In many ways, The Flaming Lipsĭidn’t really have many options left in the experimental stakes followingġ997’s plainly ludicrous Zaireeka, an album whose mixes were split To be seen in the context of this career arc. That had increasingly been afforded to their Nineties output, the Lips’ ninthĪlbum truly defied even the most optimistic predictions that critics and fans The early summer of 1999 to rave reviews, even compared to the great receptions If there was, then The Soft Bulletin, the pièce-de-résistance from Oklahoman trio The Flaming Lips, would surely be the frontrunner. But there didn’t seem to be room, amid all that analysis and retrospective praise, for any discussion of the flipside of that well-worn concept – the ‘utopian masterpiece’, the anti- OK Computer to soundtrack positivity at the turn of the millennium. That album was so influential that the archetype of the ‘dystopian masterpiece’ became one that countless artists have subsequently pursued. Much was made a couple of years ago when Radiohead’s OK Computer turned 20 years old, with dozens of think-pieces and commentators pointing out the feeling of dread, foreboding and pre-millennial tension had accurately presaged life as we’re experiencing it under late Western capitalism.
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