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Album Reviews, Audio Feedback: Music Blogjams

My _____ Is Pink – Colourmusic (Memphis Industries)


Alright, come on now. You’ve had your fun with the album title. Yes, of course I think it’s My P____ is Pink too. Can we not get distracted please. Enough japes. I’m here to tell you there’s more to this LP than just it’s cryptic, and probably rather lewd labelling. A hell of a lot more. The name is but the beginning.

Just as cryptic, for instance, are the band’s origins. If you visit their Myspace page you will find under “location” the curious answer: “Oklahoma, North Yorkshire, Oklahoma, United States”. Well, I’m glad we got that cleared up. (The page does, however, offer up a less puerile explanation for the album name, as you cast your eyes to the My_____ logo in the top left corner. For the record, I still prefer My P____ Is Pink).

Anyway, we’re getting distracted again. All this perplexity and we still know nothing about the music itself. Well, after delving headlong into My _____ Is Pink for the first time you may well come away thinking that perplexing isn’t a bad one word summary; in fact, it’s a big fat understatement. What with all the fuzzy bass wallops, rousing choir chants, animalistic drum crashes and wily, menacing vocals fighting for air, it’s enough to have you rubbing your battered temples better by the end. This is huge, reckless rock music, but always with a penchant for the unusual; for impulsive, hot-blooded experimentation.

Take brutal opener Beard. After the strange lulling chimes of church bells, suddenly the track barges its way in with a vicious distorted riff that sounds like Death From Above doing battle with a very pissed off swarm of hornets. After this we’re immediately propelled into a catchy 1 minute 45 cameo song called Jack and Jill (A Duet). It’s pounded furiously along by its impatient drum beat and from here on in these drums will be the driving force behind much of the ensuing mayhem.

The first half of the album is all like this: a gloriously messy, shouty, gutsy rampage that never once dips below being fiercely captivating; like looking into the eyes of a psychopath and not quite having the power to pull your eyes away.

We Shall Wish (Use Your Adult Voice) and You For Leaving Me are just fantastic. The former takes me back to Strawberry Jam-era Animal Collective, with the carnival chanting atmosphere it boasts at the start. But it soon parades stompily on through, taking off and soaring resplendently upwards towards a swooping solo that I wish it dwelt on for just ten seconds more, and then clanging and clattering its way back down again to the tenacious crashes of cymbals and cowbells.

It turns out the mania of the first 30 minutes is just the foreplay though. The album reaches an explosive climax midway through with The Little Death (In 5 Parts), an unrelenting 10 minute epic that progresses it’s proggy way through raw, growly blues reminiscent of first album White Stripes, to dirty wobb-wobbing basslines that wouldn’t be out of place in grimy underground dubstep clubs, and then unleashes a brutal thundering riff that even Black Sabbath would be proud to put their name to. Admittedly, they milk the 4 minute comedown in the song’s closing stages, and the rest of the album then dawdles disappointingly along in recovery mode, before being revived by final track Yes!.

Ch-check it out if you’re partial to –
heavy distorted riffs; choirs, organs and cowbells; filling in blank spaces with naughty words; pink; premature climaxes

Fantastic Track –
You For Leaving Me



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