What does a Flaming Lips album written and recorded in a matter of days sound like circa 2013? Pretty much as one would expect: loose, psychedelic, jam-heavy, and LOUD! For all the complaints leveled at the Lips for jacking up the volume and compression on their albums to insanity-inducing levels, I can now relate. Due to some glass-shattering high-notes from singer Wayne Coyne, I had to reach for the volume knob a couple of times to save my eardrums. But, that was all expected.
Now the wildcards: (1) the dark lyrical content — gone are the sunny days of Yoshimi and “The Yeah Yeah Yeah Song.” The Flaming Lips circa 2013 are more likely to drench a crowd in blood than confetti; (2) the electronic Krautrock-style rhythmic pulses that anchor nearly every track make Embryonic — the Lips’ previous loose, psychedelic, jam-heavy, LOUD album — seem like a trip to Disneyland.
The band seems to have entered a phase in which they are more motivated by spontaneous jams and grooves than they have ever been. They are living Pink Floyd’s career in reverse, and I don’t know if this is the best trajectory. If I was to sum up The Terror, I would say none of the songs are that memorable, but the album as a whole is indelible. And to hammer that point home, the band includes the collection as one long track at the end of the digital download. A single track as well conceived as “What Is the Light?” would have sufficed.
What does a Flaming Lips album written and recorded in a matter of days sound like circa 2013? Pretty much as one would expect: loose, psychedelic, jam-heavy, and LOUD! For all the complaints leveled at the Lips for jacking up the volume and compression on their albums to insanity-inducing levels, I can now relate. Due to some glass-shattering high-notes from singer Wayne Coyne, I had to reach for the volume knob a couple of times to save my eardrums. But, that was all expected.
Now the wildcards: (1) the dark lyrical content — gone are the sunny days of Yoshimi and “The Yeah Yeah Yeah Song.” The Flaming Lips circa 2013 are more likely to drench a crowd in blood than confetti; (2) the electronic Krautrock-style rhythmic pulses that anchor nearly every track make Embryonic — the Lips’ previous loose, psychedelic, jam-heavy, LOUD album — seem like a trip to Disneyland.
The band seems to have entered a phase in which they are more motivated by spontaneous jams and grooves than they have ever been. They are living Pink Floyd’s career in reverse, and I don’t know if this is the best trajectory. If I was to sum up The Terror, I would say none of the songs are that memorable, but the album as a whole is indelible. And to hammer that point home, the band includes the collection as one long track at the end of the digital download. A single track as well conceived as “What Is the Light?” would have sufficed.