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Official Smashing Pumpkins thread

K

Kabuki Waq

Member
fallout said:
Can you go a day without ragging on Tool fans? Honestly, it's getting a little ****ing tired.

Sigh, anyway. Patiently waiting.
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dont mind him he is just jelous. I mean he knows this album is a last ditch effort by a really desperate has been. :(
 
F

fallout

Member
Diablos said:
I haven't ragged on Tool fans in at least a week. At least.

But really, I wasn't trying to insult you. C'mon, just go to a Tool messageboard for a few minutes. There's not much of a difference in opinion there.
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Dude, I've listened to the Pumpkins enough to visit some message boards. There was once a discussion on what colour of shoes Billy might be wearing that day. Shoes. I could pull out plenty of examples, but a lot of bands just have stupid fans.

Diablos said:
yeah that's it, hur hur

Go away. Make a Tool thread or something.
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I hear SP's live act is overrated?
 
B

Bebpo

Banned
Stop bumping this thread is there's no new info about performances/songs/leaks/band info.

Personal attacks on music taste boring to read and it just gets my hopes up for something cool each time the thread is bumped :(
 
D

Diablos

Member
Luna104 said:
i think Billy was somewhat holding back because the crowd just didn't really seem into it that much, they were just standing there like a bunch of ****ing sandbags,

same thing happened at Pinkpop.

BTW, ginger is really hot.
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Most of the people were there for Linkin Park, I hear. Seriously. All the LP fans in Germany like rushed the place.

Sad.
 
R

Reese-015

Member
I'm really amazed by what they did to sh-sh-sh-sh-sh---shame... Goddamn, one of my least favorite Pumpkins songs made so awesome. The song also has a completely different atmosphere now, it's like Corgan reflecting on everything that happened with him post-Pumpkins.
 
D

Diablos

Member
Ok, so I finished watching the entire Rock Am Ring concert with my speakers blasting, and wow does this band sound tight. Really tight. Ginger and Jeff are just doing an awesome job. Also, Ginger put an update on her myspace saying that she's a Pumpkin. Does this mean studio Pumpkin? Hmm. She can definitely keep up, she communicates with the band really well and her style is a perfect fit. Ditto for Jeff.

Everyone thought Ginger was just thrown into the band at the last second strictly for the hotness factor (after dropping Eric Avery and all), but I can now see why Billy and Jimmy picked her. This girl is really good.

Oh, and Jimmy sounds like a monster, as usual. Best drummer ever.

The crowd seemed more into it than I thought. A lot of people, especially towards the front, aren't bored... they're just kinda standing there and soaking it all in. But you could tell they were really enjoying it. And of course, you're going to get people who don't care about certain bands; that's any festival, you can't please everyone.

Also note the huge size of the crowd. It went on forever. If you were waaayyy in the back, so far back that you'd be better off looking at one of the screens, you're probably not going to care as much.

edit: New video http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=2034157813
 
Z

Zep

Banned
Me and FMT are sharing a hotel and will be running trains on drunk girls, then seeing the pumpkins!!!

but he also promised to buy tickets for 3 doors down! fun times ahead!
 
N

Nick

Junior Member
Ginger Sling did some pretty good pop songs for the show Laguna Beach a few years ago. You can find them on iTunes.
 
T

terrene

Banned
It should be about time for it to leak. It's almost certainly been handed in for duplication and the promo rounds are starting. Should be any day now.

The CDS for "Tarantula" [non b-sides version] has leaked, if anyone wants to upgrade their copy.
 
D

Diablos

Member
Also, the CDS of Tarantula sounds a lot more "full" overall. Those of you complaining about the vocals being too loud should check it out.

I'm not sure what it is... mastering? Something. For example, the final guitar sound you hear in the original version was super high pitched and very distinct, whereas with the CDS, it kind of has reverb to it.
 
