Robert Christgau: Dean of American Rock Critics

Consumer Guide:
  User's Guide
  Grades 1990-
  Grades 1969-89
  And It Don't Stop
Books:
  Book Reports
  Is It Still Good to Ya?
  Going Into the City
  Consumer Guide: 90s
  Grown Up All Wrong
  Consumer Guide: 80s
  Consumer Guide: 70s
  Any Old Way You Choose It
  Don't Stop 'til You Get Enough
Xgau Sez
Writings:
  And It Don't Stop
  CG Columns
  Rock&Roll& [new]
  Rock&Roll& [old]
  Music Essays
  Music Reviews
  Book Reviews
  NAJP Blog
  Playboy
  Blender
  Rolling Stone
  Billboard
  Video Reviews
  Pazz & Jop
  Recyclables
  Newsprint
  Lists
  Miscellany
Bibliography
NPR
Web Site:
  Home
  Site Map
  Contact
  What's New?
    RSS
Carola Dibbell:
  Carola's Website
  Archive
CG Search:
Google Search:
Twitter:

Deap Vally & the Flaming Lips [extended]

  • A Collection of Songs Representing an Enthusiasm for Recording . . . by Amateurs [Restless, 1998] Dud
  • The Soft Bulletin [Warner Bros., 1999] B
  • Yoshimi Battles the Pink Robots [Warner Bros., 2002] ***
  • Ego Tripping at the Gates of Hell [Warner Bros., 2003] Dud
  • At War With the Mystics [Warner Bros., 2006] Choice Cuts
  • Embryonic [Warner Bros., 2009] A-
  • With a Little Help From My Fwends [Warner Bros., 2014] A-
  • Femejism [Nevado, 2016] A-
  • Deap Lips [Cooking Vinyl, 2020] **

See Also:

Consumer Guide Reviews:

The Flaming Lips: A Collection of Songs Representing an Enthusiasm for Recording . . . by Amateurs [Restless, 1998] Dud

The Flaming Lips: The Soft Bulletin [Warner Bros., 1999]
Tiptoeing along the precipice that divides the charmingly serious from the hopelessly ridiculous, this year's Prestigious Pink Floyd Tribute by a Long-Running Band of Some Repute and Less Distinction enjoys two advantages over OK Computer and Deserter's Songs. Not only does it map out a sonic identity, the chief selling point of all these records, but it's not above pretty. And lead genius Wayne Coyne mixes up the quotidian and the cosmic in the best American psychedelic tradition, with a social dimension more grounded than the usual dystopian mishmash-heroic scientists, gosh. All that granted, however, listeners with no generational stake in how old alt bands impact history are obliged not only to contend with Coyne's wispy voice and chronic confusion, but to stifle their giggles when Steven Drozd bangs his drums all over a song mixing up summer love and mosquito bites. That is, these guys are Not Joking. Ever. Which makes them hopelessly ridiculous. B

The Flaming Lips: Yoshimi Battles the Pink Robots [Warner Bros., 2002]
the good-versus-evil of dreams ("Fight Test," "Do You Realize??") ***

The Flaming Lips: Ego Tripping at the Gates of Hell [Warner Bros., 2003] Dud

The Flaming Lips: At War With the Mystics [Warner Bros., 2006]
"Free Radicals" Choice Cuts

The Flaming Lips: Embryonic [Warner Bros., 2009]
Although I gather there's a concept here, knowing what it is might ruin the gently wigged-out dystopianism the lyrics cozy up to. More important, it might undercut the otherwise irreducible pleasures of their exploding guitars, unworldly synths, and crazy drums. So take this articulated chaos as rock musique concrète, and use it the way we infidels use Kid A. A jumpier, scarier, more ridiculous ride, it doesn't make such suitable dinner music. But it might loosen you up enough to go in and agitate for that raise--though you probably don't have as much in the bank as Wayne Coyne should your demands rub the wrong person the wrong way. That's how dystopia is. A-

The Flaming Lips: With a Little Help From My Fwends [Warner Bros., 2014]
You don't have to hate Sgt. Pepper to think it couldn't do with a little ribbing, travesty, desecration. In fact, you could love it as much as I do and think that. As hilarious sobersides from multiple generations charge indignantly that the Lips and their various beards fail to "interpret" the songs, all three modes of deconstruction are in play on this grand hoot of a fore-to-aft remake. Highlights for me include a theme statement that gains meanings it never had from its attendant distortions, a creaky "When I'm Sixty-Four," Miley Cyrus so sweet on "Lucy in the Sky," and Julianna Barwick adding just what "She's Leaving Home" cries out for--a female voice. Only "Fixing a Hole" truly fizzles. As for "A Day in the Life," yeah--the original rocks. A-

Deap Vally: Femejism [Nevado, 2016]
Two-grrrl guitar-and drums, except that it's rock not punk--the guitars thick, the tunes sticky, the tempos merely up, the politics "I'm gonna do what I wanna/Do it 'cause I wanna." Feel don't think, they advise; value your bitterness, value your rage. Only they're also grrrl-smart, and sensible to boot. They know teens turn 25, then 35, eventually 85; they know sometimes that guy you want to go down on may think he can video you while you're at it. The guy of theirs I identify with is "Julian," to whom they extend their sincere regrets: "You've caught me at the wrong time." Check back in six months, pal. She might be worth the wait. A-

Deap Lips [Cooking Vinyl, 2020]
In which Deap Vally ups its rock cred via the Lips or the Lips up their grrrl cred via Deap Vally, with whether that's a win-lose or a lose-win depending on where you started out ("Home Thru Hell," "Pusher Man") **