Their songs show that there's a lot more going on underneath those pink bunny suits than we ever imagined. On the Oklahoma City band's 2006 opus At War With The Mystics, spiritual leader and sonic ringmaster Coyne shows the sheer depth of his profundity when he casts his baleful eye outward, focusing his laser vision on current events pointing a sharp stick at frothy pop icons, superficial thinkers, the abuse of power-both personal and political-and fanaticism wherever it shows up in culture. At its core, however, the record was a mediation on love, death and the assurance is life after almost unendurable psychic pain. Fight Test EP (2003) At War With the Mystics (2006) The Wand. Their next release, Yoshimi Battles The Pink Robots followed the same path, albeit with even brighter production and a greater attention to detail. The Soft Bulletin (1999) Yoshimi Battles The Pink Robots. 1999's The Soft Bulletin found them again on the cusp of disciplinary mastery, incorporating their bent inclinations and atmospherics even more subtly into their strangely familiar and narcotic brand of pop, while donning character costumes on stage. ( Transmissions also spawned the Lips' big moment in the mainstream sun with the ubiquitous "She Don't Use Jelly.") Since the untimely departure of guitarist/noise enthusiast Ronald Jones, the Flaming Lips have resembled more a pop-deconstructionist science fair than a rock band, with drummer Steven Drozd and founder Wayne Coyne working as synched-up visionaries rather than contributing members of the same band. If youre the Flaming Lips, you keep rushing headlong into the unknown - The Soft Bulletin, their follow-up to the four-disc gambit Zaireeka, is in many ways their most daring work yet, a plaintively emotional, lushly symphonic pop masterpiece eons removed from the mind-warping noise of their past efforts. Subsequent albums like Hit to Death in the Future Head and Transmissions from the Satellite Heart began yet another chapter in the Lips' ever-transforming career, employing more selectively the relentless yet blissful bombast of IPDA into beautifully orchestrated, stripped-down mega-productions of pristine guitar twinkle and LSD-impaired Beach Boys harmonies. This is what I like to call a dynamic edit of The Soft Bulletin by The Flaming Lips This album is pretty dynamically-compressed (not to be confused with data compression, which concerns MP3s and such), likely due to the involvement of Dave Fridmann, a connoisseur of heavy compression that joined the band as their go-to producer in 1990. Fusing only bits of their endearing, off-kilter indie rock into a sonically intense and more innovative fuzzcraft of mid-tempo songs and walls of neo-psychedelic guitar drone, IPDA offered up such memorable pop thunder as "Unconsciously Screamin'" "Rainin' Babies" and "Mountainside." Their songwriting having drastically improved, each completed song brought new, succinct arrangements and different chord progressions - yet the album as a whole had an incredibly loud, distinctive sound. Seven years into their career, things changed monumentally in 1990 for Oklahoma City's the Flaming Lips with the release of their seminal In a Priest Driven Ambulance.
0 kommentar(er)