D

Diablos

Member
Unless someone at eil.com is having fun with photoshop, this is the cover for the Tarantula single in the UK:

4zldn9w.jpg


http://eil.com/shop/moreinfo.asp?catalogid=405430, http://eil.com/shop/moreinfo.asp?catalogid=405431

I'm not sure what to say :lol :lol :lol :lol
 
D

Diablos

Member
Some detailed (really detailed) album impressions from someone who is not only a big fan but a musician.

First of all, I've written this with the assumption that you've heard the live shows. If you're familiar with the songs live, there aren't too many huge surprises in the album versions -- except for God + Country. Everything else sounds mostly like a studio recording of the live arrangements, but with more guitar and WAY more vocals.

And just to shed some light on my perspective, I'm somewhat of a musician -- I've played guitar and drums recreationally for about 10 years. When I listen to music, I pay attention to vocals in terms of melody, but I don't care as much about lyrics. So I will probably talk a lot about guitar tone and drum fills, but not a whole lot about lyrical content. You've heard most of the lyrics anyway. I've also been a fan for around 14 years -- saw the band for the first time at Lollapalooza in '94. I was at both the 2000 Metro show and the 2007 Paris show. On the other hand, I don't like everything Billy & Co. have ever released. So I'm a nutso fan, but not an unconditional fan.

So here we go, song by song. I'm going to give each song a score out of 10, which is just to convey an idea of how much I like one song relative to the others.

---

Doomsday Clock

Score: 9

I can easily see this song being a single. It's up-tempo, rocking, and has a catchy chorus. The song (and album) kicks off with the same fill Jimmy plays live and dives into some heavy, dark, distorted guitar. After four bars, yet another track of doubled guitar comes in. Tonally, it almost reminds me of one of the songs off the Ransom soundtrack (Spiders? I get the titles of those all confused), but it's the one with the seriously distorted, near feeding back guitar. If you've heard the 20 seconds from that Warner promo video, you already know what I'm talking about. Pay close attention in that clip to the vocals in the chorus. Not only is it a 2 or 3 part harmony, but each part is also doubled. There's simply an outrageous amount of detail worked into the vocals. I said this already, but it's like there's almost as much attention to detail in the vocals on Zeitgeist as there is attention to the guitar in Siamese Dream.

One minor difference between this recording and the live versions is his vocal delivery... When he sings "ev" in "is EV-eryone afraid?" it's a flatter note than what he sings live. And the vocal delivery is a lot lazier... but don't get me wrong, it suits the song really well.

It struck me that Jimmy's snare tone is very piccolo-like; a lot brighter than other recordings. Part of it is that the drums aren't as buried in the mix as previous albums. Imagine the drum sounds of Life Begins Again, and you're on the right track. I'd imagine he's using his Yamaha Signature snare on a lot of songs, and I haven't played one myself, but it's a steel shell and it probably has the really cutting, sharp tone that you hear on this track. Blah blah blah, drum geek talk.

Speaking of which, the fill that leads into the chorus is a lot like the single stroke roll from the lead-in to the chorus in Quiet. Also, in the lead-ins for the verses, Billy does these bends and plays with the whammy bar and gets this kind of cool discordant sound that reminds me of wailing sirens, which suits the tone of the song. He also has a scooped wah sound on the guitar during the bridge, which sounds cool.

Other than the dense vocals and guitar tone, there aren’t any big surprises here.

--

7 Shades of Black

Score: 9

Once again, no big surprises here if you've heard the live version. After listening to the whole thing through 5 or 6 times now, I started hearing some of the songs as pairs. This song matches well with Doomsday Clock -- kind of a similar vibe.

The main riff has the same squealing whammy pedal sound as live, and overall it reminds me vaguely of the main riff in TEITBITE (minus the electro feel). One thing I really like about this song is the synched up guitar stop/cymbal chokes when Billy sings "My black heart". Really sweet guitar production. I also like the tone of that ascending lead guitar riff during in the chorus.

The bridge of this song has a cool (but brief) harmonized guitar solo. Prog-sounding harmonized guitar leads are iconic on this record, especially since it's not something Billy has used that extensively in the past.

