The band Ariel Pink’s Haunted Graffiti, from left, Tim Koh, Kenny Gilmore and Ariel Pink. “Mature Themes,” the band’s new album, will be released on Tuesday.

The Doldrums is the second album by American recording artist Ariel Pink, self-released in 2000. It is the first album credited to his solo music project, 'Ariel Pink's Haunted Graffiti', and the second installment in his Haunted Graffiti series.

Credit Piper Feguson IF you believe the myth, Ariel Pink is home a lot. On a Monday morning in July, Ariel Pink was idly wandering through his house in the Highland Park neighborhood of Los Angeles, speaking by phone and giving a virtual tour. In the room where he sleeps, he said, an eight-track recorder was stationed on a shelf; in the living room he described a haphazard stack of instruments, guitars on top of keyboards on top of amplifiers. The picture fit.

Ariel Pink has a reputation as a bedroom artist — a “Hollywood hillbilly,”, obsessively making hundreds of broken-down pop songs for no one in particular. The truth, as the musician, born Ariel Marcus Rosenberg, explained, is a bit more complicated. “They’re really cheap keyboards and none of them work,” he said. None of the instruments did. After years of recording at home, he now works miles away, in a converted studio downtown. The eight-track in the bedroom was in disarray, an unplugged monument to a past life. “This is a junk shop, to be totally honest,” he said.

Ariel Pink, left, and Kenny Gilmore from the band Haunted Graffiti, performing at a music festival in Chicago in 2011. Credit Mylan Cannon/The New York Times Ariel Pink’s journey out of the shadows and into the light is perhaps a familiar story, but it also signals a rare sea change, a permanent shift in the way music functions at the margins. “Mature Themes” is in many ways a deeply silly record. Ariel Pink has a dreamy, old-fashioned way with melody. But he’s also prone to jarring interjections, switching without ceremony from a smooth Donny Osmond croon to campy impersonations of daffy robots and soap-opera vampires. His music, rooted in the sweet, sunny pop of AM radio, invites you in and pushes you away in equal measure. “My name is Ariel,” he croons on one song.

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“And I’m a nympho.” Ariel Pink is, in other words, still very much a cult artist — his cult just happens to be bigger than anything artists like Jandek, who yielded and began playing live shows in 2004, or Mr. Moore, who lately has become an enthusiastic and very public denizen of the Internet, could have ever imagined. “There are actually social media tools in place that allow for cults to build and reach critical mass a lot more quickly,” said Mark Richardson, the editor in chief of the music site Pitchfork. Reclusive artists like Jandek and Mr. Moore used to be at the mercy of their own idiosyncrasies — they gradually gathered far-flung fans by mail or in the dusty corners of specialty record shops, or not at all. “Whereas I feel like now people can find each other and the momentum can build much easier,” Mr.

Richardson said. Ariel Pink has “definitely proven that,” Mr. Richardson added. “Because his music is just as weird.” Ariel Pink’s story is, in part, a story about the medium that rescued him from obscurity. The Web transcends geography and makes no distinction between homemade products and studio-slick productions; it has provided an opportunity for a critical mass of listeners to coalesce around an idea or sound, no matter how strange or improbable. As a result, the last few years have seen an onslaught of reunions and reissues: underappreciated artists, like Mr. Moore, returning in search of an audience, determined to take advantage of a niche friendly Internet and the critical apparatus that has grown up along with it.