The Flaming Lips
Yoshimi Battles The Pink Robots
[Warner Bros; 2002]
Rating: 8.4
I think it's safe to say that the Flaming Lips' Wayne Coyne is a
genius, equal parts Thomas Edison and P.T. Barnum. Like Edison,
Coyne is a relentless tinkerer, a visionary experimenteur with a
sci-fi fetish and a soft spot for odd technologies. And like Barnum,
Coyne is a consummate showman-- the hand puppets, the boombox
orchestras, the oddball short films, the radio-controlled headphones.
In 1984, Coyne was just another Oklahoma dreamer with an amateurish
psych-rock garage band and a duffel bag stuffed with thrift-store
effects pedals; 18 years later, Coyne finds himself in the position
of following up one of the most universally regarded albums since
Pet Sounds.
So let's just come right out and say it: after the one-two punch of
Zaireeka and The Soft Bulletin, Yoshimi Battles The
Pink Robots is a bold and inventive work, brimming with ideas
and sublime moments of brilliance. But it's also unfocused and
top-heavy, a concept album about robots and karate that, somewhere
along the line, strays into languorous, contemplative songs about
mortality and death. Nor does Yoshimi always put the Lips'
best foot forward-- though Dave Fridmann's production dazzles, the
overdriven drums and orchestral swoons that characterized The
Soft Bulletin are often lost in a busy mesh of programmed beats
and lazy synthstrings.
The album gets off to a rollicking start with the winning "Fight Test,"
a glossy rumination on the call to duty-- whether that's standing up to
a playground bully or, as the Lips would have it, an army of rebellious
androids bent on world domination. "If it's not now, then tell me when
would be the time that you would stand up and be a man?" Coyne sings over
a thick buzz of keyboards, bass and an almost hip-hop rhythm, offsetting
his resolve in the refrain: "I don't know how a man decides what's right
for his own life/ It's all a mystery." It's a stunning pop song-- easily
this album's "Waitin' for a Superman"-- with an intensely memorable melody
and the conflict of Coyne's internal dialogue resonating positively on many
levels.
Yoshimi takes its first left turn with "One More Robot/Sympathy
3000-21," a slippery detour into glitch augmented with falsetto choruses,
reverberating vocals and haywire surges of digital clickery. "Unit 3000-21
is warming/ Makes a humming sound when its circuits duplicate emotions,"
Coyne sings over a simple bass figure and ambient tones before the song
explodes in a burst of overdriven clockwork. It's a dizzying, disorienting
sound-- but once the novelty wears off, you've gotta admit it sounds a bit
like Steely Dan.
"Yoshimi Battles The Pink Robots (Part 1)" rides a simple melody and
ridiculously infectious butt-beat as it sets the stage for the album's
short-lived 'concept'-- some entertaining nonsense about an army of
Japanese girls training to take on the salmon-hued robots at a kung-fu
compound right out of Enter the Dragon. In the chorus, Coyne
plays call-and-response with a malevolent synth burble that sounds like
a malevolent R2-D2. Its rollercoaster companion, "Yoshimi (Part 2),"
scales a slinky, ascending wall of farty synth and distant Japanese
babble before the bottom falls out, rocketing into chaotic instrumental
breakdowns each a shade more intense than the last. It's the closest the
Lips have come to writing straight videogame music, complete with crowd
noises and bloodcurdling screams (courtesy of the Boredoms' Yoshimi
Yokota).
And this is where Yoshimi makes its first misstep, on the
sleepy "In the Morning of Magicians." Though punctuated with bursts
of instrumental energy, the arrangement quickly devolves into a thick
lite-FM syrup. "What is love and what is hate, and why does it matter?"
Coyne wonders over a flitty symphony of Muzak strings. Again, the
production is flawless-- I especially dig the wavering tape-speed
fluctuations on the background vocals-- but the song throws the album
into a downbeat, overly philosophical malaise from which it never fully
recovers. What happened to Yoshimi again? Pink robots... what pink
robots?