Another thing that struck me while listening to this song is how wide the stereo space is. I listened on headphones a couple times and noticed the guitars and backing vocals are pushed far to the left and right. You can kind of get a sense of this from Tarantula too.

---

Bleeding the Orchid

Score: 10

Looking at the score, you can probably tell this is the highlight of the album for me so far. Not to say that the album goes downhill from here, but they really nailed this song in the studio. I was at the Arising Roxy show in '99 and was really excited about those songs, and having Jimmy back. I listened to the Detroit bootleg a ton, too. I could not have been more disappointed with those songs ended up being recorded. I don't feel that way about Zeitgeist at all (well, okay, one track, we'll get to that shortly). Bleeding the Orchid ended up with exactly the thing that makes it so great live -- it slowly builds momentum until it reaches huge energy at the end.

The song kicks off with the same keyboard part as live, except instead of a keyboard, it's Billy's voice. It's like a choir ensemble of Billy Corgans "Ahhh'ing" the keyboard parts. Seems awful in theory, but it somehow works. Then the drums and guitar kick in and it mostly sounds like it does live. The rhythm guitar has a pretty heavy chorus effect, maybe reminiscent of I of the Mourning. But don't get me wrong, everything is tracked very crisp and clean. There's no "wall-of-sound" muddiness that I feel plagued Machina.

And so the song builds and builds, adding more and more haunting backing vocals. The vocals sound amazing on this song. The backup vocals that Ginger and Lisa do are there (done by Billy, of course), but multiplied by six. There is lead guitar flowing through the last chorus, which lifts the song even higher -- but the live outro guitar solo section is absent in the recording. It's not a huge loss. This song holds its own amongst the best Pumpkins recordings since Mellon Collie.

---

That's the Way

Score: 5

Okay, before I lose whatever credibility I had by gushing too much, I'll shift gears into some criticism. This song did not make a big impression on me live, and unfortunately, that continues to be the case on the album. I'd say this song is the most Machina-esque of the lot. I keep picking on Machina, but then again, it is the last frame of reference we have for Pumpkins albums. I say it's Machina-esque because it has sort of a washed-out production, which surprised me, because TuralyonW3 (I think it was him) had the complete opposite impression. It's also a lot mellower than the first three tracks, and it causes the album to lose a little momentum. I kind of wish it were sequenced a little later in the album. I'm sure many people will really like this one, it just lacks what I think makes a good Pumpkins song.

As my mind wandered while this song played, I thought about the way lead guitar is used on this album. There aren't sections of songs on Zeitgeist with a prototypical "Pumpkins guitar solo" a la Cherub Rock or Soma. On the other hand, there's a lot of lead guitar here and there, and a lot of fast riffs and, say, a couple bars with a true solo. The technical stuff is still there, it's just applied in a different way. There's a lot of fun and skillful guitar work for people to pick apart and learn.

---

Tarantula

Score: 7

Blah, blah, blah. It's all been said before.

---

Starz

Score: 7

Okay, so the song starts, and during the main guitar part, on the accents, Billy throws in a couple "Oh!"s, very similar to the way he sings "Yeah!" in the intro to the song of the same name. I shake my head with disappointment. But the snare work sounds great -- you can't hear all the ghost strokes live, so on the album it has a lot more of a marching drum feel -- so I cut it some slack. "The stars above, stars so bright..." okay, that sounds cool... "We are STARZ!!" and I'm a little skeptical again -- the vocal dubs, which are so striking on this album, are pushed just a little to far on this line... but then the distorted
chorus guitar comes in and it rocks really hard (the synth lead is present but not as loud in the mix as live, thankfully) and all is forgiven.

Another verse and chorus pass, and we get to the stick on tom rim pattern that leads into the drum break, and holy **** the drums sound really good, and then three cymbal chokes pounding against a massive guitar symphony (i.e. what Jimmy was probably describing in one of his MySpace bulletins). This part is so damn prog-rock, and yet is one of the great moments on the album; one of those parts you rewind over and over.

