It probably wants me to make it more than I want to return to it. I mean, I can look back so far that I can’t remember being alive.Īre you trying to create music on that subconscious level? It’s probably a magic combination of those two things, and they would repeat every year. Then, when I was three years old, it was the Beatles on the Ed Sullivan Show, and they haven’t left us. If I sat with a psychiatrist for a week, I’m sure we could find out where the music came from. But it would be one of these movies that would play, I think, every Easter.
I don't remember when that started to be played every year on TV. What’s the first music you remember hearing? So, I think it’s just a good combination of words and music. Of all the things that you’re going to experience, music is going to get you the deepest. All these sounds are going in there at the same time that your emotional brain is being formed. He can hear stuff coming from the outside. I think about that because my wife is about to have a baby in a week. There's some connection to the very beginning of your ability to hear. Because it’s abstract and you’re not quite sure what it’s talking about, it can go on a deeper level. I think that’s probably where its main power comes from, but I don’t think we were writing about that. Where do its existential themes come from? I’m sure Steven’s struggle with addiction added to that. I look back on those guys, and I’m so glad they did it. But it’s still meshed with a lot of fun and exhilaration. Every minute of every day was how finite it is and how serious it is. Steven was at the very end of the worst of his heroin addiction. But we couldn’t have known that at the time. This isn’t going to lead to success." We had been on a good, stable creative run since 1989, and all these things were crescendoing. We were considering what we were doing to be like, "This is going to be our own trip. was going to allow us to do, so we were just going to go for it. It awoke us to the potential that we were making music that we liked, rather than just banging around on things.Īnd I think we were considering that it would be the last album Warner Bros. But I think the experiment really pushed us into making emotional music that was effective. In the beginning, it was very much about experimenting. We were making two records together: Zaireeka, the four-CD behemoth, and we knew we were going to make this record. What headspace were you, Michael and Steven in while making The Soft Bulletin? Here, Coyne opens up about his memories of making The Soft Bulletin, his more subdued approach in 2019 and how he worked through his intense, competitive nature. "We got to make The Soft Bulletin and live to tell about it." "I wouldn’t want to be in that state of mind ever again," he says. Such are the band’s twin emotional poles they’ll be diving back into their most intense album, while mentally miles away from the addiction and dramathat fed it. "There’s no great fight that he’s fighting for." A low-key set with spoken-word narration from the Clash's Mick Jones, King’s Mouth reflects Coyne's newfound calm and clarity. "The king in my story is a very gentle, loving entity," Coyne says. If The Soft Bulletin is a perforated levee of feeling, King's Mouth is a trickling, tranquil river. Today (May 17) marks the 20th anniversary of The Soft Bulletin in September, the Flaming Lips will perform the album in full on three dates while promoting their newest, King’s Mouth, which arrived last month for Record Store Day.
"Now, all that stuff doesn’t seem so chaotic to me." "I have a lot of energy, and I'm very intense," he tells The Recording Academy.
THE FLAMING LIPS SOFT BULLETIN FULL ALBUM FREE
Today, at 58 and expecting a baby boy, frontman Wayne Coyne is mostly free of these heightened states. The trippy, outsized music lurches between darkness and light. Lyrically, it deals with mortal spider bites, parental grief and a scientists' cure for humanity. The Flaming Lips have always been a high-stakes band, and 1999’s The Soft Bulletin is their summit.
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