Colourmusic — My _____ Is Pink 

That's actually the first impression the disc makes, as opposed to the second: Every song is constantly moving.

Push-ups work in neat rhythm to the groove-heavy, warped bass of “Feels Good to Wear.” You can get pumped up to the triumphant songwriting of “You for Leaving.” “Tog” is a swagger-heavy jogging song, while the insistent percussion of “Dolphins and Unicorns” makes it a running song. And if you do your crunches really slow, like me, then “Fold/Unfold” is your song. And no, I didn't just say that because the title fits.

That the band accomplished this amount of energy while being as thoroughly strange as Oklahoma's weirdest weirdos is an accomplishment. Hendrix's vocals careen from screeches to coos to reverbed-out singing, and his voice leads the rest of the group through the ever-shifting rock/psych/ambient miasma that is “My ____ Is Pink.”

There are pounding guitars, but not with any tone you might expect. The percussion and bass lock in as a unit, but it's as unusual a groove team as you could expect to hear. Colourmusic spent a long time writing this, and it shows: Nothing is normal. Everything falls in with the band's (apparently incredibly specific) vision.

That means that “Pink” will appeal to as many people as it will turn off. There are many points of entry into it (the sexuality, the working out, the brilliant rhythm section, the unusual songwriting, the fact that they're local heroes), and just as many exit doors. These heady tunes require attention span, and none of them give it up on the first date.

I find this work incredibly intriguing; I'm all about putting on an album, kicking back and really listening. That's the way I'm looking forward to appreciating this one. The wonder of it is that it can legitimately be enjoyed in many other ways. The songs here are so intricately constructed that they will allow multiple audiences to hear vastly different things out of the same tune. That is the mark of excellent songwriting, and that's why you should own this. —Stephen Carradini

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