Decisive Pink’s Ticket To Fame is An Extravagant Plumage of Synth-Pop
Angel Deradoorian and Kate NV’s first collaborative album is packed with unforgettable tones, moods and textures.

An amusing and instructive moment happens about eight seconds into “Potato Tomato,” the fifth track on Decisive Pink’s debut album Ticket To Fame: After a series of tinny beats, the beginning of an odd bass line and a couple electronic squiggles, one of the project’s principals—either American singer-songwriter (and former Dirty Projector) Angel Deradoorian or Russian pop experimentalist Kate NV, presumably—lets out a genuinely startled-sounding “whoa,” as if a button they just pushed made a particularly strange or unexpected sound.
It’s a funny moment, but it’s more than that, too. The feelings embedded within that exclamation—surprise, delight, frivolity, a sense of possibility—encapsulate exactly what makes Ticket To Fame such an engaging and enjoyable listen. Here, we have an opportunity to hear two top-shelf artists come together and explore a sound that sits comfortably between them, free from expectation and abuzz with spontaneous creativity.
As it turns out, the aforementioned “Potato Tomato” is exactly the kind of studio exercise most likely to broadcast a bemused “whoa.” At just over three minutes long, it sounds like they ran tape while Deradoorian and NV tried out synth sounds in a friend’s Cologne, Germany recording space and repeated the words in the title. It’s the least-structured of the songs on Ticket To Fame, and the least successful—unless the whole point is simply to peel back the curtain a bit, in which case it works. Listening to “Potato Tomato,” you can almost picture Deradoorian and NV in the studio, which the former described as a “synth-dome” and the latter called “a spaceship.”
The rest of the album showcases both the studio’s considerable synth-abilities and Decisive Pink’s sharp ear for vibrant, variegated electro-pop melodies. On the irresistible opening track “Haffmilch Holiday,” Deradoorian and NV sing about rejecting the frenzy and fears of modern life over a conveyor belt of synth tones—some warm and fuzzy and others clipped and chirpy. Even within the song’s call-and-response structure, their voices seem to melt into each other: