American Head – Comma – Universal Want
September album releases. Autumn is upon us. Here are three LP’s for you kids to dismiss or sing praises about. Flaming Lips is familiar to me. Doves and Sam Prekop, new territory for me.
The Flaming Lips – American Head – Warner Records/ Bella Union
I’m a fan of Flaming Lips. At least most of their stuff from their near 40 year run. From the early psych – punk stuff to Transmissions from the Satellite Heart LP until they’re more orchestral Soft Bulletin and ‘modern’ era. I’m going to focus on the tracks on the new LP American Head that have not been released. The Lips have released a good number of tracks before the official release of the LP. They were a mixed bag of sounds but generally on the mellow side. In totality these tracks are favorable. Pretty good on the outskirts of very good/ great. There is plenty of clean acoustic, piano, and electric guitar tone mixed with the ‘wildcard’ instruments/sounds that Flaming Lips utilize .
Various songs feature xylophone or tinny metallic sounds that add a little glimmer to the sorrowful, nostalgic narrative that permeates American Head.
The first track “Will You Return/ When You Come Down” spoke to me. Read about it more in depth with “Mother Please Don’t Be Sad” https://meatsheetfanzine.com/pumpkin-lips-public-enemy-new-singles/ The second track is “Watching The Lightbugs Glow”. Classic Lips title. Kacey Musgraves lends voice to this nearly lyric – less song. It feels like an appropriate soundtrack for dusk and watching fireflies in a meadow, Anytown, USA (or world). “Lightbugs” flows perfectly into “Flowers of Neptune 6 ” which I did blog about here. https://meatsheetfanzine.com/flaming-lips-flowers-of-neptune-6-new-single-and-video/ . I passed on writing about “Dinosaurs on the Mountain” when it was previously released as a single this summer. The Lips were releasing songs every other week! “Dinosaurs” fits American Head well.
It has all the key elements for the Flaming Lips but no freakouts, chortles, or blurts that I have come to love from these guys.
Straight forward songwriting. Quiet, a bit sad, closer to a ballad in tempo. There is a vocal effect on Wayne that sounds like his voice is coming through a megaphone, knowing Wayne it is probably just that.
Next up are two of a few death or drugs references on the album. It seems Wayne is really honing in on these topics, as much as his early punk psychedelic days of the mid to late 80’s. Perhaps the circle is complete and he is now master.
“At The Movies On Quaaludes” chorus shines the brightly. It has the sing songy Wayne melody you may have heard on Yoshimi Battles the Pink Robots or “We A Famly” from Oczy Mlody LP. “Mother I’ve Taken LSD” is a bright acoustic song. Strums accompanied by string section / orchestra follow. This reminds me of Soft Bulletin, ELO, Moody Blues. It’s classic Flaming Lips. “Brother Eye” starts as a morse coded tip tappy auto tuned song. The chorus deals with losing someone, again a death reference. Simple, heartfelt lyrics, “Brother Eye” stands out for me.
“You were born and the dark was changed
Like the stars into the night
Like the sun breaking through the sky”
“You and Me Selling Weed” is another drug song. Sung like a story, more sugary melodies and chords commence and descend like a drug induced stupor. Quick P.S.A. kids, say no to drugs. Unless it helps you write songs like Flaming Lips and the bands that influenced them or you just want to. How much can one sing about weed, LSD, and Quaaludes?
“When We Die When We’re High” transmutes the LP’s mood into a tense interlude. Xylophone, basslines and wahhed out squawks fight it out. A welcome change.
“Assassins of Youth” slightly breaks the mold of the record as well. Strummy chords with modern auto tune like vocal intro. Until the chorus…
“I was young yesterday /But now everything has changed after today
And I don’t know what to do
Oh, my youngest self I, I miss you
Yes, I do “
Does this seem melancholy? I think most of us miss our younger selves in some shape or form. Maybe I am reading the songs wrong?
“God and the Policeman (featuring Kacey Musgraves)” aside from the lyrics is a duet with call and response lines between Wayne and Kacey. Vocals of these two seem like peas and carrots. Kacey really helps tie the songs she is on together.
“My Religion Is You” has been covered previously on my blog, https://meatsheetfanzine.com/flaming-lips-my-religion-is-you/ This is a strong closing track due to the hummable melody and electro bass blasts that Flaming Lips have used before. Love that and anytime they make the drums sound like John Bonham.
American Head overall is almost the same tempo on each song and has underlying melancholy on most of it. American Head does break out of this for a quick moment here and there.
