Форум » Русский форум Smashing Pumpkins » OCEANIA (продолжение) » Ответить
OCEANIA (продолжение)
Ziggy Pop: http://rutracker.org/forum/viewtopic.php?t=4092318 http://www7.zippyshare.com/v/30284895/file.html 01 Quasar 02 Panopticon 03 The Celestials 04 Violet Rays 05 My Love is Winter 06 One Diamond, One Heart 07 Pinwheels 08 Oceania 09 Pale Horse 10 The Chimera 11 Glissandra 12 Inkless 13 Wildflower Toronto-based producer David Bottrill (Tool, King Crimson) mixed the new Smashing Pumpkins album 'Oceania'
Ziggy Pop: Billy Corgan's mission statement for 'Oceania': Do or die With his new band of young-gun Pumpkins, he talks about how he is making his best music since the '90s Billy Corgan calls "Oceania," the Smashing Pumpkins' first studio album since 2007, "an anti-mid-life crisis album." http://www.chicagotribune.com/entertainment/music/turnitup/ct-ae-0617-billy-corgan-20120615,0,3227226,full.column
Ziggy Pop: "Oceania, the first full-length Pumpkins album since 2007's Zeitgeist, is the best thing Corgan and Co. have produced in quite some time. Longtime fans will hear hints of the grungy, vicious band of the Gish era and also the mellow, almost pop Adore era. It's a mix that works." Red Eye Chicago
Ziggy Pop: Chicagoan enigmas return with dazzling and complex ninth studio album. Corgan himself is unusually candid when he says, “I know I wrote more great songs by the pound in the years 1992 to 1997 than I have in the past five years,” but he is also correct when he observes that “that doesn’t mean that I still can’t write a great song.” BBC review "This album within an album revives Corgan's gutter-epic vision with a clarity and ferocity not seen since 1995's "Mellon Collie and the Infinite Sadness." Chicago Sun Times
Deferceptorg: в общем прослушал альбом раз уже 10-15, согласен с Зигги и Ко что оранжировки и синтезаторы несовременные чтоли какието, но альбом хочется слушать ещё и ещё, даже не знаю чем это объяснить... что то в этих песнях есть, не пойму что пока... причём все композиции хороши, ни одной пропускать не хочется, особо могу выделить Wildflower, она постоянно крутится в голове...
Ziggy Pop:
Ziggy Pop:
Ziggy Pop: - What's the main difference between this album and (2007 Pumpkins comeback album) "Zeitgeist"? Corgan: - "Zeitgeist," in retrospect, is the death album -- the last album of the Smashing Pumpkins era. It just took 7 years to come out. I went in with a very naive idea. Everyone wants me to make "Siamese Dream" again, which equated in my mind to a bunch of loud guitars, with that as a transition into a new era. It was like "Indiana Jones" Part 3. You play to an expectation. The smart move when we got back together would've been to do a greatest hits album, a greatest hits money tour, then do a new album. I didn't do that -- much to the consternation of Jimmy (Chamberlin) and my management, because I left millions of dollars on the table. But my plan didn't work either. When I made "Siamese Dream," I was taking LSD, crashing on people's couches, broken-hearted over a girl who later became my wife. You can't be that again. It's disrespectful to your own past to think you can relive your own past. I kept saying to Jimmy, where is the psychedelia? Because I always felt that was the heart of our sound. So I got rid of things, until it became this very primal music, one angry guitar and one angry drummer. I tried to build on that. But my relationship with Jimmy was broken. I didn't want to admit it. He would've been happy to keep it going and I had the blinders on and was marching forward. I just stepped in the wrong mudhole. But I learned some things. I came across an apathetic audience, and it ignited something in me. It brought back that old "(expletive) you." в общем-то Билли прав, так или иначе You can't be that again. It's disrespectful to your own past to think you can relive your own past.
