In 2013 and 2014, Kim Deal staged an unlikely, non-Breeders singles campaign, quietly issuing a single or two every couple months. Some singles were astonishing, and some were just passable, but this approach allowed the former Pixies bassist to subvert the idea of a “comeback” while remaining within (if only on the outer margins of) the larger popular music conversation. Rosenberg doesn’t need to engineer a comeback; given the present state of the industry, his Q rating is reasonably sizable. But from an artistic perspective, pom pom should’ve been a similarly piecemeal thing, separate from the organizing principle of an album. As a collection of songs, it does itself a disservice, flat out failing to gel on any level. And that’s a shame, because on an individual level its pieces are dinky, Romper Room marvels: no-meds un-jingle “Jell-o,” the Detroit punk snarl of “Goth Bomb,” the black hole kiss-off “Picture Me Gone.” That there’s less tape hiss, less distortion, and less instrumentation than ever on this two-disc set may be its downfall — the result being that each song is very much separate from its neighbors. The late Kim Fowley penned the lyrics to a few tunes, including “Nude Beach A- Go-Go,” where Rosenberg collaborated with rapper Azealia Banks. Everything and anything here will absolutely slay on any mixtape or self-made CD-80 of Ariel Pinks you care to self-curate; just don’t bother listening to pom pom from start to finish.