The Flaming Lips have never failed to baffle, confound, delight, frustrate, and inspire me. I initially wrote them off as “alternative light” in the early 90’s in the wake of their hit single She Don’t Use Jelly (snobby hipster alert). As it now stands, that era of punk stoner pop rock ended around 1995, never to be revisited. It took me until 1999 to actually get into the band – The Soft Bulletin heralded a new era. Also, the best reviews the band ever received. The two shows I saw in Philadelphia for that album’s tour remain among the best, loudest, and most theatrical shows I’ve ever seen. The last 18 years have seen the band embrace electronic melancholy mixed with optimism (Yoshimi Battles the Pink Robots), existential dread in the wake of divorce by way of motorik (The Terror), and a few albums that try as I might just didn’t hit the mark for me. There are also a ton of collaborative albums, wild experiments, and one collaborator that is key to the genesis of Oczy Mlody – Miley Cyrus.
The years since the 2002 release of Yoshimi Battles the Pink Robots have been hit or miss for me, as a die-hard fan of The Flaming Lips. I loved portions of At War With the Mystics and Embryonic and even picked up each special single or bizarre collaboration (culminating in the release of the Heady Fwends compilation album in 2012). Don’t get me wrong – I have been blown away by some of the songs over the last 10 years – just not for an entire albums length. Was the Golden Age of The Flaming Lips for me really going to always be the years 1997 through 2002? The more I read about the 2013 album, The Terror, the more I began to look forward to its release. Interviews indicating a dark atmosphere permeating the entire album, questions of mortality – these are all things that I have always loved. Now that I’ve lived with the album for a few weeks, I am happy to report that this is a modern classic. Perhaps one of the strongest offerings in the entire discography by The Flaming Lips.