| There are
few acceptable career arcs for a rock band, and they
all end with "burn out" or "fade away." So punk-inspired
psychedelic explorers the Flaming Lips confounded expectations
about a decade and a half along their path by releasing
the landmark Soft Bulletin in 1999. Instead of
politely dissipating, they boldly merged classic pop
with funky futurism and broke out of their niche as
an influential but marginalized cult act (or, worse
yet, a one-hit wonder thanks to 1993's "She Don't Use
Jelly"). Mad scientist frontman Wayne Coyne and company
deemphasized the electric guitar in favor of rich layers
of keyboards, and appropriated dance beats via some
heavy lo-fi drumming from Steven Drozd, trading up from
ramshackle to sophisticated while preserving the randomness
that makes their identity.
Which is to say that putting together a follow-up
is a tall order, though on Yoshimi Battles the
Pink Robots the Lips are up to the challenge.
They've refined the Soft Bulletin aesthetic
by scaling down slightly from that record's self-consciously
epic and cinematic scope, but adding quirkier touches
around the edges. There's even a bizarre left-field
vamp, "Yoshimi Battles the Pink Robots Pt. 2," involving
a happy-go-lucky descending fuzz-synth line like some
deranged video game soundtrack punctuated by manic
cymbal crashes and full-throated screams from guest
Yoshimi P-We of Japanoisers the Boredoms. The effect
is so perverse and primal that it instinctively raises
something between a smile and a grimace with each
listen.
Yoshimi mixes aphoristic contemplations
and sci-fi narratives that range from the mundane
or murky to the fun or insightful. The lyrics are
ultimately saved from generic affirmation or unwitting
self-parody by the Lips' combination of sincerity
and playfulness. Of course, there's also the beauty
of the material itself, which could probably stand
at the demo level and still connect. "Fight Test"
and "Yoshimi...Pt. 1" are simply undeniable upbeat
pop songs, each equipped with a glorious chorus. They
sit alongside trippy, pretty, midtempo mood pieces
buoyed by Michael Ivins' hypermelodic bass and the
emotion Coyne milks from his Neil Youngish whinny.
As the Flaming Lips continue to take well-crafted
songs and apply a sound both innovative and wholly
accessible, they're showing that some rock 'n' roll
rules don't always apply, maybe enough to convince
us all that things can get better over time.
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