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^ "Ariel Pink's Haunted Grafitti "The Doldrums" press page".^ a b c Stubbs, David (December 2004).^ a b Beta, Andy (September 13, 2012).^ Raffeiner, Arno (September 14, 2017)."Interview with Ariel Pink – Identity Theory".
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"Ariel Pink Announces Second Wave of "Ariel Archives" Reissues, Shares Video for "Cry Baby "".
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Critical reception Professional ratings Review scoresĪn uncredited writer for Spin called the album "a lo-fi masterpiece." AllMusic reviewer Joshua Galzer called it "one of the most wonderfully skewed takes on classic pop you're likely to hear," noting that "its hazy production obscures inklings of '70s AM radio-styled songwriting, and Pink's gift for melody is almost as strong as his tendency towards weirdness." David Stubbs from Uncut wrote that Pink's songs' "range, volatility and Simulaneist overload sounds like The Beatles circa 1967, The Human League, FM radio's Hall Of Fame, Phil Spector, Tiny Tim and the great R.
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The Doldrums was subsequently re-issued on Octoby Paw Tracks as the first of a series of re-issues of Haunted Graffiti albums by the label. One such copy was passed on by Pink to the band Animal Collective, who found the copy on their tour van floor and, impressed by its music, later contacted Pink and offered to re-issue it on their own Paw Tracks label.
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The album was originally issued in 2000 in CD-R format, copies of which were handmade by Pink himself. I had a typical art school experience, I suppose, if you consider getting drunk at openings, partying with your 'teachers,' and shrugging off scholastic duties as often as possible as something typical of college experience." For final examinations, he submitted a "kiosk where I was selling The Doldrums on CD. "I'm sure those were my words," he later said. According to LA Weekly, The Doldrums was recorded during Pink's final semester at CalArts, in which time he was "in the throes of a drug binge".