Posts Tagged ‘Wayne Coyne’

The Flaming Lips + Deap Vally = DEAP LIPS. Our new single is out now. Listen to ‘Home Thru Hell’ & pre-order the album today.

The Flaming Lips have a long-standing tradition of collaborating with other artists for full albums. Now, Wayne Coyne and Steven Drozd have teamed up with Deap Vally’s Lindsey Troy and Julie Edwards to form a new supergroup called Deap Lips. Their new album Deap Lips is out March 13th via Cooking Vinyl.

In the past, the Flaming Lips have shared collaborative albums with Miley Cyrus, Neon Indian, Stardeath & White Dwarf, and a whole slew of “heady fwends.” This year they dropped the new album King’s Mouth and a live orchestral Soft Bulletin album.

The Flaming Lips + Deap Vally = DEAP LIPS. The self-titled album releases March 13th, 2020.

The Flaming Lips have teamed up with LA rockers Deap Vally (Lindsey Troy and Julie Edwards) to create a brand new supergroup called, appropriately, Deap Lips. They’ll be releasing an album March 13th via Cooking Vinyl, and today they’ve revealed the psychedelic lead single “Hope Hell High” Listen to it below.

Wayne Coyne and Steven Drozd of the band have paired up with Deap Vally’s Lindsey Troy and Julie Edwards for Deap Lips.

The Flaming Lips are no strangers to collaboration, having previously paired with the likes of Neon Indian, Miley Cyrus, and Stardeath and White Dwarfs. Earlier this year they released new record King’s Mouth and a live album called The Soft Bulletin—and clearly show no signs of slowing down in the new year.

Their eponymous album will be released on March 13th, 2020.

It’s not the first time The Flaming Lips have collaborated with artists for full albums.

The Flaming Lips 'The Soft Bulletin'

In October, members of Vinyl Me, Please Essentials will receive an exclusive 20th-Anniversary Edition of The Flaming Lips’ The Soft Bulletin. Made in close collaboration with Wayne Coyne, this new edition comes on color vinyl, and is pressed from new lacquers cut by Ryan Smith at Sterling Sound, and comes with a lenticular cover insert. The art print was also picked by Wayne Coyne himself. You can sign up to receive it here.

Alex Berenson, A&R for VMP: That run from “Suddenly Everything Has Changed” to “The Gash” and “Feeling Yourself Disintegrate” is just devastating. It’s so good, but it’s heartwrenching. This is the record I used to listen to when I went through big life changes: When I moved from New York to Denver to work at VMP, this is all I listened to. I listened to “Suddenly Everything Has Changed” over and over because that’s how my life felt. I get really emotional when I listen to this album.

No, no, not like a crazy person: I think that really speaks to how personally we feel the projects we’re working on. This wasn’t a, “Oh, this album has an anniversary coming up” type of deal; we did this because you, and all of us, really, have really personal stories with this album. I remember finding it the first time when my mom was really sick when I was like 19-20, and the songs are like a big blanket of reassurance, in a way.

You worked on this album for a long time to make it happen this month, how long ago did we start this one? A year ago? Yeah, at least a year ago, but I know that I had it in the back of my mind since I started working here. So I guess call it three years.

If somebody doesn’t have any Flaming Lips records, why should someone listen to this one?

To me, this is their magnum opus. I love all their albums for different reasons, but everything on this album works with each other to deliver this whole experience. They worked on this a bunch to make it sound as good as it does. It has so many layers, and every time you listen there’s a new part that’s your favorite, or you learn more about.

Yeah, because in some ways, this album was their last chance; they were this major label band that hadn’t had a hit except for “She Don’t Use Jelly,” and the album before this was Zaireeka, an album basically impossible to listen to in full unless you had 4 CDs. That this personal, wrenching album was their breakthrough is kind of miraculous.

We worked really closely with Wayne Coyne to make this happen, Yeah, Wayne and the folks at WEA have been great partners on this. Wayne picked the color of the vinyl, suggested the holograph lenticular cover, and gave us the art print. We have some special things planned with VMP subscribers and Wayne, so get ready for that.

This one was recorded straight to DAT, so there aren’t master tapes to remaster, but we did have new lacquers cut by Ryan Smith at Sterling Sound, and it sounds amazing, but this is the definitive edition.

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The Flaming Lips offer an oral history of The Soft Bulletin, with intimate interviews examining the stories behind this modern classic. The Soft Bulletin is the ninth studio album by The Flaming Lips, released by Warner Bros. Records on May 17th, 1999 . The album was released to wide critical acclaim and hailed by critics as a departure from their previous guitar-heavy alternative rock sound, into a more layered and intricately arranged work.

