On the Flaming Lips’ 11th full-length release, At War With The Mystics, the Oklahoma acid-pop trio sticks with the unique combination of sublime, hypnotic vocals, lush melodies and surrealism that has made them an underground favorite for the past two decades. The album samples a wide variety of styles, including funk, symphonic pop, ‘70s psychedelia and progressive rock. The end result is a record replete with enjoyable moments, yet lacking the cohesion and staying power of the Lips’ recent output.
Thematically, At War With The Mystics tackles the issues of life, death and existential confusion. However, the same child-like cosmic wonder that was so endearingly whimsical on their past records often falls flat. Lines like “if there ain’t no heaven, maybe there ain’t no hell” make you realize that some philosophical musings shouldn’t stray from the proximity of Wayne Coyne’s lava lamp, let alone make their way onto a record.
The album opens with the energetic “Yeah Yeah Yeah Song,” which, despite its initially annoying start and superficial political lines, is undeniably catchy. “Free Radicals,” a track reminiscent of Prince, shows promise and may even be a good song once the layers of extraneous noise are stripped away.
At War With The Mystics has some of its most successful moments of experimentation when the Lips shamelessly indulge in trippy instrumentals, such as in “The Wizard Turns On and Pompeii Am Götterdämmerung,” whose spacey echoes and synthesizer waves are reminiscent of vintage Pink Floyd.
Although it is has some solid tracks, such as the singles “The W.A.N.D.” and “Mr. Ambulance Driver,” Mystic’s heavy studio production and extensive use of guitar effects can’t hide the lack of substantive concepts behind many of these songs. In fact, Wayne Coyne’s abandoned song title, “I Like to Masturbate and Think of Outer Space,” perfectly describes the self-indulgent—and ultimately unsuccessful—nature of At War With The Mystics.
