Where the Viaduct Looms (2021) (with Nell Smith) If you’re like me, however, hearing Henry Rollins do some evil sounding reverb soaked laughter over a demented version of Pink Floyd’s “On The Run” sounds like a great time.ġ8. The albums are deserving of a spin from die-hard fans, but even then, there really is no reason for return listens. But in the end, the fact that the band even attempted these projects is more interesting than these records are to listen to. With exploded and rearranged compositions, some tracks on these albums are commendable for their attempts. Pepper’s Lonely Hearts Club Band are some of the least essential albums in their catalog. While the band have been known to pull out some tremendous covers live, The Flaming Lips guest-filled attempts at covering Pink Floyd’s The Dark Side of The Moon, King Crimson’s In The Court of King Crimson, The Stone Roses’ self-titled album, and The Beatles Sgt. The Flaming Lips and Stardeath and White Dwarfs with Henry Rollins and Peaches Doing The Dark Side of the Moon (2009), Playing Hide and Seek with the Ghosts of Dawn (2012), The Time Has Come to Shoot You Down… What a Sound (2013) and With a Little Help from My Fwends (2014) A week ahead of the band’s April 4 return to North American touring, we’ve ranked all of The Flaming Lips’ studio releases, as well as their most readily available collaborative albums (and their sole release as Imagene Peise), to track the evolution of one of popular music’s most consistently innovative bands. While the group has maintained a prolific streak that has yielded a treasure trove of one-off experiments and collaborations-most notably, a highly sought-after 24-hour song released inside of a human skull-their official releases are worth examining.
After starting out as teens trying to get the punk rockers to take acid in the ’80s, the band’s second act reinvention, led by Coyne and multiinstrumentalist Steven Drozd’s musical partnership, has yielded numerous revered classics that have remained enormously influential. They may be elder statesmen in the realms of indie rock, pop and experimental music, but The Flaming Lips have remained unflappably contemporary as they continue to throw fans for a loop with outlandish detours while releasing critically beloved albums in the process. But the main difference between them and KISS, outside of the obvious, is that the band continues to release music that feels vital and challenging. Different generations have been able to connect with different phases in the band’s long career, whether from knowing their early work or their reputation as one of the most life-affirming live acts on the planet. With their theatrical shows complete with blow-up props, innovative lights and Coyne’s signature inflatable plastic space-bubble, which he famously used to get inside and roll over crowds during performances, The Flaming Lips are in some ways psych-rock’s answer to KISS. As they have soldiered on triumphantly into their fourth decade, lead singer Wayne Coyne has remained an ageless Peter Pan figure in alternative music. Oklahoma City’s favorite fearless freaks The Flaming Lips have shown no signs of slowing down as one of North America’s last great psychedelic-rock bands.
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