Odditties Sodomies Vol. 2 is the long awaited second volume of uncollected music by Ariel Pink, compiled from non-album tracks, outtakes and rarities spanning 1999 - 2018. The collection includes unheard music from Ariel’s historic run of releases as Ariel Pink’s Haunted Graffiti as well as recent recordings made over the last decade.
This entry of Ariel Archives is a companion to expanded reissues of all eight original Haunted Graffiti releases, including a reissue of Odditties Vol. 1 plus a third volume of Odditties to pick up where Vol. 2 left off. The ambitious cycle of reissues and new collections reckons with the treasure trove of material Ariel recorded during the most prolific phase of his artistic development. Born Ariel Marcus Rosenberg in 1978, and raised in the Beverly Glen neighborhood of Beverly Hills, Ariel’s encounter with the fringe music scenes of Los Angeles – first in Sunset Strip nightclubs and local record stores, then later at CalArts with a coterie of musical troublemakers – lead him down a creative rabbit hole that resulted in some of the most inventive and influential underground music made in the early 2000s.
Much of this music appeared on albums such as The Doldrums, House Arrestand Worn Copy, while plenty of it languished unfinished or completed but orphaned without a proper release. Ariel conceived Odditties around the mid-2000s to release this surplus music and in 2008 the first volume appeared on vinyl. Odditties Vol. 2 arrives a little over a decade later but includes music that predates much of the material on Vol. 1. This selection presents a non-chronological cross section of both sides of Ariel’s evolution in the studio, from early home-recordings (“Driving to the Grave”) to an expanded palette afforded by a proper studio (“Bolivian Soldier”).
Ariel’s music experiments with multivalence, often layering multiple narratives in one song or various styles across the same album. This suggests an important element of Ariel’s music is not the establishment of a single artistic voice but an exploration of “performativity” and stylistic adventure. Odditties Vol 2. shows Ariel inhabiting various musical identities, stretching for example between deliberately theatrical, baroque modes and more sincere, unmasked expressions. In genre terms, Odditties ranges from neo-Prog-Rock to Post-Punk and any / everywhere in between.
Ariel’s musical interests as a young fan were omnivorous and obsessive. He soaked up resources like Alan Freeman’s A Crack in the Cosmic Egg, an important survey of krautrock and kosmische music published in 1996, and Jon Savage’s England Is Dreaming. These formative encounters lead him to internalize a great catalogue of leftfield music, and in short time, Ariel would be cataloguing his own music, often before it was created. In Hedi El Kohlti’s liner notes for Loverboy, Ariel explains, “I saw myself as a record label, planning the next CD before I even created the songs. I would start with the title of the album, then make a list of songs and their respective length in my block writing. I would then summon a song I had stored in my mind that would be adequate to the title."
Odditties Vol. 2 gathers the overspill from Ariel’s series of Haunted Graffiti albums and follows similar odds and ends to present day. Contributions include tracks co-written with John Maus (“The Law”) and with Patrik Berger, Mac Demarco, and Charlotte Ercoli Coe (“Party Zone World”). In addition there is a cover by The Smiths (“This Night Has Opened My Eyes”) and a quartet of recent songs recorded in between July 2017 - December 2018 (“Bolivian Soldier”, “Stray Here With You”, “House of Yesterday” and “You Can Have It All”).