The Flaming Lips will celebrate it’s 20th anniversary of their 1999 masterpiece The Soft Bulletin with a limited edition vinyl reissue this October. The 2-LP reissue, released exclusively through subscription service Vinyl Me, Please and pressed on mustard yellow, preserves the album’s original 13-song vinyl track list – including the track “Slow Motion,” originally omitted from the U.S. CD release – and is accompanied by a new art print designed by frontman Wayne Coyne.

The album is now considered by many to be the Flaming Lips’s masterpiece, “The Soft Bulletin is a record that’s always with us… and we’re always considering it… we’re always playing it… we’re always celebrating it,” Coyne said of the reissue in a statement.

“Densely textured, awkward but somehow melodic, The Soft Bulletin finds these pop oddballs with their poker-faced humor firmly intact — ‘When you got that spider bite on your hand/I thought we would have to break up the band,’ sings Wayne Coyne in his strained Neil Young-style voice, referring to an accident that could only have happened to the Lips, and did,” Rolling Stone wrote of The Soft Bulletin in a 1999 album review.

“Their music isn’t, how you say, universally accessible, and the weirdness gets same-y, but no one else has posited a parallel universe in which the Sixties and the Nineties exist simultaneously, allowing for a peculiarly convincing brand of monolithic robotic swirl.”

“Over the past twenty years, The Soft Bulletin has cemented its standing as a modern classic of American rock music. The Flaming Lips’ distinctive use of theme, melody and unorthodox recording techniques accelerated them to an early-career magnum opus that has inspired countless artists,” Vinyl Me, Please Head of A&R Alex Berenson said in a statement.

Archival Materials Provided by The Flaming Lips, Michelle Martin-Coyne, The Fearless Freaks Directed By Bradley Beesley, Scott Booker, Dave and Mary Fridmann, George Salisbury, Warner Brothers Records

On January 31st, 2006, Warner Bros. re-released The Soft Bulletin in the US as a two-disc package titled The Soft Bulletin 5.1. It includes a remastered CD and a DVD-Audio disc that contains a 5.1-channel surround sound mix of the album.

The Soft Bulletin has so many special moments it could easily half-fill a 10 of the Best on its own. But on an album where nearly every song’s a gem, from the brittle beauty of The Spiderbite Song to The Spark That Bled’s gorgeous six-minute symphony, Feeling Yourself Disintegrate feels particularly precious. Here, Coyne floats high above the everyday muck and, cushioned by soft pillows of celestial synths and strings, realising that his body’s been slowly breaking apart ever since he was born; that all life is destined to die. “Love in our life is just too valuable / Oh to feel for even a second without it / But life without death is just impossible / Oh, to realise something is ending within us,” he sings gently, and for just a fleeting second, he’s grabbed hold of nirvana. In slightly grubbier fashion, The Soft Bulletin helped Warners see the light, too: after years of bemoaning the band’s lack of commercial success, they suddenly had a mainstream breakthrough act on their books. Their next project would be even bigger.

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“The Spark That Bled” and “What Is The Light”, “Waitin’ for a Superman”

The Soft Bulletin, originally released in 1999, still stands as a pinnacle of what pop music can be at its most magical and inventive, an album rattling with wondrous sounds and ideas you’ll want to hold on to forever. On one hand, it’s their most sonically breathtaking work, built on otherworldly noises and instrumentation that sound as if they’re being beamed from a future disco in an orbiting space-station; on the other, it’s their most moving and vulnerable, too, with Coyne finding more frailty than ever before in his outlandish ideas. Race for the Prize, a touching tale of two scientists prepared to sacrifice themselves and find a cure that will save the world, is a belter: just listen, now, to the giant crack of those distorted drums, that giddy piano riff, the rush of those shrieking synthesised strings that fizz in your synapses like sherbert being poured on your brain. And then Coyne, somehow, touches looks past the HG Wells-like set-up to hit just the right nerve and bring you back down to Earth. “Theirs is to win / If it kills them,” he yelps. “They’re just humans with wives and children.” It’s four-odd minutes of glorious, perfect psych-pop, and a bittersweet sci-fi masterwork to boot.

The Flaming Lips

  • Wayne Coyne – songwriting, vocals, guitar, keyboards, theremin
  • Michael Ivins – bass, keyboards, backing vocals, engineering
  • Steven Drozd – songwriting, drums, guitar, backing vocals, keyboards, bass, xylophone, glockenspiel, pedal steel

The cover artwork of the album is a modified version of a photograph taken by Lawrence Schiller for a 1966 Life magazine article on LSD, The Soft Bulletin is still an undeniably essential listen that belongs in every record collection

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Scratching The Door: The First Recordings Of the Flaming Lips

Before signing with Warner Bros. Records in 1991, the outré Oklahoma band The Flaming Lips paid their musical dues with a series of releases beginning in 1984 with a self-released EP and continuing through a series of albums on the Restless label.  Beginning in April, the Grammy-winning band will revisit their earliest years via a new reissue program from Warner Bros. and Rhino.

