But the group - by now the core unit of Coyne, multi-instrumentalist Steven Drozd, bassist Michael Ivins and longtime producer and engineer Dave Fridmann - got way more single-oriented with Yoshimi, dabbling in slick choruses and stylish computerized rhythms that borrowed from contemporary hip-hop and R&B. The Lips, launched in Oklahoma City 19 years earlier, had already taken massive strides toward accessibility, having evolved considerably from the scrappy psych-rock of their early days: Their ninth LP, 1999's The Soft Bulletin, was roundly labeled a masterpiece, recalling a darker and more blown-out version of the Beach Boys' wide-eyed symphonic pop circa Pet Sounds. 'Wouldn't that be interesting?' And it was!" "We would listen to things like Nelly Furtado and Madonna, and we would say, 'Why don't we try to do that to our music?' Wouldn't it be funny if" – not thinking we're making commercial-sounding music we're thinking we're gonna put these big beats and these funny, quirky sounds to our simple, little, funny songs about robots.
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