Ziggy Pop: но это не оправдывает его перед тем, что на новом альбоме слабые аранжировки
Ziggy Pop: он мог всё сделать гораздо лучше
Ziggy Pop:
Ziggy Pop: Interview: Billy Corgan of Smashing Pumpkins June 18, 2012 Reaching heights of artistic promise unheard in over a decade, Billy Corgan has returned with a revitalized Smashing Pumpkins to deliver Oceania, the ninth album under the Pumpkins moniker. Through two decades' worth of weathering naysayers, band in-fighting, rotating characters and a musical era that fetishizes the disposable pan flash, Corgan has fought to maintain his artistic voice and vision among the high seas of rock culture. Oceania represents a full circle for the man and his band, and with a powerful new album and a series of retrospective reissues on the horizon (Mellon Collie and The Infinite Sadness and The Aeroplane Flies High are next), there was much to discuss when we spoke with Corgan last week in advance of Oceania's arrival. There's a line in Oceania that I keep coming back to: "No one can love you cause no one can free you" What does it suggest? A person bound by themselves? I have to think about that. It was a stream of consciousness kind of thing that I kept. I think the original line was 'no one can love you cause no one can touch you.' But then I started thinking well why can nobody touch you? It's because nobody can read you. So then I took it even further back to well, no one can love you - why? It's this idea that you're projecting on someone else, and that's their responsibility. You can put it anywhere. The audience won't let me play what I want. Well, why don't I just play what I want? Why am I even having this thought? Well, you have that thought because if you play what you want, the audience is probably going to throw eggs. Unless you're as talented as, say, Bob Dylan. So it's this idea of a constant projecting out, which you already have. I read this beautiful essay once that David Mamet, the playwright, had written about playwrights and screenwriters. It was on how you have this incredible freedom, and yet you yearn to be a part of the system. And to be part of the system you give away your freedom, and then you work really hard within the system to win your freedom back. Why didn't you just embrace your freedom from the very beginning? And that really struck me. The central question being, what is freedom if you won't give it to yourself? But freedom is a slippery slope... so subjectively interpretive. Right, exactly. What does it cost if it's free? Like the punks down the street we all saw growing up... "anarchy"... Okay, well who's going to clean up the sewer pipes? Are we all going to shit in a field now, and you're gonna wear your leather jacket and say anarchy and listen to 7 Seconds. Somewhere between the intellectual idea of why we're attracted to certain things and the pragmatic reality is some form of ever-evolving truth. And I think that's what we all wrestle with. Sam Thompson (a beloved Resistance Pro employee who passed recently) knew roughly three months ago that he probably had terminal cancer. With every last ounce of energy he had, he kept working for the company. Just because he loved it and he loved everybody in it. He'd pick up people up from the airport, when he could be saying 'fuck this, I've got terminal cancer, I'm gonna sit on my front porch.' He didn't ask anybody for pity, and so when it came up that there were issues medically, everybody rallied around and did their best. I think that's the spirit of life that gets lost in the intellectual translation of who are you and why are you here? What are you doing? I had such a big mouth for so long that it doesn't faze anybody anymore. But when I was a kid and I had a big mouth they'd say 'Who the fuck are you? Who the fuck are you to say that?' Well I'm me, that's who I am. You don't think that also comes from age and experience? Of course, but when you intersect with the mainstream world, the first thing they ask you to do is flaunt your credentials. Where did you come from? Who are you? What's your agenda? I want to be in the biggest band in the world. Well that's a bit ambitious, isn't it? Do you have the right to say that? You sure aren't handsome enough to say that. We're okay if Justin Bieber says it because he's actually that handsome. It's all about value systems, constantly. It's an ever-fluctuating value system. Right. If I'm on The View, I'm a whackjob. I'm a radical. Elizabeth whatserface is imploding because her blind Republican rallying can't handle a free thinker like me. It's either left or right. Obama or Romney. You can't contemplate anyone outside that paradigm, it's just too weird. But then I go on some of these weird radio shows, and they love it, because that's what they do over there. That's within their reality spectrum. Yeah, that's what I'm saying. I've floated between these two worlds, and never found a home in either of them. Indie world won't have me, and mainstream world treats me like an alien, but