The Flaming Lips — Yoshimi Battles the Pink Robots

Imagine what would happen if The Beach Boys, circa Pet Sounds, were supplied with some extremely potent acid complementary of Dr. Albert Hoffman, himself. Now imagine what would happen if they were arbitrarily constrained and forced to watch a frenetic montage of cartoon clips -- while tripping on this acid -- for hours on end until they neared mental collapse, but were set free just before they completely lost all touch of sanity. Phil Spector and Pink Floyd, respectively, approach the band after their mind-altering experience and volunteer to each co-produce a followup to Pet Sounds; a followup that aptly conveys their twisted psyche. The album might sound something like The Flaming Lips', Yoshimi Battles the Pink Robots.

Existing in somewhat of the same artistic niche that such bands as Spiritualized and Mercury Rev seem to be frequent occupants of, The Flaming Lips takes the brand of avant psych-pop that the aforementioned bands utilize, and give it a one-over with a theatrical coating of epic proportions. The music is larger-than-life, and does a superb job and making you feel like you're listening a score for one of the most twisted movies never made. There's an accessible pop sensibility to the music, but don't let that fool ya. All the while the band is exhibiting very friendly and whimsical pop-tinged excursions, the music is layered with endless subtle eccentricites that encompass everything from experimental psychedelia to electronica and more. The production is among the best I've ever heard. Each instrument is given more than enough room to breathe, and this allows for the dynamics to really shine through and take on a life of their own.

Following in the tradition of concept albums of the past (even though Wayne Coyne [frontman of The Flaming Lips] claims that the album isn't necessarily conceptual,) Yoshimi Battles the Pink Robots has a themed lyrical dichotomy that fluctuates between not being able to cope with the burdens of life to triumphing over adversity and attaining a realization of what really matters. The lyrics glimmer with hope positivity, but at the same time reflect frustration and dispair. The melancholy and witty cynicism pokes it's head in occasionally and boldly proclaims "I'm here to spoil all the fun, haha," but before it actually gets the chance to, it's overcome by a shimmering ray of positivity, and all is well. This struggle takes place throughout the entire album, and just like life, the lyrics have their emotional ups and downs. The lyrics themselves are very creative and vivd. Take this line for example: "Her name is Yoshimi - she's a black belt in karate, working for the city - she has to discipline her body - 'cause she knows that it's demanding to defeat those evil machines." The entire album follows along the same lines to create an sonically immersive landscape of ornate musical tales.

The Flaming Lips is a band that has been around for nearly two decades now, and although they were a very different when they first formed back in 1983, they've always been able to write a great pop song with some odd left-field stylings that truely set them apart from their peers. Yoshimi Battles the Pink Robots only further cements their ability to really push the boundaries of pop, and defy the conventions of contemporary music in general.

Yoshimi Battles the Pink Robots is perhaps the band's most fully realized offering, and one of, if not the best, albums of 2002.