CONCERT REVIEW: The Flaming Lips - 9/18/10

“I’m sorry for not being here for 10 years,” Flaming Lips front man Wayne Coyne confessed moments prior to the band’s Sept. 18 performance outside The Blue Note. “This will not make up for it. But we will fucking try!”

It looked doubtful the Lips would get their shot at CoMo redemption, though, as a storm seemed to be fast approaching. But Coyne noted that, while the band would have to stop if it started pouring, the members would not let the weather dampen their spirit.

“You make your own fucking happiness," Coyne yelled. "Let’s make it!”

The Lips’ idea of making happiness consisted of the group being birthed onstage via psychedelic vagina and Coyne rolling down Ninth Street in his human hamster wheel. Apparently, this was enough to frighten the storm, as it waited until minutes after the show to unleash its wrath.

In its place emerged the Lips’ own man-made storm. An endless downpour of balloons, confetti and lights soaked the crowd as a few fuzz-drenched tracks from 2009’s Embryonic kicked off the show, followed by an old favorite, “She Don’t Use Jelly.”

At this point, the concert seemed to split into three acts. First was a short acoustic-driven set, peaking with a stripped rendition of “Yoshimi Battles the Pink Robots Part 1” that had the crowd mesmerized. Next was a lengthier stretch of heavy headbangers that made it pretty clear why the air started smelling so sweet. Then came “The W.A.N.D.,” which Coyne belted through a megaphone while donning the strobe-light equivalent of Flavor Flav’s clock.

The crowd erupted at this At War With the Mystics favorite and begged for two encores — “The Yeah Yeah Yeah Song,” an anti-Bush pop gem that partied as hard as the topless Viking lady hanging out of a neighboring window, and “Do You Realize??,” a hysteric outpouring of Flaming Lips reverence.

This concert was a clear example of why the band has accumulated such a massive following over the past 27 years — The Flaming Lips put on one heck of a show. Props and stage dancers manufactured a raucously festive atmosphere, while the tunes sent good vibrations through the sell-out crowd, quite often literally. One thing’s for sure: She might not use jelly, but the Lips sure know how to jam.

As published in The Maneater, September 27, 2010.

REVIEW: "False Priest" - of Montreal

If one were to describe of Montreal’s new record, he or she might consider phrases like “crazy,” “awesome,” and “crazy awesome.” Any further elaboration would be impossible, however, as one would inevitably find oneself dancing.

The disco iconoclasts are back with their tenth studio album, False Priest. As with previous efforts like the breakoutHissing Fauna, Are You the Destroyer? and 2008’s Skeletal Lamping, of Montreal’s sound is a strange brew of musical styles. Funk, indie pop, R&B, gutsy falsetto, and strange-yet-straightforward lyrics — “Close your eyes and count to three/ I'll kiss you where I shouldn't be/ ‘Cause you look like a playground to me, playa,” — violently collide at a toe-tapping tempo.

The end result is Bee Gees on acid, Earth, Wind & Fire on speed, KC & The Sunshine Band on — well, you get the point. False Priest maintains accessibility while remaining substantial. The first listen is as infectious as the eighth is intriguing. What’s more, sorceress of soul Janelle Monáe adds a touch of spunk while Solange Knowles wields enough seduction to rival her sister — you know, her name’s Beyoncé. You might have heard of her.

Perhaps the most refreshing aspect of of Montreal — besides, of course, its unique capitalization — is its refusal to take itself seriously. Both lyrically and musically, spontaneity is rarely lacking in any of the album’s 13 tracks. Whether it’s a completely out-of-the-blue hook or a spoken-word rant on how his girlfriend threw out his beta fish, front man Kevin Barnes always keeps the audience on its toes — if they’re not already tapping, that is.

And once the eardrums fall into this ecstatic state of restlessness, of Montreal hits ‘em hard with a full-blown punch of pop and sensuality on a mission to prove disco — not to mention indie pop — is anything but dead.

As published in The Maneater (Arts & Entertainment blog), September 14, 2010.

REVIEW: "Body Talk, Pt. 2" - Robyn

It’s a well-known fact that Swedish exports are generally awesome: Swedish Fish. Volvos. Vikings.

And Robyn.

The people of Bjorn Borg-istan did more than just produce this pop princess. They fully embraced her — each of her past four releases have reached at least second in the Swedish Albums Chart. And with Body Talk Pt 2, Robyn looks to extend that dominance and continue her inevitable progression toward global pop notoriety.

When Robyn released the first installment of her three-part Body Talk series in June, she delivered a set of top-notch pop standards on par with her heralded eponymous album. And with another soul-bearing anthem, “Hang With Me,” as the lone single for Pt 2, it seemed as if another order of pop was on its way.

Surprisingly, “Hang With Me” is the odd jam out on Pt 2. The record drifts toward a more club-friendly sound full of distorted vocals and techno-esque buildups. This allows Robyn to show off some of her musical smarts, but leaves a little to be desired for those expecting another batch of songs like “With Every Heartbeat" and “Dancing On My Own."

That said, it is important to keep in mind that this is the middle segment of a three-album compilation — it makes sense she might stray away from typical hooks and delve into substantial dance elements that she couldn’t normally explore on a standard-length release. And her slight variation does produce a couple of potential club smashes, most notably “U Should Know Better" (featuring Snoop Dogg) and “Criminal Intent.”

It’s kind of strange seeing this electronica side of Robyn. It’s not necessarily bad — it’s just not expected. It’s like asking for a bicycle for Christmas and getting roller blades. They’ll both get you from here to there, but you really wanted that bike.

Likewise, each track failing to match “Hang With Me” feels like somewhat of a disappointment. Regardless, spot-on production and anticipation for Pt 3 make it hard to stay mad at Robyn for long.

As published in The Maneater (Arts & Entertainment blog), September 8, 2010.