here I am still floating between these two worlds. (laughs) I'm not sure I want to be a part of either of them, but hey. There's records to be sold, and mountains to conquer, and all that stuff. How realistic is this "75 new songs" number going around about the Mellon Collie reissue? Um... It's seventy-five, maybe even 80 at this point... alternate versions, rough mixes, demos... it's a pretty crazy pile. It'll be divided between Aeroplane and Mellon Collie. About five CDs of extra stuff. Are people going to be able to dig through the Pastichio Medley slowly and piece some new things together that have come to light? Interestingly enough I found this thing called "Pastichio snippet". The whole "Pastichio" track was edited on tape. I think we took all the extra bits and chopped up pieces and just strung them together in case we needed them. So that was transferred at some point, so it's sort of like leftover bits of the riffs... but some of them run backwards, because of the way they were assembled on tape. So it's a little bizarre minute and forty second blast of what would've ended up on the cutting room floor. So that'll be on there. And there are full versions of some of the "Pastichio" songs. "Zoom," and "Knuckles"... there's some cool stuff. It'll be interesting to see what people think when they hear the whole version. The whole three, four minute version. At the time that was one of the most exciting things I'd ever heard on a record, because it was this blizzard of fragments that you could barely identify before being whisked off to another spot. It's been fun going back through the stuff. And I give a lot of credit to Flood, because he made really good rough mixes, and so there's a lot of cool stuff. For example, after we would cut all the guitar overdubs for a song like Ruby, we'd have this DAT with a scratch vocal, where you can hear the guitar part's really super loud. So it's this really stark, guitar-driven version with an alternate vocal. But the mix is really good, because Flood did the mix. So if you're a fan of a song, maybe you can get a little different illumination of a lyric or a melody... it's the stuff in between the cracks, but I'm a bootleg guy, so I love that stuff. As far as these Mellon Collie and Aeroplane Flies High reissues, fans are obviously out of their minds with excitement. But in terms of your own appreciation, have there been any tracks so far that leapt out at you as like... holy god why haven't I shared this with people? I would say of all the songs, the one that's always been very quizzical to me is a song called "Methuselah". There's a bootleg out there of it, but a really really rough copy of. And in fact at one point I even asked the fan to make me a copy because I thought that I had lost my original demo of it. I thought the tape was lost forever. So we have a fresh transfer of that song and a mix of it. And everyone who hears the song goes 'Wow, this is areally good song,' and I laugh and I say yeah, I never even played it for the band or Flood. It was one of those things, I got up in the morning, and I cut the song, and I just wrote down... I think the song deals very directly with my relationship with my father, and I think I just avoided the topic altogether. So it's a song that probably should've been on Mellon Collie and Flood would've been all over it. And no one ever heard it, so it just sat there in the corner somewhere. Applying the logic of diversity and metamorphic creativity being necessary in a world with such short attention spans, how does that reconcile with someone like Gotye? There is still an urgency to create a box of reference, and his record really accommodates that. That makes it that much harder to approach an artist who's embracing the passion and spanning different sounds. For me it's too late (laughs). I look at other members of my generation who have basically done one thing, and one thing well, and have been handsomely rewarded for it. I would say, pseudo-arrogantly, that my model of diversity will win in the end. Especially in the internet age, because I've got goth fans, electronica fans, heavy metal fans, grunge fans, sentimental songs, I've got wedding songs, songs to play at funerals... I just think at the end of the day, diversity will win. History will bear me out on that, and in about thirty years we'll know whether or not I was right. And if I was wrong, well... (laughs) It doesn't matter then anyway. click here
Ziggy Pop: How realistic is this "75 new songs" number going around about the Mellon Collie reissue? Um... It's seventy-five, maybe even 80 at this point... alternate versions, rough mixes, demos... it's a pretty crazy pile. It'll be divided between Aeroplane and Mellon Collie. About five CDs of extra stuff. And there are full versions of some of the "Pastichio" songs. "Zoom," and "Knuckles"... there's some cool stuff. давай, Коргна, давай
Zero: первая достойная фотка группы в новом составе. до этого все фотки что я видел были полнейшее недоразумение.