On April 20th, Scratching the Door: The First Recordings of the Flaming Lips will arrive.  This single-CD compilation features 19 tracks from the first iteration of the band.  It’s followed on May 25th by Seeing the Unseeable: The Complete Studio Recordings of The Flaming Lips 1986-1990, a six-CD box set containing all four of the Flaming Lips’ Restless albums plus two discs of rarities.  Both releases will simultaneously be released on digital download and streaming services, with over 40 tracks making their digital debut. Later in the year, Rhino Records will drop vinyl reissues, including remasters of the Restless albums and some vinyl debuts.

Scratching the Door spotlights the music recorded by the band’s original lineup including leader Wayne Coyne’s brother Mark on vocals.  It includes the band’s first and second cassette demos plus their 1984 debut EP, newly remastered from the original analog tapes.  This is the first time these seminal recordings have been collected in one place.  Showcasing the band’s influences, the set is peppered with covers such as The Who’s “Anyway, Anyhow, Anywhere,” Led Zeppelin’s “Communication Breakdown,” and Neal Hefti’s “Batman Theme” (which previously was released on Rykodisc’s 2002 collection Finally the Punk Rockers are Taking Acid.)

The box set Seeing the Unseeable picks up where Scratching the Door leaves off.  It contains all four of The Flaming Lips’ Restless studio albums, originally issued between 1986 and 1990:  Hear It Is (1986), Oh My Gawd!!!…The Flaming Lips (1987), Telepathic Surgery (1989) and In A Priest Driven Ambulance (With Silver Sunshine Stares) (1990). Like the compilation, all of these have been remastered from the original master tapes.  Two discs of rarities collect up odds and ends from this period, including B-sides, flexidiscs, and one-offs from various compilations like the Sub Pop single “Strychnine/Peace, Love And Understanding” and a rendition of “After The Gold Rush” from a 1989 Neil Young tribute album.  Rounding out the box is The Mushroom Tapes, the demos for the band’s final Restless LP.  These were previously issued on the Rykodisc compilation CD The Day They Shot A Hole In the Jesus Egg.

Producer David Fridmann has remastered both releases, with the assistance of the Lips’ Wayne Coyne and Michael Ivins.  Look for Scratching the Door: The First Recording of The Flaming Lips on April 20th and Seeing the Unseeable: The Complete Studio Recordings of The Flaming Lips 1986-1990 on May 25th, both from Warner Bros. and Rhino!

Scratching The Door: The First Recordings of The Flaming Lips (Warner Bros., 2018) (Amazon U.S. / Amazon U.K. / Amazon Canada Links TBD)

  1. Bag Full of Thoughts
  2. Out for a Walk
  3. Garden of Eyes
  4. Forever is a Long Time
  5. Scratchin’ the Door
  6. My Own Planet
  7. Killer On the Radio
  8. Anyway, Anyhow, Anywhere
  9. Batman Theme
  10. Handsome Johnny
  11. Flaming Lips Theme Song 1983
  12. The Future Is Gone
  13. Underground Pharmacist
  14. Real Fast Words
  15. Groove Room
  16. Jesus Shootin’ Heroin
  17. Trains, Brains & Rain
  18. Communication Breakdown
  19. Summertime Blues

Tracks 1-6 from The Flaming Lips EP (Lovely Sorts of Death Records WC 2412, 1984)
Tracks 7-10 and 15-18 from Finally The Punk Rockers Are Taking Acid (Restless Records/Rykodisc 7 73764-2, 2002)
Tracks 11-14 from 2nd Cassette Demo (recorded 1983, commercially released as Lovely Sorts of Death Records vinyl, 2013)
Track 19 from CD edition of Hear It Is (Restless Records 9 72173-2, 1986)

Seeing The Unseeable: The Complete Studio Recordings of The Flaming Lips 1986-1990 (Warner Bros., 2018) (Amazon U.S. / Amazon U.K. / Amazon Canada Links TBD

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Disc 1: Hear It Is (released as Pink Dust 72173, 1986)

  1. With You
  2. Unplugged
  3. Trains, Brains and Rain
  4. Jesus Shootin’ Heroin
  5. Just Like Before
  6. She is Death
  7. Charlie Manson Blues
  8. Man from Pakistan
  9. Godzilla Flick
  10. Staring At Sound/With You (Reprise)

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Disc 2: Oh My Gawd!!!…The Flaming Lips (released as Restless Records 72207, 1987)

