A masterpiece like this would've been almost to create perfectly, but the band somehow manage to create one of the decades most perfectly consistent records. If the lyrics were as daring as the music, it would seem as if the band is taking itself too seriously and trying too hard, but the result is quite the opposite actually: Coyne keeps his lyrics simple and straightforward, which adds to the albums power. A seemingly infinite amount of instruments are in the mix-up, and thankfully, none of the tracks sounds the same. More than anything, however, its how maximalist the music sounds that gives it such a jolt of grandiose energy. There's a lovable pop appeal that makes you love it the instant you hear it, along with an odd, experimental appeal as well that may turn it away from mainstream listeners, but ultimately, the two join together to create a truly wonderful style that will keep you astounded for days, maybe weeks, on end. Technically, it's an alternative rock album, but it feels like so much more. If you can manage that (which, really, shouldn't be hard), you're in for a treat. Sure, they all sound fantastic on their own, but it's just all the more amazing when everything's compressed together. It's an album to be experienced in it's entirety right from it's opening track (the majestic 'Race For The Prize") to it's closer ("Buggin'", the album's only love song). It's an album to be The Soft Bulletin is an example of an album where you just can't listen to one track off of it to truly appreciate. Rhythmic and piano-laden, it's heavenly in both its conception and execution.The Soft Bulletin is an example of an album where you just can't listen to one track off of it to truly appreciate.
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" CMJ (6/28/99, p.5) - ".may be the Lips' most challenging, yet still wonderfully exaggerated and far-reaching to date.The group's spaced-out moments, which came off as compelling little accidents in the past, are now more lucid, moody and colorful than ever." Melody Maker (5/15/99, p.36) - 4 stars (out of 5) - ".THE SOFT BULLETIN is a smart, snappy record full of great tunes." Mojo (Publisher) (p.66) - Ranked #6 in Mojo's "100 Modern Classics" - "plifting, orchestral swell and joyful psych experiments." Mojo (Publisher) (1/00, p.31) - Ranked #6 in Mojo Magazine's "Best of 1999." Mojo (Publisher) (7/99, p.97) - ".a stately parade of sound.Very curious, very gripping, very fine." NME (Magazine) (5/8/99, p.38) - 9 out of 10 - ".a joyous, celestial celebration of sound. Spin (7/99, pp.126-7) - 9 (out of 10) - ".THE SOFT BULLETIN may be the most extraordinary rock record you'll hear all year.a symphonic work of fully realized cosmic pop, full of surging sweeping melodicism and expansive, heart tugging tunes." Entertainment Weekly (7/9/99, p.78) - ".a vertiginous rainbow swirl that crams so many ideas into so many tight spaces that each track is like a perfectly rendered Joseph Cornell box." - Rating: A Q (1/00, p.84) - Included in Q Magazine's "50 Best Albums of 1999." CMJ (1/10/00, p.3) - Ranked #2 in CMJ's "Top 30 Editorial Picks. THE SOFT BULLETIN raises such pre-millennial realist/fantasy notions in the midst of a 90s "Tomorrow Never Knows," and in the process setting a high bar for the last great rock-era records of the 20th century. Songs like "Superman," "Feeling Yourself Disintegrate" and a half-dozen others, hint at the hopelessness of life's outcome while maintaining a sense of faith (a common Lips theme). The music adds a context of grandeur to Coyne's lyrics of Zen and the cosmic joke. Long-time producer and Mercury Rev studio savant Dave Fridmann helps with the completion of a Spectorian sonic canvas, full of epic gestures (glorious sweeping strings arrangements) and brilliant details (well-placed thematic samples). Obviously, the experience greatly influenced the band's direction, because on THE SOFT BULLETIN the Lips again scrap the guitar-bass-drum rock standard, sculpting instead a huge hi-fi record akin to a post-modern PET SOUNDS with the vision of a humanist OK COMPUTER. With their multi-disc opus ZAIREEKA (four CDs meant to be played simultaneously on four different players), the Flaming Lips radically expanded the scope of their melancholy psychedelia, as pop tunes became modernist soundscapes, part-Pink Floyd, part-John Cage. The Flaming Lips: Steven Drozd (vocals, guitar, drums) Michael Ivins (vocals, guitars, bass guitar) Wayne Coyne (vocals, guitars). Recorded in Cassadaga, New York, New York between April 1997 and February 1999. Producers: The Flaming Lips, Dave Fridmann, Scott Booker. Additional personnel: Scott Bennett (bass). The Flaming Lips: Michael Ivins (vocals, guitar, bass) Steven Drozd (vocals, guitar, drums) Wayne Coyne (vocals, guitar).
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