![]() ![]() It’s especially jarring after the gentle beauty of “Fixing A Hole.” Unfortunately, it’s incohesive in a lot of ways, relying too much on the sounds of Phantogram and Spaceface, and leaves much to be desired. “She’s Leaving Home” stands in contrast, presenting a very electronic interpretation. Somehow, the Lips and Electric Wurms struck the perfect balance of acoustic and electronic music (something firmly in the Wurms wheelhouse), capturing a truly gorgeous recording in the process. The bass resonates deeply, while the organ colors the background. There’s a mellow happiness here that’s hard to escape, not that you’d want to. The simple drum part is echoed beyond reason, the guitar twangs pleasantly, and the fat bassline holds it all together under the trippy organ swells. “Getting Better” comes across much more as a classic psychedelic tune, highlighting the lo-fi 60’s vibe of Dr. This is the first time the novelty of cover songs starts to disappear and the music speaks totally for itself. ![]() The chorus is bombastic and erratic, the verses serene. Her slight rasp over the vast musical landscape the Flaming Lips and Moby created together on this track is the perfect knockout combo. And for the first time in my life I’m going to say, damn I’m glad I’m listening to Miley Cyrus. The famous synth intro to “Lucy In The Sky With Diamonds” kicks in, and the voice of Miley Cyrus comes in. Calm harmonized vocals from John Stirratt of The Autumn Defense competing with Chippendale’s thrashing and screaming and so begins the schizophrenic weirdness of “With A Little Help From My Friends.” The juxtaposition of the two very different styles of music on one track makes an already somewhat sad song become a twistedly unsettling argument. Queue a fast and furious drum solo, as you’d expect from Black Pus (Brian Chippendale). The Bluesy, Folksy weirdness of Jim James/My Morning Jacket and J Mascis are all over this one, with help from Fever The Ghost. It slides back to the carnival, and then worlds collide as a guitar shrieks through the synthy bassline. The album opens, and immediately sounds like a nightmarish carnival, a band of freaks singing, before dropping into a great heavy bluesy take on the classic opener. For this outing, the band has recruited a sweeping assemblage of musicians to tackle the behemoth album. A ballsy move for anyone to attempt, but the Flaming Lips aren’t exactly strangers to breaking molds. The newest album from the Flaming Lips is a track-by-track remake of The Beatles’ seminal Sgt. ![]()
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