And what better way to follow up one of the highlights of the album by a repetition of an even worse delivery of "We are STARZ!!"... but luckily it only repeats two more times and then back into the heavy chorus outro, finishing off with the last line echoing off with delay and fading out. My summary reads like the song is a bit of a wash, but overall, it's a strong song and not a huge departure from the live recordings.

--

United States

Score: 8

The obligatory Pumpkins epic. Though this one has more of a live jam feel than any of their previous "epics," aside from maybe X.Y.U. Whereas a lot of the material on Zeitgeist sounds produced, this could easily pass as a sound check recording with a few overdubs tossed on top, a la the Rock On cover. That's not to say it sounds thin, just that it retains the edge of a performance. Jimmy's drums have the same 6/8 tom centered pattern as live, and Billy comes in with the same chord strum and sustain.

The live feel is done almost to a fault, as the noodley feedback break in the live song is present on the album. It probably could be shortened by half to tighten up the song. It's novel the first time you hear it, considering the Pumpkins have never released an album track with nearly two minutes of pick scraping, pickup tapping, volume and tone knob twiddling, and general "only sounds cool when you're super stoned" guitar fiddling. Meanwhile Jimmy's keeping the pulse with the soft, yet energized tom pattern (complete with the occasional syncopated ride pattern fill he does live). But I can easily imagine getting impatient with this part after hearing it 10+ times. On the other hand, it serves as a really good juxtaposition for the following section of the song which kicks in really hard and heavy. And the last two minutes of the song, when it switches from 6/8 to 4/4... well, I really loved these riffs live, and they don't disappoint on the album. They managed to retain a lot of the live intensity. Nitpickers will probably notice that while the ascending octave riff in the outro is the same, when they do it live, there's a measure where the riff changes to descending octaves, and it's missing on the album. Not a big deal.

There's one addition to this song on the album that's a little obnoxious. During the "chorus", where he repeats "Revolution," there's a backing vocal dub that I don't really like that goes something like:

revolution [da-la-da-da-da-la] revolution [da-la-da-da-da-la] revolution [da-la-da-da-da-la] blues (does he say blues there? Dunno for sure).

The da-la-la's don't add anything and get a little annoying. But there's also some vocal production tricks that sound really good. First off, Billy's trademark (for better or worse) live echoing vocal howls appear on this song. And on the last word of some of the yelled lines before the outro, they added some delay and pitch modulation, so as the line echoes and trails off, it also descends in pitch, like:

Let me do something real like I SHOULD!! Should... should... should ... shoud ...

This is a really solid song and probably would have scored a nine if not for the slightly too long middle section. It's funny that this song was called "mostly instrumental" in early reviews. It made me believe there were little, to no vocals. After hearing it live, I thought maybe it was rearranged with some Billy rant-style vocals thrown in. Nope, it's roughly the same song as played live. It's as instrumental as Silver****.

---

Neverlost

Score: 6

As soon as United States ends, this song picks up, creating a sharp contrast to the frenzy of the United States outro. Like That's the Way, this song didn't make a huge impression on me live, but after hearing it on the record, it has grown on me more so than That's the Way. The instrumentation definitely helps. As you've probably heard, the main guitar line is doubled by a vibraphone (or maybe a synth, who knows). There's also an arpeggiated organ line during the chorus (also alluded to by Jimmy in a MySpace bulletin) , and some synth strings, and it all works well. This song also has quite a different drum tone to it; the snare is tuned looser, giving it more of a boxy sound. It actually reminds me, in tone as well as beat, of Morning Bell on Kid A. There are a lot of sweet single stroke rolls on the snare between sections of the song. It's kind of a simple song at it's core, so I don't have a whole lot to say about it.

---

Bring the Light

Score: 8

Finally, after eight songs the Pumpkins had played live, one that I knew nothing about -- and actually, a bit of a surprise. I expect an album to start winding down around track 9. A band obviously wants its heaviest hitting songs up front so that the listener is sucked in right away. Doomsday Clock, 7 Shades of Black, and Bleeding the Orchid definitely fill that role. But this song is far from a closer.

