” not to mention the quick herky-jerk arrangements. Rosenberg’s preference to add layers of echo on his voice means sometimes his lyrics only emerge in fits and starts, but when they do they often are wryly witty or amusingly theatrical — it fits with the amusing rock pose on the back cover, a knowing embrace of a trope. So when he sings about how West Coast calamities are worth more than the East Coast variety or how he’s one of those egomaniacs “who just want to siiiing,” who’s to deny how he plays around with the ideas? – Ned Raggett

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