Ziggy Pop: узнаю этот взгляд (Корган), привет 1998-2000 гг Zero пишет: первая достойная фотка группы в новом составе. до этого все фотки что я видел были полнейшее недоразумение. да шапито конченное было какое-то вообще
Ziggy Pop: Deferceptorg пишет: в общем прослушал альбом раз уже 10-15, согласен с Зигги и Ко что оранжировки и синтезаторы несовременные чтоли какието, но альбом хочется слушать ещё и ещё, даже не знаю чем это объяснить... а ты подумай всё же и объясни интересно просто Deferceptorg пишет: что то в этих песнях есть, не пойму что пока... причём все композиции хороши, ни одной пропускать не хочется, особо могу выделить Wildflower, она постоянно крутится в голове.. может ты, в отличие от нас, нащупал ту самую струну, что задела твою душу?
Ziggy Pop: The Smashing Pumpkins Oceania Caroline / EMI / Martha's; 2012 By Jayson Greene; June 19, 2012 6.3 out of 10 You will not tell Billy Corgan what to do. The Smashing Pumpkins leader's two-decade career has been wildly erratic, full of potholes and detours, but this ironclad rule has remained. "I was into Black Sabbath and it just wasn't cool, but I didn't give a shit: My band was going to sound like Black Sabbath because I fucking wanted it to and I didn't give a shit what some idiot fuck thought," he spat at Julianne Shepherd 2005, apropos of nothing, around the release of his solo album The Future Embrace. The quote, with its fascinating blend of indomitable will and boiling spite, is pure Corgan. For better or for worse, this energy is his fuel: He will reach transcendence, goddammit, with or without you. The last few years have borne sad witness to this worldview's inevitable end point. When Jimmy Chamberlin, the band's lone remaining original member, departed in 2009, saying only, "I can no longer commit all of my energy into something that I don't fully possess," Corgan became the last one standing. His announcement that he would be keeping the Pumpkins name and recruiting new members was hardly surprising. The Pumpkins had always been Corgan's dream, after all, the other members mere action figures recruited for its realization. Even the ridiculous band name, which the other members wore with the ease of an ugly sweater hand-picked by their mom, was a remnant of Corgan's boyhood vision. "The name of the band is a stupid name, a dumb bad joke and a bad idea, OK?" original bassist D'arcy Wretzky snapped to the Washington Post back in 1993. "Billy named the band before there even was a band. He was like, 'I'm gonna have a band and it's gonna be called this.'" Now, Corgan has surrounded himself with a new crew, one presumably more excited to be sporting the team jersey. Mike Byrne (drums), Nicole Fiorentino (bass), and Jeff Schroeder (guitar) were assembled via "It could be you!" open auditions: Nineteen-year-old Byrne, for example, was a freshman at the Berklee School of Music when Corgan recruited him. This crew is charged with the unenviable task of making the first record since 2007's Zeitgeist to bear the Smashing Pumpkins name. Given the conditions, they do the best job possible. In terms of sheer sound, Oceania hits its mark: It succeeds, at least, in seeming Pumpkins-y. The towering slab of guitars, the sense of hurtling forward motion, the alt-rock-meets-Les Mis sweep, are present, and help make Oceania Corgan's most worthwhile work in years. Opener "Quasar" features plenty of pile-driving riffing, and you can hear the new members working overtime to justify their spots: Byrne's drums have some of the fluid propulsion of Chamberlin's, and Schroeder's leads are ear-catching but unshowy. When Corgan's thin, keening voice enters over the mass of sound, you believe, for a moment or two. But the songs themselves lack the soaring melodies Corgan used to grace them with, and his voice is a little rougher, coarser. The arrangements suffer from a whiff of generic, corporate-rock slickness. Would that this record actually had