I would have liked to hear a more kick in the ass song like “Yeah Yeah Yeah Song” to break up the mellowness. On the other hand, I think this record will age well though.
American Head still offers a respectable group of songs loosely tied together by Wayne’s past. (If I read that correctly, it is a quasi – concept LP?)
Doves – The Universal Want – Virgin EMI
Trying to not put foot in my mouth review. Hard one. The Doves are not a new band. They are new to me. The Universal Want is clearly recorded , composed and played with decades of the band’s proficiency behind it. I don’t know if I am picking up what they are throwing down. Until “Prisoners”, the seventh song that is. I can hear Supergrass “I Should Coco” vibes peeking out of in song.
The internet compares the Doves to Supergrass, Richard Ashcroft, Charlatans, Ian Brown of Stone Roses.
I cannot say at this time. “Prisoners” stood out for me. I think the jangle of the guitars could have been more prominent, but the backing vocals pair very well with the song writing. If you are fans of those artists check out this album
“For Tomorrow” hangs in the air with some mystique. The strong point is the synth gently emits atmosphere and the funky drum beat lets the atmosphere open up to let the song breathe.
Which opens up space for the guitars, The interlude in the center is foreboding. This song is dark. The guitar(and other?) effects are like the glow on the cover photo of the album. The guitars have their way with the other smoky tones as they echo and swell.
“Mother Silverlake” is pure alterna – groove.
Infectious drum and bass, with tight fills. Easily the most danceable song on the record (“I Will Not Hide” close second for catchy rhythm, yet different mood). It is probably best to say no more. I am certain that Dove’s hit the mark on this LP and the proper audience will find it. I feel like I don’t know my ass from elbow re: this band.
Sam Prekop – Comma – Thrill Jockey
Quick Thoughts. Multi tiered/layered instrumental electronic music. I’m not familiar with Sam Prekop’s previous work with Sea and Cake or solo work. https://samprekop.bandcamp.com/album/comma Comma opens with “Park Line”. Rhythmic tension build of a song. Synth level is set at intermediate or higher. As the tension fades it sets you up for “Summer Places”.
Warpy steel drum sounds triggered by circuits. A lively backbeat drones on in the distance.
“September Remember” materializes in front of you like mist. Wispy, ambient chords phase in and out of a minimal landscape.
However at the 3:30 ish mark the landscape changes into a more staccato keyboard driven melody. Whimsy and less Brian Eno ish than its beginning. This change is something I can’t decide if it works for me or not in a few listens. It feels almost like two statements or songs. I could grow to embrace it.
Moving along, “The New Last” is very layered, synthesized beats, keys that have brass horn quality. Frantic electronic arpegggios. Backing melody that certain gamers could appreciate. I am not knocking it. This song and album for that matter has more a little more depth and orchestration than the random electronica that filters through my path.
“Approaching” and “The New Last” could easily be background music for a journey or ride in which you look out onto a panoramic landscape.
It feels like you are traveling by rail or fast car. Conversely, “Circle Line” is a bit more shimmery. Warbly synth arpeggios that advance and recede. The last two tracks seemed linear, this track seems to go forward and back or push and pull.
“Never Met” is busy with drum and bass lines, squiggly sounds that remind me of putting your head on a loved ones belly and just listening.
About half way in it settles but the rhythm remains tribal and driving. More (oscillated ?) squiggles after that. Prekop seems to like the push and pull dynamic.
Sequentially “Wax Wing” starts with shrillness and gives way to a throbbing dance groove backed with emerging drones and electro -gurgles. Ending with a drones and two avian signals that seem to be talking to each other. “Wax Wing” is engaging. The end song, “Above Our Heads” takes us out on a modulated electric wave with a distorted “disco call” sound emanating from its textures. Comma will punctuate 2020’s electronic releases.
Finally, I’d say American Head is very good. Best Flaming Lips Lp in 20 years? That is debatable and pending how much you like them and what you like about them. It is a valiant effort as they have consistently given.
The Doves – Universal Want is a dense listen if you choose to give it more attention. I can hear their experience in writing and playing even if I’ve never dove deep into their catalog.
So much so that I will have to go back several times. Research the other bands, etc. The Doves fans will probably be very pleased. As an outlander, the sounds are diverse on American Want. Sam Prekop’s Comma I would definitely throw this album on once in a while. It is great background noise and if you like modular synths it may just command deep listening.