10.3.19 by Ryan Masteller

I just finished the first season of “True Detective” (took me long enough), and I’ve sort of got an unpleasant taste in my mouth for Louisiana at the moment. I mean, I get it – that was a fictional television show in which terrible things happened, but Louisiana is still a real place, and I’m allowed to get a little heebly-jeebly about it, especially when the first thing that pops into my mind is antler-y cult stuff.

Again, not pinning Louisiana as the Ritual Murder State or anything, just got a feeling right now.

So I’m pretty pleased that Pink and Yellow’s come up out of the bayou (or, uh, New Orleans) and plastered this technicolor delight all over the side of the police precinct, its fluorescent neon vibe a complete counter to the murky mud pit outlook I can’t seem to shake. But shake it I will, and I’ll do it with gratitude to Alex Cino, the mastermind behind Pink and Yellow. How can you not smile when accosted by squelchy 8-bit melodies that dance around for nickels like Handsome Pete? What are you, some dark-hearted, pessimistic noise musician or something? Lighten up.

Pink and Yellow exists to “lighten up,” blasting their version of “noisy glitch pop” and “vapor experiments” over the intercom at the grocery store until the manager breaks the office door’s lock and confiscates the offending cassette player. But hey, we’re already long gone, zipping down a pink lemonade waterslide on the other side of our minds in a frictionless attempt to commune with hundreds of multicolored blinking lights. We’ll leave the lights up to Pink and Yellow (Alex Cino needs to keep an eye on which buttons to press) and jolt instead from one sugar rush to the next. Did I say we’re having fun on “Bare Bones”? We’re having a helluva a lot of fun!

So much fun, I’ve completely forgotten my Louisiana aversion.

Oh wait, there it is again.

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