CRAZY GOOD | The Flaming Lips And Stardeath And White Dwarfs With Henry Rollins And Peaches Doing Dark Side...

Shades of the FAR SIDE OF THE MOON revisited | The Flaming Lips And Stardeath And White Dwarfs With Henry Rollins And Peaches Doing Dark Side Of The Moon | The Flaming Lips and Stardeath and White Dwarfs

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	• The Flaming Lips And Stardeath And White Dwarfs With Henry Rollins And Peaches Doing Dark Side Of The Moon The Flaming Lips and Stardeath and White Dwarfs WEA/Reprise, 2010 average customer review:based on 9 reviews view larger image
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highly recommended

Flaming Lips Do Not Disappoint

When I first started listening to the Flaming Lips in the early '90s I remember describing them as musical hallucinagenics and throughout the years I think they have had some hits and some misses but hearing their take on this iconic album I am pleasantly surprised. When I was a kid I wore out many Pink Floyd cassetes and by the time I was a teenager Pink Floyd had lost its luster for me. But this new Dark Side puts a different and relevant spin on a great album and I'm glad someone had the guts to try something different with such a classic. Think of it as Dark Side for the 21st Century.

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CRAZY GOOD

I listen to this all the way through every day and got to sleep to it every night BUY BUY BUY IT

Shades of the FAR SIDE OF THE MOON revisited

I'm a huge FLAMING LIPS fan, and as far as DARK SIDE OF THE MOON goes, for someone of my Generation X vintage, the album is practically burned into my DNA. Naturally, that makes this an automatic buy for me. Normally FLAMING LIPS do a pretty good job with remakes, having heard remakes of BOHEMIAN RHAPSODY by the LIPS that sounds almost mirrorlike, and Radiohead's KNIVES OUT another excellent choice. So, what happens here? The short answer might be that the LIPS decided to take a very postmodern, psychedelic electronica, and mash it to artrock, to give this FLOYD classic a new lense to view it thru. After all, if FLAMING LIPS simply remade the album note for note, sound for sound, why even bother listening? Going into it, they must have decided to use either distortion to overwhelmed the electronic soundscape, while at times matching the late night, washed out DUB effects, for the isolation and madness, that whisper of insanity insistantly calling from the back of the skull . The LIPS brought in cool supporting characters to help with the little extras. Casting HENRY ROLLINS as the crazy man who talks deranged nonsense, works perfectly. My only question, is how and/or if these STARDEATH & WHITE DRAWFS musicians, add anything substancial to the songs they play on. Their songs have a bit more overdrive than I normally enjoy. BUT...it works, it relates to the insanity theme of the DARK SIDE album. As the lazer first hits the CD disc, SPEAK TO ME pulls you right in, with the sonic effect of heartbeats fading into Rollin's psycho talk. The listener clings to the parts of the songs that remained fixed to the original arangement, while processing thru the parts of the album where distorted electronics and mind searing guitar solos, sit on top a simple rock beat. The leads mirror the original guitar leads, without slavish reproduction...exactly what you might expect with musicians this original. Thankfully, the singer keeps the melodies recognisable. BREATHE, at least when it starts, reproduced far less of the original album's sound, except for the layering of effects that both PINK FLOYD and FLAMING LIPS exploit occasionally within their style. ROLLIN's mad laff, sets the song up, and we ride shotgun til the piece CRASHES and EXPLODES into ON THE RUN. Just like the original, ON THE RUN opens with an asthmatic cough and weeze, which is looped to produce a totally cool rhythm. A keyboard set to HELL HOUND SCREAM gives those eerie organ chords Wright used. The movement into the song TIME is hard to pinpoint, since you dont hear tons of alarm clocks. Yet, it hardly seems to matter. Its when the TIME lyrics are sung, that the intensity and creativity of this album's direction really starts to shine. From all the heavy texture on the album's opening numbers, suddenly the LIPS are nearly producing a DUB remix of the original FLOYD version, with the lyrics being forced up front and center. THE GREAT GIG IN THE SKY replaces the free jazz vocalizing of Doris Troy with "Peaches"...and she puts down her take on Doris's iconic vocals PERFECTLY. Of course, MONEY is the album's original mega smash world wide hit, and the LIPS dont disappoint with this number. It keeps the jingling coin loop central to the song, just as FLOYD used the coins hitting the opening draw of the cash register. (Would a cash register's 1972 sound be recognisable today, since the modern electronic registers never make that sound anymore?) Various electronics and synthesizers do a good job replacing the bass line, with a clean, nearly underproduced picture of the 7/4 riff that continues thru most of the song, til the BASS WALK DOWN comes in. The vocals on this song, are EXTREMELY transformed, with overdrive and distortion. Somehow the song comes off as heavy and understated simultaneously. US AND THEM utilizes the same distant, soft, spacey opening as the original. When classics like this are performed, the fans often wish to hear their favorite guitar solos reproduced as closely as possible, even if the guitar effects have been substancially altered. For the most part, that is how this guitar lead was approached, ie, with reverence. It shined a new light on an old favorite, without ripping the heart out with an overuse of overdrive effects. ANY COLOUR YOU LIKE has hard rock drums, pushed under distorted guitar, tacked onto beautiful electric piano parts, braced against noise-like keyboard buzzes and bumps. It sounds....crazy. As it should, of course. Once more there's enough of PINK FLOYD's DARK SIDE married to FLAMING LIPS acid punk overdrive, to make the whole project work. The sparse textures, and quiet whispering lyrics, bring an ominous vibe on the remake of BRAIN DAMAGE. When the electric guitar lines holler out, along with what sounds like a musical saw sound, it adds a mindnumbing florish to FLOYDS original. Nothing is taken away, except the acute expectations which come from hearing the same album a thousand times. Towards the song's end, the soundscape freaks out, becoming increasingly textured and atonal, to match the insanity of DARK SIDE'S lyrics. (My mind views the troubled distortions portrayed in the guitar, as the band's collective memories of Syd Barrett's meltdown). WHen ECLIPSE starts, the FLAMING LIPS have metamorphised out of their freaky internalized monologues, and are back to being a punk band using DUB effects to make the song have a completely relevant, 2010 appeal. ITs an album that begins and ends clinging to sanity, that's wrapped around a creamy insane center.