Yoshimi shines again with the superior "Ego Tripping at the
Gates of Hell," which pits more existential lyrics over a far more
satisfying collage of sounds (vocal samples, snippets of mellotron,
a lumbering bass). "I was waiting on a moment, but the moment never
came," croons Coyne, echoing the issues of readiness and bravery
"Fight Test" raised, but also betraying Yoshimi's greatest
weakness: the moment never comes.
The closest the Lips do come is on the divine "Are You a Hypnotist?,"
if only for the brief return of some actual drums (brilliantly tracked
to create some glitchy, idiosyncratic fills impossible to play in
real life). Coyne indulges in wordplay such as, "I have forgiven you
for tricking me again/ But I have been tricked again/ Into forgiving
you," as the song builds to a distorted swell of fuzzy static and some
otherworldly choir.
"Do You Realize" buzzes and clangs with overproduction, as Coyne
breezes through a list of trite observations like, "Do you realize
that everyone you know someday will die?" and, "Let them know you
realize that life goes fast/ It's hard to make the good things last."
Its parallels with Mike + The Mechanics' "The Living Years" are uncanny,
and believe me, it hurts me more to say that about a Flaming Lips song
than it does you to read it. The already unsubtle onslaught of church
bells, woozy background harmonies, and strings ascends into supreme
levels of cheese with not one, but two key changes midway through,
becoming a near-parody of the genuine emotional weight that carried
The Soft Bulletin. And the minor-key Beatleisms of "It's Summertime
(Throbbing Orange Pallbearers)" are wasted on more childlike philosophizing:
"Look outside/ I know that you'll recognize it's summertime." After the
grandiose, symphonic universalisms of The Soft Bulletin, could
it be this record's deepest message is "stop and smell the roses"?
Apparently so, as the self-explanatory "All We Have Is Now" retreads
these themes for a third time, albeit with an uncharacteristically
fragile beauty. All of this might have some ironic poignancy if, god
forbid, Coyne were to be diagnosed with some terminal illness tomorrow
(and indeed, the latter half of Yoshimi was reportedly inspired
by the death of a Japanese fan). But in the context of this album,
Yoshimi simply runs out of emotional punch, having expended its
boldest moves and most resonant sentiments in the first five songs.
Bafflingly, Yoshimi ends with "Approaching Pavonis Mons by
Balloon (Utopia Planitia)," an anticlimactic instrumental punctuated
with distant vocal warbling, laser-beam bursts, and sudden fanfares
of trumpet. It didn't have to be this way, judging from the wealth of
stronger material widely traded online by net-savvy Lips fans. The
evocative "The Switch That Turns Off the Universe" (previewed in a 1999
BBC session) would seem to be a perfect fit with Yoshimi's
cautionary tales of techno-doom. Or better yet, the Yoshimi
outtake "If I Go Mad/Funeral In My Head" (now set to appear as a single
b-side), an instant Lips classic in which Coyne seemingly conjures
rainstorms, orchestras, and deafening applause on command.
Despite this album's disappointing brevity (45 minutes, padded with
two instrumentals), its dense production and well-crafted melodies
offer long-term replayability. Moments like the Coyne-as-robot "I'll
get you, Yoshimi" barely audible in the title track, or the interchangeable
"I must have been drifting"/"I must have been tripping" background vocals
in "Ego Tripping at the Gates of Hell" seem tailor-made for bull sessions
around the alien-head bong. Though Yoshimi could be considered
guilty of adhering too strictly to a tried-and-true formula (fast beats,
slow melodies), it's really the more disparate elements that keep this
album from building emotionally into a classic. And so, like a double
feature of Drunken Master and Terms of Endearment, or a
surprise party where the surprise is that your best friend has cancer,
ultimately Yoshimi is kind of a bummer.
-Will Bryant, July 16th, 2002