Back the the start of 2002, if I had been told one of my favourite albums of the year would be a concept album about a Japanese girl fighting evil giant robots, well, I'd have probably asked: "Who by?" If the answer was Coldplay, I'd have said "Not likely." THE FLAMING LIPS on the other hand? Well...just maybe.
As it turns out, there's a 3-track sequence on their follow-up to 1999's critically-adored "The Soft Bulletin" devoted to the above subject matter, while the rest of the album concentrates on similar subjects to the predecessor: mortality, human failings (physical and emotional), bereavement and, of course, love.
Musically, the Lips' brand of warm, emotive electronica combined with acoustic guitars and that trademark upfront drum sound has matured to a point where "Yoshimi..." is a definite contender for career highlight to date.
Most reviewers have seemed compelled to compare "Yoshimi..." to "The Soft Bulletin", but I'm going to concentrate on taking the new album on its' own merits, as deciding which is "better" is a matter of personal preference for the individual listener.
"Yoshimi..." is a great first listen, immediately immersing you in the beautiful soundscapes created by the three main Lips, Wayne Coyne, Steven Drozd and Michael Ivins, and constant collaborator/ producer extraordinaire Dave Fridmann, and in the case of "Flight Test," "Yoshimi Pt.1" and "Do You Realize" supplying you with some irresistible melodies to buzz around in your head for a few weeks.
The album works even better on further exploration, as with each listen you pick up new elements to the layers of instrumentation, samples and vocals which make up each song. Opener "Flight Test" may sound uncomforably similar to a certain Cat Stevens number (watch Whisperin's cool rating drop as you read...though we've already got a Leo Sayer review, so Sir Cliff is a matter of time, but I digress), yet overcomes this with intricately arranged vocals and heart-searching lyrics from frontman Wayne Coyne.
Indeed, Coyne's more direct than ever before on this album, and this song in particular, when dealing with the confusion, joy, regret and responsibility that goes along with living a life.
Next up's the "Yoshimi" section. "One More Robot" deals with the fairly uncommon pop theme of robots developing human emotions. This is followed by a beautiful short instrumental piece, "Sympathy 3000-21" which sounds like something from the soundtrack of a Japanese anima movie, and leads into the LP's second pop gem, "Yoshimi Battles The Pink Robots Pt.1".
Off-beat acoustic strumming, strange blips and bleeps, and a sweet chorus (yes!) including lyrics you're not likely to hear on TOTP (sadly), e.g: "Oh Yoshimi, they don't believe me, but you won't let those robots eat me." The real-life Yoshimi (from Japanese band THE BOREDOMS) lends her distinctive vocals (read: screaming) to the first of two full-length instrumentals, "Yoshimi Pt.2"; a suitably noisy soundtrack for the title's battle.
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This gives way to the mellower territory of "In The Morning Of The Magicians," which introduces us to the emotional core of the album: a set-piece of songs inspired by the deaths of several close friends of the band, stretching from "Magicians"' examinations of love and hate and "why do they matter?", travelling through introspection and self-awareness, and finally arriving at THE FLAMING LIPS' own "carpe diem" (involving time travel and a sci-fi plot line) "All We Have Is Now."
The album does lose a little steam at the three-quarter mark, but the momentum is soon regained with the album's third pop gem - and this reviewer's single of the year so far - "Do You Realize." The Lips deploy every sonic trick in their arsenal from full-on technicolour electronica to "Muppets sing choral" backing vocals, and the lyrics rise to the occasion, bringing a fresh and celebratory perspective to the counterpoint of death and love.
A second instrumental - "Approaching Pavonis Mons By Balloon (Utopia Planitia)" - closes the album. It feels like something to play over the end credits of this cinemascope album, an analogy which allows us to think of "All We Have Is Now" as that powerful final scene.
To be truthful, the album would lose little by dropping the instrumentals, yet their presence doesn't drag it down either, and after the 57th listen will no doubt be an essential part of the picture (enough with the movie analogy already.)
Time will tell if "Yoshimi Battles The Pink Robots" has the staying power of a truly great album, although the signs are certainly promising. As for the "which is better" question...well as you had to ask, it's "Yoshimi..." for now.
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