Lets face it, an album like this is going to have a limited appeal at its best. If you are into that whole genre of music related to Flaming Lips, what might be called 80s psychedelic punk, morphed into 90s experimental alternative, linked onto 00s Techno-rock YOSHIMI --EMBRYONIC albums, and if you like PINK FLOYD's "DARK SIDE of the MOON", its likely you'll enjoy this album. If you just like PINK FLOYD, and think a overdriven metal version is what you might be getting here, you might as well pass this album by. IF you dont like any FLAMING LIPS past SOFT BULLITINE, don't expect freaky orchrestral rock either. However, if you have a punk alternative heart, matched to a 70s art rock soul, with the eyes of a Yoshimi robot synthesizer, you will GROOVE this baby all the way to the Dark Side of the Moon. And that's quite a trip.

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well I like it!

I'm a minimalist and usually prefer the original of everything. But this, I must say, is pure heaven. Some parts of it make me want to cry. I like how it isn't exactly the same. I think it's super psychedelic and funky. And it's got Henry Rollins, what more could you demand?
One thing I do not like are the transitions. Like from Any Colour You Like to Brain Damage. Not smooth. Also, I have to buy it twice, since I cannot figure out if iTunes can be transferred to cd. I'm not a tech-nerd, sorry.
(You people who do not like this rendition can complain to me and bash me all you want. You're just insecure.)

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awsom

this cover of the dark side of the moon is awsom well done. the Flaming lips stardeath and white dwarfs created an exalent cover and at the same time gave the tracks a tuch of there own awsomness.

The world's most predictably unpredictable band, The Flaming Lips, have teamed up with their Oklahoma City brethren, Stardeath And White Dwarfs to record their own unique take of Pink Floyd's 1973 classic album 'The Dark Side Of The Moon,' under the title of The Flaming Lips and Stardeath And White Dwarfs with Henry Rollins And Peaches.
The collaborative project was recorded after several weeks of both bands touring the world together and mutually citing Pink Floyd as one of their favorite bands of all time and 'The Dark Side Of the Moon' as one of their primary influences.

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Tracks
Speak To Me/Breathe - By The Flaming Lips with Stardeath and White Dwarfs | On The Run - By Stardeath and White Dwarfs with The Flaming Lips | Time/Breathe - By Stardeath and White Dwarfs | The Great Gig In The Sky - By The Flaming Lips | Money - By The Flaming Lips | Us And Them - By The Flaming Lips | Any Colour You Like - By The Flaming Lips with Stardeath and White Dwarfs | Brain Damage - By Stardeath and White Dwarfs | Eclipse - By The Flaming Lips & Stardeath and White Dwarfs

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