It starts of with, and bear with me, a sort of pop-punk, palm muted guitar part, but with soft vocals, from: "Shot down, I stood..." to "fall in love, lest I learn...", then Jimmy comes in with 8th notes on the hi-hat and bass drum kicks on the down beats. And then, boom, into the chorus, "light... bring the light", which is really catchy and has this great hooky guitar lead under the vocals. Reminds me of the "Radio" parts of I of the Mourning. Leading out of the chorus, the beat breaks and the bass drum and crash cymbals accent sustained guitar strums under a final repeat of the words Bring ... the ... Light. There's a lot of guitar/drum interplay like that on the album.

Another one of the highlights of the album for me is the bridge of this song, leading into a short (8 measure), but really ****ing amazing, fast harmonized guitar solo, leading into a half-time refrain of the chorus with crazy tom rolls. It's the kind of shit that makes this band great.

---

Come On (Let's Go)

Score: 7

Another surprise -- why isn't this album winding down yet? I mentioned earlier about how certain songs have a sonic pair on this record, specifically Doomsday Clock and 7 Shades of Black. Similarly, Bleeding the Orchid and That's the Way pair together, as do this song and Bring the Light. Both songs have a double-time, up-tempo feel, but where Bring the Light is an upper, Come On (Let's Go) is more of a downer.

The main riff (and it's a true riff, not just a chord progression) sounds kind of like a glam rock throwback. I'm going to say Weezer here, but I want to be clear on what I mean. It doesn't sound like Weezer, but it evokes the same sort of adoration for Kiss and 80s cock rock that Rivers Cuomo exudes in certain Weezer songs. Hopefully that makes a bit of sense. Actually, the riff sounds like it could have been plucked from Pastichio Medley.

I'm a little ambivalent about the first half of the song, but I really love the bridge. It sounds similar to the bridge of White Spyder (you gotta get away / to try to stay awake, etc) with a heavy octave riff. Then the lead guitar and vocals do a cool call-and-response thing for the "I wanna love" lyric, the lead guitar does a bend which is followed by that lyric sung mimicking the guitar.

Like Bring the Light, and every other damn song on Zeitgeist, there's vocal dubs and harmonies all over the place. Lots of lead guitar filling in the gaps, great drumming, and just a ton going on. This song is like Tarantula in that there are a lot of different sections, and it doesn't necessarily sound cohesive at first. Then you listen a couple of times and it starts to come together. Like I said, I don't focus as much on lyrics as other aspects of music. Despite the fact that, on paper, this song probably has better lyrics than Bring the Light, I think Bring the Light is a slightly better song.

----

For God and Country

Score: 4

For me, this is the nadir of the album. It's going to frustrate a lot of people that are used to the acoustic arrangement -- this is about as big of a departure from that as you can imagine. If anything, it's cut from the same cloth as the Adore version of Saturnine. The song is driven by a heavy, distorted (possibly synth) bass line. There is some guitar in the form of some octave strumming, but it's fairly low in the mix. There's also a fair amount of general ambient synth noise throughout. This song suffers from the same syndrome that turns me off to a lot of Machina; it lacks dynamics and drones on for just a little too long. I think a live drum sound is sorely missed on this track.

---

Pause for a second. Do yourself a favor. Leave one surprise for when the album comes out. Don't read about Pomp and Circumstance. Experience the same enjoyment that I had upon hearing it for the first time not knowing too much about it.

I'm going to "hide" the song review in black text. Highlight over it if you absolutely have to. Yeah, yeah, like anyone isn't going to read it.

---

Pomp and Circumstance

Score: 8

Holy Shit.

Wow.

Take any preconceived notions you have about this song, and throw them out the window.

