- #The flaming lips soft bulletin outtakes back cover movie#
- #The flaming lips soft bulletin outtakes back cover free#
"The Spiderbite Song", however, is the most personally afflicted song on The Soft Bulletin. Heard louder than a gun, the sound they made was love"., shuttering back and forth between liquid calm and that faint stadium-rocking feel that carries quite a bit of the album. "A Spoonful Weights a Ton" is a gorgeous, sweet song where Conye's lyrics are some of his usual stuff: "Yelling as hard as they can, the duobters were all stunned. They're just humans, with wives and children" with just a dash of humanity and hope, a common feature among the lyrics here. Coyne's fragile voice adds more to the flush with his thought-provoking but simple lyricism with lines such as " Theirs is to win, ifit kills them. "Race for the Prize" brings all of this into perscpective immediately, with acoustic guitars, piano, and warped synth-strings that are probably some of the most anthemic songs you'll ever hear. Drummer Steven Drozd even apparently recorded his drums primarily one track, somehow obtaining a Hammer of the Gods sound that beautifully compliments the orchestral leanings of many of the songs here. Scattered about The Soft Bulletin is the hard evidence: synthesizers, strings, horns, vocoder, drum machines, piano, harmonies that shoot out the ceiling, and plenty of genius studio trickery to along with it all. None of the songs here are ridiculous or pretentious, nor are they overly self-conscious and heady.Īlong with the natural human maturing, there is also the ever-expanding dialect of the experimental, something that the Flaming Lips have never shied away from. His voice has grown into that of an sincere, hopeful man facing the world around him one day at a time. After the four-disc Zaireeka, an album that was made to be listened at once with the discs in sync, in 1997, The Flaming Lips sound began to grow from frustrating experimentalists values to what we have in The Soft Bulletin, an album that is refreshing and mature, focusing on the many topics that one would come to expect from Wayne Coyne by that age: love, mortality, mankind's fate, et al.
#The flaming lips soft bulletin outtakes back cover free#
Their earlier albums were as blissfully uncaring and free as they were underwhelming, always seeming to border on maturity in some places but never quite being able to reach that feat. I'm one of them.Īs most classic bands of their respective eras have evidence of growing and maturing, it's hard to ignore the changes in The Flaming Lips' sound over the years. The Soft Bulletin, though, gives me that same feeling that I'm sure people had during that time period. Wreaking of innocence, it's a time that is as naively smirk worthy as it is enviable. Then there's 1966, the year that photograph was taken: just before the Summer of Love, during the wake of such pop tour de forces such as Revolver and Pet Sounds. Lawrence Schiller's photo embraces the colour like a mother just giving birth to bloody child, yet there's that faint nostalgia that goes hand-in-hand with it, kind of how I'm sure people will see the album in years to come. These colours have never really seemed the same since I first saw the art.
#The flaming lips soft bulletin outtakes back cover movie#
The only case I can comprehend right now is that of The Soft Bulletin the movie poster artwork, the shadows, staring at the ground. I don't know, that doesn't really seem to be the case this time. Have you ever had that, a sort of writer's block that isn't necessarily that? I guess you say that it's called running short on ideas or not being able to put out a competent review. Sitting here, I really don't know how I should go about writing this.