R. STEVIE MOORE AND ARIEL PINK'S HAUNTED GRAFFITI IN BRIEF

The first comparison that came to my mind upon hearing R. Stevie Moore for the first time was the 'Fuzzy Warbles' solo demo collection of XTC's Andy Partridge. I'm not sure how familiar readers will be with that particular box set, but the most obvious shared characteristic is their guileless, scattershot approach. Not everything works but there is a clear melodic talent, nay GENIUS at work underneath all the messing about. As an interesting side note, Moore has collaborated with both Partridge and Dave Gregory in recent years. Speaking of melodic geniuses, Brian Wilson is another likeness which occured to me. Not necessarily in his 'Pet Sounds' guise, though - more in his late 70's oddball musical diarist mode as best heard on 'The Beach Boys Love You'. Moore takes a similarly autobiographical approach at times, often to wonderful (and occasionally unsettling) effect. He also makes use of elaborately eccentric arrangements and an idiosyncratic vocal style, both of which may make his work a bit of an acquired taste.

Moore stands as one of the doyens of the lo-fi aesthetic, having amassed an astonishingly bountiful back catalogue of over 400 home-recorded, mostly mail-order albums which date all the way back to the late 1960's. Stylistically, his material is all over the place, from Ramones-type rockers to poignant acoustic fare, 60's-influenced jangle to wonderful synth experiments. That doesn't even begin to tell the whole story, though. As i mentioned previously, the real reason to give him more than a passing glance is the genuine compositional mastery which is on show. As curiously wonky as his music may seem at times, anyone with a bit of theoretical knowledge will be very aware of just how dazzling and complex it can be too.

With such a profuse discography, it's hard to know where to start. Thankfully, i was given an easy way in back in 2008 when Cherry Red released 'Meet The R. Stevie Moore', a superb compilation which provides stunning material and incentive to delve deeper in equal measure (as any good introductory collection should). A follow-up 'Me Too' appeared last year and is well-worth picking up if you liked its predecessor, but may not be the best place to start on account of the inclination towards more experimental material.

As for his albums proper, i'm ashamed to say that i've only heard two in their entirety so far. 1978's 'Delicate Tension' stands as a classic of the auteurist approach, being especially notable for featuring some of his finest (i assume!) gentler material in the form of 'Hobbies Galore', 'Norway' and 'I Go Into Your Mind' as well as numerous odd-pop classics like 'Don't Let Me Go To The Dogs', the deranged 'Goodbye Piano' and 'Cool Daddio'. The previous year's 'A Swing And A Miss' is almost as good, featuring more impeccable pop like 'I Wanna Hit You' and 'New Girl', expansive instrumentals like 'Andrea Bliss' and the joyous sunshine-pop of 'Here Comes Summer Again'. There are also a few interesting trial runs for tracks which eventually appeared in completed forms on 'DT'. Several examples of R. Stevie's work are available as Amazon downloads for those - like me - who might not have the funds for the full mail-order experience.

As should be obvious, i'm fairly new to the guy (i'm thinking of trying out lo-fi landmark 'Phonography' next), but i can confidently recommend him to anyone with a love of well-crafted pop with a unique personality.

Here are a few choice examples to hopefully get you interested (there are plenty of eye-opening RSM vids on YouTube so have look for yourself!).


1. Play Myself Some Music (1986)


Ridiculous period-piece video but the song is little short of astonishing.


2. Goodbye Piano (1975)


"Goodbye Piano made me want to tear out my hair because it is so great, and I never tear out my hair!" - Fan letter from The Residents to RSM.


3. Here Comes Summer Again (1977)


Delightful, affectionate tribute to Moore's love of the Beach Boys and sunshine pop (lead vocal by Roger Ferguson).


4. You Love Me, Do Something (1985)


Wonderfully shambolic groove accompanied by another bizarre video.


5. I Hope That You Remember (1979)


Moore in acoustic-shuffle mode (shades of Syd?).


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I actually got into R. Stevie Moore's work via Ariel Pink's Haunted Graffiti, Pink himself being a vocal champion and an occasional collaborator. Admittedly, after hearing Moore's music, Ariel's work didn't sound quite as mind-bogglingly unique - the influence, though far from overbearing, is unavoidably evident at times, simply by virtue of his similar home recording methods.

Pink has caused quite a stir in recent years since being discovered by Animal Collective and signed to their Paw Tracks label. Critics have been fairly divided in their assessments of his music, some considering it startlingly original, others deeming it a wacky passing fad. When compared with Moore's work, the Haunted Graffiti albums place much more focus on the lo-fi ambience, to the point of it becoming integral to the impact of the songs upon the listener. It's hard to say whether an album like 'The Doldrums' would have been as effective if it had been recorded under normal, hi-fi studio conditions (forthcoming forays into a cleaner recording sound should be revealing).

Ariel's case may not have been helped by the somewhat 'hipster' baggage that has come from being gushed over so much on blogs etc (present company included!). All the debate aside, i would argue that Pink, although not as consistent as RSM, is capable of moments of melodic brilliance - not sure about 'genius', but there are some truly magical bits and pieces to be found on his albums. Frankly, the 'melodic' argument at first seems almost irrelevant when you actually listen to the records - VERY lo-fi, scratchy, chaotic, vocalised drums (or maybe a clattering drum machine if you're lucky), copius yelping. At its best (as on much of 'The Doldrums' and 'House Arrest'), this mix of competing elements inexplicably congeals to stunning effect. Listening to APHG in its finest moments can be an engrossing, disorientating and oddly cathartic experience.

It doesn't work for everyone, though. Pink seems to split opinion like few other artists in recent memory - hell, Van Der Graaf Generator would have a tough time dividing an audience to this extent. Two friends of mine have been 'exposed' to his music - one loved it, another saw him live and literally became distressed and upset! The second example may have more to do with APHG's notoriously inconsistent performances and his provocative on-stage persona (a contrast with RSM's more genial eccentricty), but hopefully it backs up my point. If i'm really honest, there are days when i can't be doing with his music - it's almost as if it requires the listener to be in a very specific frame of mind in order to really extract anything from the aural mush. When i'm in the mood, though, there's little else like it.

It's a perfect name, too - Ariel Pink's Haunted Graffiti. On first listen this music might just sound like a mess daubed onto the tape, but it sticks with you. As i've already mentioned, i personally consider 'The Doldrums' and 'House Arrest' to be his best collections - sharp readers may have noticed that i chose the former as one of my Top 20 Favourite Albums, which may have been slightly overdoing it but my selection was mostly intended as a symbolic gesture of support for the finer end of the lo-fi scene (admittedly RSM's 'Delicate Tension' may have been a more appropriate choice in hindsight). The other three i've heard ('Worn Copy', 'Scared Famous' and 'Lover Boy') all have great moments, but there's a feeling with the latter two that Pink may just have been biding time by filling up space with questionable material from the archives.

Once again, here are a few enlightening selections from YouTube.


1. Hardcore Pops Are Fun (Live)


Great take on 'House Arrest' track. A wonderful song-about-songs and one of his more accessible moments.


2. Strange Fires


A good example of the otherworldly atmosphere that awaits on 'The Doldrums'.


3. Gray Sunset


The video's pretty, erm, distracting, so maybe listen to this 'Doldrums' track with eyes closed first time. Mainly because it's a strangely touching song.


4. She's My Girl (Live)


Another of Pink's poppier moments, this time from 'Lover Boy'. Featuring Cass McCombs.


5. Young Pilot Astray


More splendid fuzziness from 'The Doldrums'.