The idea was extended to "The Boom Box Experiments," FLips concerts where attendees were given boom boxes with tapes, and Coyne conducted the boom-box symphony, indicating when to start the tapes, when to crank the volume, etc. This whole wacky notion is rooted in "The Parking Lot Experiments." Coyne gave about twenty or so car-driving friends different audio tapes to be played in their cars' tape-decks simultaneously while everyone sat parked in a lot, giving a participatory performance art aspect to Coyne's music. *** - Unless you cheat and defeat the purpose via the internets. I hereby extend a non-expiring invitation for three of you to come over and Zaireeka it up with me. The main problem is that I have never lived anywhere with more than one friend with eclectic enough taste to do this with me. For the record, that mix is the one on my computer, but I do own the album proper and have listened to it played from a TV, a stereo, and two computers on one occasion, involving remote controls and quick hands. Convenient for when you don't have three friends / four CD players to orchestrate the whole complicated simul-play-pressing event. If you are at all internet savvy, you can find one of my favorite-named bootlegs of all time, the "Zaireeka: Defeating the Purpose Mix," in which someone sync'ed up the discs and recorded the output to a single mp3 file for each of the tracks. * - The tracks on the the individual CDs all start with an indication of which disc they are, so if you sync things correctly you will hear a nice, rhythmic "Track number one, this is CD number one, number two, number three, and number four," each part coming from the appropriate disc. That's twelve different ways** to hear the album right there, and once you start thinking about the different fidelities of various audio systems, the subtle differences in timings of track loadings, the different spatial orientations you can give the various players, etc., you essentially have a better chance of being a victim of a terrorist attack than hearing this album the same way twice***. Because Wayne Coyne, the Flips frontman, also encourages you to play three of the discs - your call which three - on three players.
The discs are meant to be played simultaneously, on four different CD players, and if you sync things up perfectly*, you get the "full song," though it's not clear that any singular experience is meant to be born from the album. The music fades on and off each disc to other discs, or pops up here and there seemingly randomly. But it's not like they're divided up sensibly (e.g., drums and bass on CD one, guitars on two, vocals on three, effects on four). All four CDs have the same track listing, and all four have different components of the individual tracks.
It's a quadruple album, though not in the traditional sense. So if my 2010 (pronounced "twentyten") turns out to be a psychedelic pastiche of schizophrenic incomprehensibility, well, here's why. The Flaming Lips were already a weird band - the title of their early years collection Finally, the Punk Rockers are Taking Acid pretty well captures the mayhem within - but with Zaireeka, things are taken up at least three Doritos. There's an old saying that indicates that your year will always mirror the first reviewed album of that year.
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