Review Summary: Sonic nirvana is attained with the Flaming Lips' 1999 release. Surely a record that will go down in history
The Flaming Lips aren't what you'd call a "Conventional rock band". Since their start as psychedelic freak rockers in the mid-80's, their sound has evolved into an Alt Rock sonic experience, complete with electronica/orchestral add ons. The studio is their weapon of choice. The brave crew that operates it: Wayne Coyne (Singer/Guitar), Steven Drozd (Multi Instrumentalist) and Michael Ivins (Bass, Mixing).
The album starts off with the crash of a gong in the song Race For The Prize, and erupts into a straining brass/string section. 'Race' tells the story of two determined scientists, committed to finding a cure for a disease, while at the same time showing how fragile people can be ("They're just humans with wives and children")
Next, A Spoonful Weighs A Ton starts off with the tinkering of a piano, and transforms into a lush musical soundscape, complete with slide guitars, throbbing bass, and effect-drenched guitars reminiscent of a rising sun breaking through the darkness of night.
Probably the most complex recording on the album, The Spark That Bled starts off with a lone vibraphone with electronic ticking and Wayne's voice crooning "I accidentally touched my head... and noticed that I had been bleeding". Seemingly out of nowhere, various percussion instruments begin to play over a slightly Arabian orchestra, and just as fast whisking you into the chorus ("I stood up and I said YEAH!").
The Spiderbite Song tells the tale of various bizzare incidents that had affected the band during recording of this album. A simple, beautiful song with piano and a whooshing drum beat accompanying every line in the verse details Wayne's point of view on the incidents.
The next track, Buggin', starts out with sounds of flies and mosquitoes buzzing around, accompanied by simple piano. Suddenly, a solid drumbeat and beefy bassline move in, along with some vocal harmonies from Wayne.
What Is The Light? creeps in with a heartbeat drum pattern, and Wayne's voice echoing somewhere in the distance. The drums evolve into a rougher beat, and strings appear in the background, becoming much more vivid at times. The track "turns into" the next song, The Observer. Instead of vocals, vibrato-laced keys play a sad riff, being joined by some strings, and near the end, a choir-like effect staining the background.
And suddenly, we're pulled out of the gloomy orchestra. Waitin' For A Superman starts off with drums and a piano, accompanied by the toll of bells. The song's chorus has music that is hard to describe. It makes you want to cry, yet at the same time it makes you want to keep holding on. The chorus's somewhat confusing message fits perfectly with Wayne's rough voice.
Suddenly Everything Has Changed. No, really. A creepy, oozing electronic intro plays lightly behind the rising and falling bassline and drums, which give way to a jangly western guitar and a tinkling xylophone. The bizzare lyrics that have nothing to do with anything in particular compliment the song perfectly ("Putting all the vegetables away that you bought at the grocery store today").
Next, The Gash starts with a full choir and a Nordic piano, responding to every crash of the gong, before subsiding to let a lone piano come in with a quick riff. Then, the drums kick in, and the song transforms into a gospel of sorts with electronic whirring. Very odd, but ate the same time very powerful.
Wayne's braaap bap bap zooms back and forth through your ears in Feeling Yourself Disintegrate. An acoustic guitar starts with Wayne's echoing vocals, and a keyboard riff to back it up. Then, the chorus leaks in, with slide guitars and vibraphones combining with the heavy reverb and delay of the ambient electric backing music and vocals that can only be described as really beautiful sound collage of sorts.
The final track, Sleeping On The Roof, begins with ambient summer night sounds, such as the chirping of crickets, before a piano breaks the sounds of nature, and what can best be described as a synthesizer riff plays over the piano. Somewhere in the distance, ballpark organs, lazers, orchestral strains, descending and rising planes can be heard, before the synth riff fades out, and the record closes with a few chirps of a cricket.
I love this album. The spacey, orchestral sounds are beautiful, especially when dueling with the guitars and drums. When I listen to this album, I usually try to listen to it in order, not picking out certain songs. If you're looking for a new CD to buy, a new band to get into, or just want to immerse in some good music, buy this now. You'll be glad you did.
