Album #20 : The Flaming Lips - The Soft Bulletin

The Flaming Lips

The Soft Bulletin (1999)

The late 1990s were a time of musical upheaval for Oklahomans The Flaming Lips. Since forming in 1984, the band had made some musical progress from anarchic noise rockers to crafters of more melodic guitar rock; by the time 1995's Clouds Taste Metallic came out, they seemed to be in a comfortable niche of quirky alternative rock, content to create songs about the wacky ideas in singer/guitarist Wayne Coyne's head.

However, after the departure of guitarist Ronald Jones, the band desired to free themselves from the constraints of standard guitar music. Beginning with 1997's Zaireeka, the band sought to change their entire approach to music; this four-CD album was designed to be played on four different CD players. Each song was split over the four discs, and when played simultaneously, the full song could be heard. The music itself was also a departure from their previous work - more synthesised sounds and keyboards, less guitar. It was a grand experiment that was to mark the beginning of a significant change for The Lips.

Their next album was to expand on the sounds of Zaireeka, and would be the band's lushest sounding album to date. That album was 1999's The Soft Bulletin, the subject of today's review. It's easily one of my favourite albums, and probably The Flaming Lips' crowning achievement, despite releasing other albums that are also outstanding.

Not bad for a bunch of hicks from Oklahoma who couldn't play their instruments.

The Album

The Soft Bulletin deals with several themes, the most frequent being mortality. Written not long after the death of Coyne's father, there are a number of songs that, directly or indirectly, deal with death and our handling of it. The brilliant Waitin' For A Superman was allegedly written by Coyne about his father's battle with cancer; the lyrics depict a humanity desperate for a 'superman' to help them, even though the superman himself is unable to bear the heavy load he is carrying. Those poignant lyrics are tied to a piano-heavy sound, with heavy drums and some very subtle, gorgeous use of synthesised horns. Feeling Yourself Disintegrate also deals with mortality although in a much shorter set of lyrics. Kicking off with a distinctive vocal percussion line, the song features dreamy guitar and synth sounds and the echo-drenched vocals of Coyne give the song an ethereal quality.

It could be argued (certainly I get the impression) that the first few songs are thematically related. The opening song, Race For The Prize, is a perfect snapshot of the album's sound as a whole.  Steven Drozd's drums sound MASSIVE, and the music consists of lush synthesisers and piano licks. I remember hearing the album for the very first time, and that drum sound in the first few seconds hooked me immediately; then that stunning synthesiser and vocals combination starts and makes it even better. The song is about two scientists racing to find a cure for something (the aforementioned 'prize') and their desperation to be first. A Spoonful Weighs A Ton is a little more restrained during the verses, light keyboard lines and synthesisers provide a sweeter musical backdrop while Coyne's choked high voice warbles above about some unspecified people who rescue others but, perhaps, get a little too carried away with their plan - perhaps our scientist friends? The song twists typical verse/chorus structures to use a musical choral refrain, which is an antithesis to the verses; darker in tone, lower in key. It's very clever songwriting.

The Spark That Bled sees the band introduce synthesised strings to provide melody over an odd time signature in the verses. It all just sounds so lush. It's also one of Coyne's best vocal performances, though the echo applied to his voice in the verses does help. What Is The Light starts off with a slightly foreboding feel; the thump of a bass drum accompanied by some very low piano notes. As the song progresses though, it shifts in tone. A combination of a very funky drum beat played by Drozd, Coyne's passionate vocal delivery and lyrics, Michael Ivins' occasionally equally funky walking bass lines and those bright, dazzling synthesiser chords provide a hopeful, optimistic feeling to the song. At the end, that thumping bass and low piano returns and segues straight into The Observer, the first of two instrumentals. Much like its predecessor it starts off morosely, with a sad guitar lick; as the song goes on, while it does not shift in tone, it does become more layered, with vocals and synth strings added to flesh out the sound. It's a pretty song and unlike other bands I've reviewed (cough Arcade Fire cough) it doesn't go too long.

Elsewhere the album simply doesn't let go of you. Slow Motion is a fairly simple song but it's absolutely gorgeous, and Drozd plays some echoey drum fills that sound otherworldly. The Gash deals with persistence (or the lack thereof). Multitracked vocals lead a jaunty piano line. It's one of the more fun and upbeat songs on the album in terms of sound, and is the closest thing to a 'pop' song in many ways (other than the opening track). Suddenly Everything Has Changed is another testament to clever songcrafting. The lyrics deal with seemingly mundane everyday occurrences, like putting away your vegetables and clothes, but when Coyne sings "Suddenly, everything has changed", and there's an instrumental chorus consisting of a soulful guitar lick followed by synthesiser chords, the song itself changes in key and tempo. It's a little obvious but really intelligent songwriting. Buggin' is the only song on the album that sounds like the old Flaming Lips; catchy, toetapping drums and a groovy bass line drive a straight ahead pop song. The final track, instrumental Sleeping On The Roof, again layers synthesiser and guitars together to create a rich, lush soundscape. It should be played for Arcade Fire to show them how you create an "ambient comedown" song that is a) really good, and b) not eleven minutes long.

And when it's over....I just want to press play on Track 1 again.

The Verdict

The Soft Bulletin is quite simply one of the most amazing albums I've ever heard. Unsurprisingly, it was the first album I heard by The Flaming Lips, and it hooked me. It's a magical blend of wonderful songwriting, beautiful arranging and talented musicianship. 

For managing to convey so many emotions so gorgeously, The Flaming Lips deserve nothing but praise for this album.

After this, The Flaming Lips would continue to expand and bend their musical horizons, and to be honest, they have not made a bad album since. But for me, The Soft Bulletin stands above them all as a testament to the artistic vision and creative ability of The Flaming Lips.

My rating: *****

Standout Tracks

Race for the Prize

What Is The Light

Waitin' For A Superman

Feeling Yourself Disintegrate

Tomorrow, it's one of Australia's best songwriters, and one of the biggest Australian albums of the 1980s. The question will be whether or not the album tracks are as good as the hits.