some of the thick-caked doom of the Sabbath records Corgan built his tower out of. The entire album, meanwhile, suffers from rote, obvious lyrics, which lean heavy on the "I'm always on your side"/ "Everything I want is free"/ "There's a sun that shines in me" School-of-Rock madlibs approach. It's also difficult not to notice he's repeating himself: The introductory riff to "Quasar" is nearly identical to that of "Cherub Rock". The power ballad "The Celestials" recalls "Disarm", while the open-hearted, dramatic plea at the center of "Violet Rays" ("I'll leave with anyone this night/ And I'll kiss anyone tonight") is an almost-direct quote from Mellon Collie's "In the Arms of Sleep". "Pale Horse" echoes the chord progression of "Thru the Eyes of Ruby". This is the classic Pumpkins sound, but an echo of itself; its spirit is somehow enervated. What you do hear on Oceania is a reawakening of Corgan's ambitions. The album feels bigger and covers more ground than anything he's done in a decade: There are neon electronic interludes, folk-rock breakdowns, songs that morph from wintry ballads to grim rock stomps. "Pinwheels" starts with a flitting-hummingbird synth line, layers of droning cello, and George Harrison-style guitar before collapsing into a lovely folk-rock breakdown with softened, cascading female background vocals. Uptempo rocker "The Chimera" has an infectious chorus, and the title track churns darkly through multiple sections without losing momentum. Oceania is reportedly only the middle section of a larger, looming 44-song epic bearing the Terry-Brooks-fantasy-series title Teargarden by Kaleidyscope. It's exhausting to imagine this record sitting inside something three times its length. But Corgan thinks only in epics-- double albums, boxed sets that come in suitcase packaging-- and this generosity is the upside of his world-conquering ambition. Corgan made Oceania available with no advance copies or radio singles, an attempt to preserve the pre-digital "everyone all at once" album experience he fondly remembers. This gesture, like many of Corgan's, combines astronomical rock-star hubris with a kind of weird largesse: He very badly wants to give his audience something enormous, undeniable, and life-changing. But this impulse has a dark side. Like Corgan recording countless vocal takes of "Zero" and grading them with a series of check marks. Or recording all of Siamese Dream's bass parts because he could complete them in fewer takes. Corgan used to be able to absolve his personal failings in rock'n'roll, but rock'n'roll can only do so much. His new band might not question him very much, and they may play better or more professionally, than his old crew. But Oceania suffers a kind of rock-star-dictator airlessness. "I'm all by myself/ As I've always felt," Corgan sang, on Siamese Dream's "Soma", surrounded by his bandmates and newly ascendant. "I'm alone, so alone, but better than I ever was," he sings, sadly, on Oceania's title track, surrounded by a hired-via-contest crew of strangers. You can always be more alone. http://pitchfork.com/reviews/albums/16742-oceania/
Deferceptorg: Ziggy Pop пишет: а ты подумай всё же и объясни интересно просто учитель, пять палок тебе бамбуковых выписываю, я ж не могу думать, мой мозг ведь с твоих слов дятлы на горах клюют) Ziggy Pop пишет: может ты, в отличие от нас, нащупал ту самую струну, что задела твою душу? ещё пять бамбуковых палок тебе за сомнения
Ziggy Pop: я серьезно тебя спросил
Coma: Ziggy Pop пишет: он мог всё сделать гораздо лучше мог, да не сможет уже. Ziggy Pop пишет: я серьезно тебя спросил ответа не последует, это точно=)
Ziggy Pop: Coma пишет: мог, да не сможет уже. ну может потом... я, несмотря на всё, продолжаю верить в лучшее, не знаю почему, но это так Coma пишет: ответа не последует, это точно=) мне правда интересно, ЧТО там в этих песнях такого, чего не может объяснить Дефертыч === (Пост N: 20000)
полная версия страницы