As with the last two Syclops LPs, Pink Eye induces a sense of aural overload. Take in a few spoonfuls and Fulton's genius feels unmatched. Downing the whole thing at once, though, can be exhausting and overly rich. But Pink Eye, alongside the last Boof album, The Hydrangeas Whisper, lets in more space than previous Syclops LPs, and has some playful turns from Fulton that give his singular sound some new wrinkles.
"The Skipper," for example, is the sort of classic batshit Fulton track that can make a packed dance floor combust. It's shot through with warehouse-shuddering drums, haywire robotics and a synth bass low-end that wobbles like jelly—those elements alone make it one of the wildest tracks of the year. About three minutes in, though, Fulton shows a lighter touch. A squeaky, cheesy synth melody, like something Daft Punk might have dropped circa Homework, pops up and tempers the track just enough.
"Sarah's E is Back" feels like a sequel to A Blink Of An Eye's "Sarah's E With Extra P"—AKA the track that made Theo Parrish go wild—but it's more streamlined and less riotous than its predecessor. "Mario & Soley" is breezy and cosmic, with the keys soaring over chunky, tumbling drums. It serves as a bit of a breather before we get into "Spin Cycle," which is that rare thing from Fulton: a dark and bristling techno track. But it's not a relentless, heads-down affair—it's stamped with his inimitable sound design and Latin percussion breaks that recall his psychedelic 1999 classic, "Revenge Of The Orange." "5 Left," yet another killer cut, is driven by pinging tones atop the walloping kick, while cellphone rings give it another eccentric edge. Like all the best Fulton material, it might sound wrong, but it feels right.