Description
‘AMERICAN HEAD’ finds The Flaming Lips basking in more reflective lyrical places as Wayne Coyne explains in a longer form story about the album. Excerpt below:
“Even though The Flaming Lips are from Oklahoma we never thought of ourselves as an AMERICAN band. I know growing up (when I was like 6 or 7 years old) in Oklahoma I was never influenced by, or was very aware of any musicians from Oklahoma. We mostly listened to The Beatles and my mother loved Tom Jones (this is in the 60’s)... it wasn’t till I was about 10 or 11 that my older brothers would know a few of the local musician dudes. So... for most of our musical life we’ve kind of thought of ourselves as coming from ‘Earth’... not really caring WHERE we were actually from. So for the first time in our musical life we began to think of ourselves as ‘AN AMERICAN BAND’... telling ourselves that it would be our identity for our next creative adventure. We had become a 7-piece ensemble and were beginning to feel more and more of a kinship with groups that have a lot of members in them. We started to think of classic American bands like The Grateful Dead and Parliament- Funkadelic and how maybe we could embrace this new vibe.
The music and songs that make up the AMERICAN HEAD album are based in a feeling. A feeling that, I think, can only be expressed through music and songs. We were, while creating it, trying to NOT hear it as sounds... but to feel it. Mother’s sacrifice, Father’s intensity, Brother’s insanity, Sister’s rebellion...I can’t quite put it into words.
Something switches and others (your brothers and sisters and mother and father...your pets) start to become more important to you...in the beginning there is only you... and your desires are all that you can care about...but... something switches.. I think all of these songs are about this little switch.”
Produced by longtime collaborator Dave Fridmann and The Lips. Among them, “God and the Policeman” features backing vocals from country superstar Kacey Musgraves. AMERICAN HEAD takes on a welcome temporal shift that occupies a similar space to that of ‘The Soft Bulletin’ or ‘Yoshimi Battles The Pink Robots’ and just may be their most beautiful and consistent work to date.
