Album Review: Pink Seasons
Pink Records (2017)
Pink Guy pushes the envelope with enough force to plaster somebody’s brains against the ceiling while still maintaining enough momentum to push their new album into the top of iTunes charts.
Pink Season, released Jan 4, 2017, is the second album from Pink Guy, the musical alter ego of YouTube content creator, George “Joji” Miller.
His self-titled first album appeared on Bandcamp and YouTube in May, 2014. It was a collection of obscene and comedic songs characterized by Miller’s unique style of purposely-offensive humour.
Pink Season is largely a continuation of the self-titled album, both stylistically and in its conscious attempt to be as terrible and excessive as possible.
But where the first album felt like it was only going ankle deep in a septic tank, Pink Season is swimming in it, and it’s dragging you down for a raw sewage baptism.
The Pink Guy album left some feeling that Miller could have done something more obscene, while on the flipside, sharing Pink Season with family and friends would be one of the quickest ways to achieve total and complete social ostracism, putting you one step closer to truly crippling loneliness.
Now that Pink Guy has released his second album, we’re two in the pink and two in the stink. We call that “The Spock” for the uninitiated.
Most of the songs are either Miller rapping as over the top trap beats blast in the background, or melodically strumming away at a ukulele while juxtaposing the soothing sounds of an instrument, most often associated with hipsters and hula girls, with lyrics on lovely topics as existential pain, eating dogs and hentai.
The subject matter is chosen to be as abhorrent as it can be, using the absolute minimum amount of tact possible.
Whether or not this is going to strike a cord with you depends on whether you believe that anything can be the punchline of a joke, or if there are topics that just shouldn’t be the subject of any comedic endeavour.
If you’re the latter of the two, Pink Season probably isn’t for you. Maybe you can get behind some of the songs, but somewhere along the line, you are going to want to turn this off.
For as many people as one can imagine a project like this offending, there were enough sufficiently twisted individuals listening to push Pink Season to the top of the iTunes chart almost as soon as it was released.
Between Miller’s radically self-indulgent moments where he tests just how bad he can make this album, there are hints of significant talent and more nuanced satire. It’s clear that Miller is a technically proficient and multi-faceted artist.
However, it should be painfully obvious, regardless of any subtle satire or musical talent, that this isn’t an album to be taken seriously.
Miller even made the creative decision to keep in parts where he is clearly having trouble maintaining composure. On tracks like “Gays 4 Donald,” Miller seems to be doing his best to hold back laughter, and this album is so over the top it’s hard not to laugh with him.
The album is a spectacle, a musical dumpster fire, and there is something enjoyable and cathartic in relaxing and listening to it in private.
It’s a welcome relief to hear a project that is such a radical departure from norms, and an album that does not insist on taking itself, it’s creator or its fans, seriously.