Album Review

The title of the new Flaming Lips album, Embryonic, refers to how most of the songs were recorded during the very early stages of their creation. The result is an album which sounds completely foreign to what the band has been releasing since 1999’s The Soft Bulletin. The vibe is probably most comparable to their oddball four disc set Zaireeka, or perhaps even their noisier beginnings, pre-dating even the “She Don’t Use Jelly” era of the band.

If I could narrow it down to one specific album that Embryonic reeks of, I would have to select Sandinista! by The Clash. It has a similar loose, first-take, unedited free-for-all feel as that ambitious triple disc set. Of course Sandinista! is not often looked upon as being The Clash’s finest hour, and likewise, I don’t think Embryonic will be considered The Flaming Lips masterwork in years to come. However, like Sandanista!, it will have a legion of fans who swear by it. And there’s no denying that it’ll be viewed as a brave and quite often rewarding experimental outing.

Looking back on it, it feels as if “Pompeii Am Gotterdammerung,” one of the final tracks on the Lips’ last album, At War With the Mystics, hinted at what was to come on Embryonic. Wayne’s vocals were distanced in the mix, almost coming across as other-worldly, much as they are on this entire release. The bass was a bit more prominent, and the track just had the feel of something Pink Floyd would have attempted during the Meddle era.

So take that Meddle vibe of “Pompeii,” apply it to an sprawling double album of experimental songs, and you basically have Embryonic in a nutshell. Perhaps most disappointing is that nothing actually tops “Pompeii” in quality, which can probably be chalked up to the fact that that song was thoroughly worked over during numerous sessions. Its changes and well-defined structure are what make it exceptional. Not to harp on The Clash comparisons, but it’s like juxtaposing “Straight to Hell” with “The Magnificent Seven.” The latter is a cool track and a fun one to dance to since it is basically one repeated rhythm for the entirety of the song. On the other hand, “Straight To Hell” is pure brilliance, an expertly crafted number which floats effortlessly throughout it’s many and quite important changes.

It’s impressive how so many of these droll, dark, repetitive numbers on Embryonic really draw you in,. A clear standout is “Gemini Syringes” which, like many of the tracks on this disc, uses strange audio samples to fantastic effect. At it’s core though, it is just a long drawn out bass line, lacking even any backing percussion; further proof of the Lips’ instrumental mastermind Steven Drozd’s ability to craft gold out of even the most throwaway moment in the studio.

Notably, what you won’t find on this offering is the band’s trademark optimism and whimsy, which were especially apparent on 2002’s Yoshimi Battles the Pink Robots and “The Yeah Yeah Yeah Song” on Mystics. This disc is all dark chocolate, with no thick coating of sugary icing. The closest it gets is “I Can Be A Frog,” which boasts silly vocals. Although the lightness of these lyrics are set against a bleak instrumental track.

The standout on Embryonic is “Silver Trembling Hands,” which bounces between its dark driving verses and AM radio style chorus. It’s destined to become a favorite at their live shows. It is also one of only a handful of songs that could even be considered for a single off this set. Talk about a change of pace!

Sure, this disc is a bit frustrating at points, and undoubtedly people will suggest songs that could have been left off to improve the flow, but overall it really is a remarkable piece of work. The jam band/Bonnaroo crowd, who have adopted the Flaming Lips over the past couple of years, will undoubtedly worship at the alter of this album. It is a marijuana smoker’s dream come true. For fans of the band’s more precision pop offerings, most notably The Soft Bulletin, this will probably be deemed a success even though they might moan about it being a bit scattershot and under-developed. Regardless, its greatest victory is that it even happened (and on a major label, no less)! It’s just further proof that you never know what to expect from those fearless freaks from Oklahoma.

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