STACK NZ February 2017 Issue 81

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22 FEBRUARY 2017
Transmissions From The Satellite Heart
(1993)
The sort-of hit single She Don't Use Jelly could have had
them pinned as a gimmick band, but this album was full
of different delights which covered everything from dense
rock noise to tripped-out soundscapes. Jelly opened the door but the rest
of this opened heads.
The Soft Bulletin (1999)
After their four-CD project Zaireeka – all discs to be
played either simultaneously or out of synch – this almost
seemed very straight-ahead. In actuality it is quite a bent,
psychedelic rock album full of textures, concise ideas
and an almost symphonic ambition. It was immediately
acclaimed as among the best of the year, if not the decade that was
drawing to a close; it had heart and soul but also hit the head. If they grab
you with this then find the expanded Soft Bulletin 5.1 edition which came
out in 2002.
At War With The Mystics (2006)
This long awaited and much anticipated follow-up to
Yoshimi confirmed Coyne's particular genius in songs that
alluded to global politics, but also kept the tripped-out
component high as they bounced between the almost
comedic to ethereal and spacebound rock. Not as easy as
Yoshimi, but one for those ready for a challenge.
Embryonic (2009)
For some there was the sense that Coyne was losing
the plot a little with expansive albums, digressions with
famous friends, his long-gestating film project Christmas
On Mars and so on. But this one – emotional with
ruminations on the Big Issues like the powerlessness
of humankind (among other themes) – managed to
marry the ideas with great songs and sonic landscapes, as well as a little
necessary humour. If some of his music since has been a little off target,
you'd never count out The Flaming Lips.
The flamng lips
And also...
The very early Lips stuff is gathered on the three-CD collection Finally
The Punk Rockers Are Taking Acid, released in late 2002 – well worth
seeking out to hear where they came from. If you like that, check out The
Day They Shot A Hole In The Jesus Egg, a double-CD collection also from
2002, released to take advantage of the band’s high profile after Yoshimi.
For more from Graham Reid, visit .
The vehicle of frontman Wayne Coyne proved that even at the
height of post-grunge seriousness in the ‘90s, you were allowed
to be silly and have fun. They remain funny, challenging,
different and full of the unexpected, so to celebrate the release
of their latest psych extravaganza Oczy Mlody, Graham Reid
considers the cornerstone albums of The Flaming Lips.
Japandroids
Near To The Wild Heart Of Life
The poetic nonsense that made
Japandroids’ first two albums so
exquisitely inscrutable is gone; in its
place is naked pop lyricism about
bars and cars, and last calls and long
nights that only furthers their goal
of becoming the pop-punk Bruce
Springsteens. Some things stay the
same: drummer David Prowse is
still there, wailing on the tubs and
whoa-ohing on the mics, and North
American highways still set the
scene for King’s search for meaning.
But musically, they broaden way
out: around their usual power chord
barrage is everything from country
jangle to synth-rock. If Celebration
Rock mirrored the optimism of its
time, Wild Heart mirrors the mood of
its era too: more sombre searching,
and finding hope in small victories.
Jake Cleland
Ryan Adams
Prisoner
Ryan Adams' 17th studio album
is a map for anyone who is lost or
broken. Divorces are tough, right?
Moreso, in the public eye? With
Mandy Moore? These events left
the prolific singer-songwriter with
not much more than his music to
turn to. The result: 12 tracks about
loss, forgiveness, redemption
and self-discovery. The track titles
imply a darker tone than the album
actually produces; Tightrope is a
stripped-back affair with a smooth
sax solo, Do You Still Love Me? will
be the breakup song of the year,
title track Prisoner will resonate
long after your first listen, and the
harmonica peppered throughout
is perfectly placed for reflection.
Adams never misses the mark –
on this or any other album.
Tim Lambert
Various Artists
T2: Trainspotting Soundtrack
The Bodyguard may be the biggest selling
soundtrack of all time, but the original Trainspotting
OST is arguably the coolest, an inspired blend
of iconic faves (Iggy Pop, Lou Reed, Brian Eno)
and Cool Britannia (Blur, Pulp, Leftfield, etc). The
soundtrack to the belated sequel wisely follows a
similar template and even tips its hat to the original by book-ending the
album with two reworked songs from the first movie: a brutish Prodigy
remix of Iggy’s Lust For Life opens proceedings, while Underworld
brings the record to a close with a steely retuning of their anthem Born
Slippy. The British dance veterans also provide the album’s most moving
moment, Eventually But, which features one of the film’s stars Ewen
Bremner. Of the newer artists, there are previously unreleased tracks
from High Contrast – the sardonic electro glam of Shotgun Mouthwash is
one of the album highlights – and Young Fathers (Only God Knows), plus
spiky contributions fromWolf Alice and Fat White Family. Could have done
without Queen and Jason Nevins, but you can never go wrong with The
Clash – represented here by (White Man) In Hammersmith Palais – while
Frankie Goes To Hollywood’s Relax and Blondie’s Dreaming sound as vital
and thrilling as ever. Let's just hope the movie is as good. John Ferguson
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