You don't usually go around proclaiming an appreciation for Robin Thicke. Nor his rape endorsing, slimy by-product that we daren't call music 'Blurred Lines'. 'I know you want it," he sings, in his characteristically lecherous tone. Cheers Robin, but I think I'll stick with that new Hookworms album.

As quickly as this villain is born into pop stardom, Robin Thicke is quickly deemed abhorrent, and only 530 copies of his album Paula are pushed to sale in its first week. As his record sales plummet, so does the executioner's axe of public consensus. His demonic vocal cords are silenced (for now) and the masses are satisfied. We can all now sleep at night, knowing that our music listening is in harmony with our moral leanings.

But now us indie fans seem to have our own Thicke style dilemma in Ariel Pink. A frequent gatecrasher of our ongoing Vice-sponsored debauch, he has once again wandered onto the scene with his new album, Pom Pom.

Yes, you read that right. I'm here to put an end to (or at least wag a stern matriarchal finger in the face of) your appreciation of Pom Pom. Released earlier last month, this album is the latest artistry to emerge out of Pink's psyche. Sometimes delightfully wacky, other times just annoying, Ariel Pink's latest album has caused brain splitting disparity across the board.

Not only is his mind in the habit of churning out weird pop, it's also quite dark in other ways. Like some self-defeatist slot machine intent on losing its own money, Pink is building himself a bad press image in the most arbitrary ways thinkable.

First, he flips out at Grimes, calling her "stupid and retarded" in an interview with The Guardian. While this is clearly not fine, this could be interpreted as merely diva-ish behaviour from Pink. Sadly though, we've only just got going.

While in another case, an interviewer from The Wire might have thought that they were interviewing a fairly popular indie musician. They quickly found themselves mistaken. Instead, what they had on their hands was renowned sociologist, Dr Ariel Pink, who has the theory that "beta males have got it figured out, so that they don't have to chase or rape their prey." In other words, that they've found more subtle and therefore effective ways of getting laid. Like the musician, Dr Pink takes his influences retrospectively from the '70s. This is all natural male behaviour, apparently. And not to mention his use of "beta male", a term for a less dominating guy and therefore socially one of lower ranking. Charming. In an outdated and wrong sort of way.

Flavorwire recently confronted Pink on these comments. He responded obtusely, perhaps deliberately so - considering he seems to give a degree of consideration to the things he says otherwise. "Misogyny might have been something I said..." Pink admits, "...but I'm not sure if I did or not."

So by now you might be thinking - this is all fair enough, but what about his music? Pom Pom's an album that I like, and there's a difference between liking the artist and liking their work. For a start, we cannot assume this to be true, and secondly, there is an inescapable and residual misogyny left over in the music itself. It's so apparent, that I noticed it on my first listen. 'Black Ballerina' contains the lines: "C'mon don your doggie collar, bet your bottom dollar, c'mon take your bra and panties off, Condoleezza, turn me on, bet your bottom, Dolly wrapped in dollars all I gots to spend."

What's wrong here? Lyrics about strippers aren't anywhere close to endorsing rape - strippers are consenting adults, after all. Except that 'Condoleezza' here is probably Condoleezza Rice, an American politician. And now in 'Black Ballerina', this Republican diplomat of all people has been inexplicably reduced to sexual fantasy. As an attempt at humour or not, add this up with the previous comments made by Ariel Pink, and you can start to build a picture of how he sees women.

Now let me get this straight. I'm not calling for a blanket moral censoring of 'The Arts'. Because that went down so well back in the Soviet Union. Sometimes if artists (musicians included) create work outside of what is the socially accepted norm, then it sparks important dialogue.

It's also really, really, really difficult to know when pop musicians aren't pulling our leg. You know, like with the perpetual Morrissey debacle, the newest update of it being his delightful new range of t-shirts, emblazoned with the slogan 'Be Kind to Animals Or I'll Kill You'. But as it goes, these aren't the most worrying points here.

This is.

Don't you believe that listening to Robin Thicke's music is an endorsement of the man himself? And that you can't really like Robin Thicke because of the content of his lyrics? Then in that case, you've just gotta treat Ariel Pink in the same way. If you're happy to dismiss Robin Thicke artistically on the basis that he is a misogynist, then you cannot have a double-standard for Ariel Pink. Ariel Pink's misogyny just isn't taken as seriously. Maybe because there's no question of him getting banned from clubs and student nights; he's just not of that stature. That'd be the day...

But even still, it's not good enough to overlook his comments because he's a talented musician, or simply because he's in your musical comfort zone. Even if you can't quite decide whether or not it's ok to like his music, it's important that we don't place our favoured musicians on a pedestal. That is, over and above the kind of moral criticism we subject to others.