- Released: July 1, 1992
- Label: Warner Bros / WEA
Spin - 10/92, p.115
Highly Recommended - "...have at last outgrown their influences and emerged as butterflies...[HIT TO DEATH IN THE FUTURE HEAD] delivers perfect, whole songs...[and] the band's creativity explodes..."
Q - 9/92, p.744 Stars
- Excellent - "...Flaming Lips resemble a crossbreed of Sonic Youth and Hawkwind, with fistfulls of idiosyncrasies to lift them from strange American noise bands..."
Option - Nov.-Dec./92, p.115
"...This band takes the contemporary noiserock/'60s psychedelic formula to amazing heights on its most fully realized album...beautiful, trippy sounds..."
Mojo (Publisher) - 7/02, p.60
"...Explores the mind-expanded proto-pop they've minded ever since. Wayne sounds like Neil Young on a trampolilne."
- 1.Talkin' Bout the Smiling Deathporn Immortality Blues (Everyone Wants to Live Forever)
- 2.Hit Me Like You Did the First Time
- 3.The Sun
- 4.Felt Good to Burn
- 5.Gingerale Afternoon (The Astrology of a Saturday)
- 6.Halloween on the Barbary Coast
- 7.The Magician vs. The Headache
- 8.You Have to Be Joking (Autopsy of the Devil's Brain)
- 10.Hold Your Head
The Flaming Lips: Wayne Coyne (vocals, guitars); Michael Ivins (vocals, bass); Nathan Roberts (vocals, drums); Jonathan Donahue (guitars).
Engineer: Dave Fridmann, Keith Cleversly.
The CD contains 10 additional minutes of "bonus noise."
HIT TO DEATH IN THE FUTURE HEAD is the fifth Flaming Lips album, was the first to be released by a major record label (Warner Brothers), and bears the subtitle "10 Solipsistic Soundtracks by the Flaming Lips"--a fantastically accurate description of the Lips' music in general. Solipsism is a theme that Wayne Coyne has consistently explored in his lyrics and that he and his revolving team of bandmates have addressed in their music. These songs are all about "reality" as filtered through the very odd prism of Coyne's mind.
Though frequently layered in distortion and other effects, most Flaming Lips songs follow fairly traditional pop structures. "Gingerale Afternoon" is a rare example of one that holds the effects to a minimum, burying them in the background for the most part and letting Coyne's voice and a bright, understated guitar carry the song. The song that follows it, "Halloween on the Barbary Coast," takes the another tack with some heavy-duty drumming anchoring a swirling landslide of shimmering guitars (some tracked backwards). This is arguably the best Flaming Lips album and certainly the best one to start with.