Without a doubt, the most unique sounding song Billy Corgan has ever recorded in any project. Almost indescribable. First off, it's a dirge. No drums. No rhythm guitar. If Doomsday Clock conjures a feeling of apocalypse, then Pomp and Circumstance is a song for The Rapture. It starts with a Billy choir (like Bleeding the Orchid) slowly chanting (in 6/8 time) "la-la-la la-la-la la la la". Enter pizzicato strings, contrabass, synth strings, gong-like crashes all awash in cavernous reverb. Think the interlude of Behold! the Nightmare. Imagine the bastard love child of really slow, soft songs by The Flaming Lips, Radiohead, and Queen. There is a definite structure to the song, but it's so airy and vast, it loses any semblance to a traditional soft Pumpkins song. Then, in the end, a really soulful guitar lead (similar in tone to the quiet part in Tarantula) plays under the chanting vocals as the song and album drift away.

This has the potential to be a really polarizing song for people. I can imagine people not liking it, and it's not the type of song I'd typically like. But, for me, the recording is so terrific; I couldn't help but love it instantly. Probably my favorite last song on any Corgan album (you know, aside from Come With Me... that's a freakin' classic).

---

This album is not Siamese Dream. It's not Mellon Collie. It's not trying to be those things or to rehash previous successes. If you're hoping for something that sounds like those albums, you'll be disappointed. But unlike Zwan or TheFutureEmbrace, which were purposefully tangential to the Pumpkins aesthetic, this does sound like an evolution of where the band left off. I can imagine why Billy would have wanted to work with Roy Thomas Baker. There had to have been an idea in his mind to focus on the vocals as a centerpiece of the production. That aspect alone makes this album stand apart from previous albums. It's too early for me to tell how it will wear on me over time, but I'm enjoying the hell out of it right now.
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W

Windu

never heard about the cat, apparently
ha Pomp and Circumstance, i hate that song, had to play it at a graduation over and over and over and over....im sure ill like the sp version though.
 
D

Diablos

Member
Smashing Pumpkins fall tour is expected to stop in the following cities:

Atlanta, GA
Boston, MA
Columbus, OH
Dallas, TX
Denver, CO
Detroit, MI
Houston, TX
Las Vegas, NV
Los Angeles, CA
Memphis, TN
Minneapolis, MN
Normal, IL
Philadelphia, PA
Phoenix, AZ
Pittsburgh, PA
Portland, OR
San Diego, CA
Salt Lake City, UT
Seattle, WA
Tucson, AZ
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OMG THEY ARE COMING HERE

*faints*

I'm preordering just so I can get access to the special ticket sale. It's worth it.
 
D

distantmantra

Member
Diablos said:
OMG THEY ARE COMING HERE

*faints*

I'm preordering just so I can get access to the special ticket sale. It's worth it.
Click to expand...

If you don't see them live, and then whine about it, I swear to God I will personally fly out to Pittsburgh and kick your ass. :lol :lol :lol :lol :lol
 
B

Bebpo

Banned
Hmm...doomsday clock got a "9" from that guy's review up there? I don't hear it at all. I mean it was good on the live track but on the cd version it just sounds overproduced and everything is drowned out into this blah mix.

Going by what he said about God & Country and the two tracks we have so far, I'm starting to worry that this album will basically be weak overproduced versions of what are good songs that sound great live. :\

Btw, what is this about pre-order = advance ticket sales?
 
M

Mifune

Mehmber
Yeah, not a fan of Doomsday Clock either. Guitars sound good, but the songwriting is a little nu-metal-ish. Replace Corgan with say the guy from Slipknot and no one would be the wiser.
 
D

Diablos

Member
Of all the live songs, Doomsday Clock is the one I'm not too crazy about. I wasn't expecting it to be any better on the album, so I didn't get my hopes up. That said, it's growing on me. The vocals are a bit weird, yes. But Jimmy's drumming is great (as usual), I really like the guitars, and the buildup to the chorus is particularly good. It's not the worst SP song in the world. I'll be the first one to admit that it's definitely their worst album opener. :)

As for the lyrics? They're nothing special, but I'm not getting the Slipknot/nu-metal comparison made by Mifune.

distantmantra said:
If you don't see them live, and then whine about it, I swear to God I will personally fly out to Pittsburgh and kick your ass. :lol :lol :lol :lol :lol
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:lol

I WILL SEE THEM! But I'm like paranoid that my chances will get ruined somehow... it's been so long that I've been waiting. I've had the worst luck EVER with this band. I think SP is in it for at least a couple more albums, which means more opportunities. Which is great if I miss them, and even better if I do successfully get to a show this year :D

Bebpo said:
Going by what he said about God & Country and the two tracks we have so far, I'm starting to worry that this album will basically be weak overproduced versions of what are good songs and sound great live. :\
Click to expand...
I doubt this. Tarantula and Doomsday Clock alone have superior production values than anything heard on Machina I.