  1. Everything’s Explodin’
  2. One Million Billionth of a Millisecond on a Sunday Morning
  3. Maximum Dream for Evil Knievel
  4. Can’t Exist
  5. Ode to C.C. (Part I)
  6. The Ceiling is Bendin’
  7. Prescription: Love
  8. Thanks to You
  9. Can’t Stop the Spring
  10. Ode to C.C. (Part II)
  11. Love Yer Brain

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Disc 3: Telepathic Surgery (released as Restless Records 72350, 1989)

  1. Drug Machine In Heaven
  2. Right Now
  3. Michael, Time to Wake Up
  4. Chrome Plated Suicide
  5. Hari-Krishna Stomp Wagon (Fuck Led Zeppelin)
  6. Miracle On 42nd Street
  7. Fryin’ Up
  8. Hell’s Angel’s Cracker Factory
  9. U.F.O. Story
  10. Redneck School of Technology
  11. Shaved Gorilla
  12. The Spontaneous Combustion of John
  13. The Last Drop of Morning Dew
  14. Begs and Achin’

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Disc 4: In a Priest Driven Ambulance (With Silver Sunshine Stares) (released as Restless Records 72359, 1990)

  1. Shine On Sweet Jesus – Jesus Song No. 5
  2. Unconsciously Screamin’
  3. Rainin’ Babies
  4. Take Meta Mars
  5. Five Stop Mother Superior Rain
  6. Stand In Line
  7. God Walks Among Us Now – Jesus Song No. 6
  8. There You Are – Jesus Song No. 7
  9. Mountain Side
  10. What a Wonderful World

Disc 5: Restless Rarities 

  1. Death Valley ’69
  2. Thank You
  3. Can’t Stop the Spring (Remix)
  4. After the Gold Rush
  5. Death Trippin’ At Sunrise
  6. Drug Machine In Heaven (Sub Pop 7″ Version)
  7. Strychnine/Peace, Love and Understanding
  8. Lucifer Rising
  9. Ma, I Didn’t Notice
  10. Let Me Be It
  11. She’s Gone Mad Again
  12. Golden Hearse
  13. Stand In Line (Alternative Version)
  14. I Want To Kill My Brother; The Cymbal Head
  15. Five Stop Mother Superior Rain (Alternative Version)

Tracks 1-2 from The Bob Magazine flexi-disc No. 32, 1988
Tracks 3 and 5 from Finally The Punk Rockers Are Taking Acid (Restless Records/Rykodisc 7 73764-2, 2002)
Track 4 from The Bridge: A Tribute to Neil Young (Caroline/No. 6 Records KAR 002, 1989)
Tracks 6-7 from Sub Pop single SP-28, 1989
Tracks 8-10 from Unconsciously Screamin’ EP (Atavistic ALP-04, 1990)
Tracks 11-13 and 15 from The Day They Shot a Hole In The Jesus Egg (Restless Records/Rykodisc 7 73765-2, 2002)
Track 14 from Guitarrorists (No. 6 Records KAR 009, 1991)

Disc 6: The Mushroom Tapes (released on The Day They Shot a Hole In The Jesus Egg – Restless Records/Rykodisc 7 73765-2, 2002)

  1. Take Meta Mars
  2. Mountain Side
  3. There You Are
  4. Five Stop Mother Superior Rain
  5. Rainin’ Babies
  6. Unconsciously Screamin’
  7. Stand In Line
  8. God’s a Wheeler Dealer
  9. Agonizing
  10. One Shot
  11. Cold Day
  12. Jam

The Flaming Lips Sunrise Eyes of the Young

At their best, the Flaming Lips are like sci-fi/fantasy authors who create new worlds as an attempt to make sense of our own. The sad and shimmering ballad “The Castle” is an incredible example of this, as Wayne Coyne builds a fairy tale in order to understand his friend’s suicide, with a ruined castle representing her unique spark of humanity that’s gone forever. “Her love is still buried there, in the ruins of the castle,” he warbles in mournful realization. The band have released a music video for ‘The Castle’, marking the first new music from The Flaming Lips since their ‘Dead Petz’ collaboration with Miley Cyrus.

Frontman Wayne Coyne described ‘Oczy Mlody’ as sounding like “Syd Barrett meets A$AP Rocky and they get trapped in a fairy tale from the future.”

Official Music Video for “The Castle” From The Flaming Lips. Listen to the new album ‘Oczy Mlody’ . The Flaming Lips released a series of videos explaining the album, with Coyne describing the meaning behind the album’s Polish language title and the songs ‘Nigdy Nie (Never No’ and ‘Almost Home (Blisko Domu).’

“At first it appealed to us because it appeared to sound like a drug; it reminded us of oxycodone,” Coyne said. “And then I think this initial appeal made us curious about what it could mean, and I believe when we looked it up, the very first thing we saw was that it meant ‘eyes of the young’… We wouldn’t like the title ‘Eyes of the Young,’ but we liked how these other jumbled words could mean that.”