Curveball! There's a great techno-bliss drone undercurrent with the Lip's sound on The Terror. The merging or crossing over of the influence of indie rock and electronic music is alive and well on the new Flaming Lips album. They've done us all a solid in moving in a new direction ... Not that the old FL deal wasn't great, the shows, the music, we all had a blast. Everyone needs to change things up now and then ... a sort of deviant deviation from what becomes the usual.
The Terror takes the awesomely big Flaming Lips persona and moves it firmly into new and more experimental territory ... they've moved to the dark side. It's not a downer, either ... they haven't removed any of the elements that made their music great over the years. The Terror is built on similar foundations to Yoshimi, The Soft Bulletin, any of the classics. The filter is different though, they've portrayed it in a completely different way.
To invoke the Pink Floyd vibe ... There are Pink Floyd moments from their heyday circa 1968-1972. The keyboards move into Richard Wright moments (compliment, not a dis) and these guys know how to break things down into quiet moments. That might be what's most interesting on The Terror ... the quiet corners that come and go on the songs. For a band that has a history of the bombastic, the epic big sound, this time they broke it down into some very quiet experimentations.
In a lot of ways The Flaming Lips are fortunate ... they've earned so much respect and trust from their fans that they can do whatever they want these days and the Flaming Lips crowd will soak it up. This kind of experimentation and sharp break from the past could send some bands into a death spiral, but the opposite is true with The Flaming Lips. Their fans have come to expect the unexpected, and that's what they come looking for.