Mark my words, this album will be better than Machina I. Probably Machina II, too.

Oh, I got the US tour info from here: http://www.ticketmaster.com/smashingpumpkins
 
I

Infinitemadness

Member
Diablos said:
:lol

I WILL SEE THEM! But I'm like paranoid that my chances will get ruined somehow... it's been so long that I've been waiting. I've had the worst luck EVER with this band. I think SP is in it for at least a couple more albums, which means more opportunities. Which is great if I miss them, and even better if I do successfully get to a show this year :D
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C'mon man. When they were in their prime, I was just a dumb teenager with no money. Had to settle for whatever tickets I got or didnt get at all. Now that I'm older and working, you can bet your ass I'm not only gonna get tickets, but given the opportunity drop some hard earned cash to get floor tickets. Treat yourself, you deserve it ;)
 
D

Diablos

Member
I'm going to do everything I can. Hell, I just wasted $10 preordering LOSSY ITUNES MP4's, but I still did it just so I could get a stupid code to get better tickets.

Floor tickets would be amazing...
 
I

Infinitemadness

Member
Diablos said:
I'm going to do everything I can. Hell, I just wasted $10 preordering LOSSY ITUNES MP4's, but I still did it just so I could get a stupid code to get better tickets.

Floor tickets would be amazing...
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They had a similar offer for Depeche Mode. Granted, I dont care for the band and did it for a girl I was seeing at the time. We ended up getting great seats. Not floor, tho. Then she pissed me off and I sold the pair for $450. Good times.
 
M

Mifune

Mehmber
Diablos said:
As for the lyrics? They're nothing special, but I'm not getting the Slipknot/nu-metal comparison made by Mifune.
Click to expand...

It's not the lyrics. It's the vocal melody. Once you hear it you can't unhear it.
 
B

Bebpo

Banned
The ticketmaster thing is so crap.

So not only do you have to pay the ticket price, but you have to pay an extra $10 on top of it for a crappy quality version of the album just so you have a chance at tickets?
 
B

Bebpo

Banned
Actually listening to the live Doomsday Clock it sounds pretty much the same. It just seems like an 'ok' song.

Ironically quality-wise the song I would put it closest to is The Beginning is the End of the Beginning, Ironic being because that thing says Doomsday Clock will be used on the Transformers soundtrack aka big mainstream bands generic ost like Batman ost was.
 
D

Diablos

Member
Have you guys heard the Gliss cover of Rhinoceros? It's awesome. I like this band. They opened for BC's solo tour. After hearing a few of their songs, I MUST get their CD.

99% of SP covers suck. This one actually doesn't.

http://www.myspace.com/gliss

I get a Serena-Maneesh vibe from this band, but more... energetic.
 
D

Diablos

Member
Target is advertising an exclusive track.

Haha, seems like the rumor was true. Target, Best Buy, Amazon, iTunes.
That's why there are different colors for the cover.

If you want a DVD, apparently you have to import the album from Germany.
 
M

Macam

Banned
Smashing Pumpkins to do Letterman.

On July 9th and 13th the newly reformed Smashing Pumpkins will debut material from their new album Zeitgeist on The Late Show with David Letterman.

The appearances on Letterman will mark the first time the band has performed on television since 2000.
Click to expand...

I imagine it should be a good performance judging by how good the band seems to be following the Rock Am Ring performance and how good Billy's solo venture on Letterman was (tragically, I lost the Mina Loy performance).
 
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