ORCHESTRA PER PERSON

ORCHESTRA PER PERSON

Group The Smashing Pumpkins, came to Moscow on August 8 — is the brainchild of one man, his personal way to communicate with the world and what is called a «personal army». But unlike the traditional situation where the team becomes a spokesman of the will of one man, as an exception from the orbit of its other founders, The Smashing Pumpkins were once made «by itself»: this is their strength and their weakness in this

TEXT Artem RONDAREV

Invented the event born in Illinois: Billy Corgan, was born in a small town in a working class family, an amateur musician. His parents divorced when the child was three years old, and Billy’s brother, oddly enough, was left with his father; he soon married again, to the flight attendant, and stepmother to the boy became a constant source of trouble — that is poorly treated him and often brought him to tears. Here, however, we must bear in mind that almost all of his childhood and adolescence Corgan known in his words — the beginning of two thousandth, when social networking is booming Corgan got there, created everywhere accounts and very detailed narrated about those unpleasant and strange living conditions where he spent his youth. He describes his father’s house as a dirty hut full of rats fee that parents very early on made him share with him. Not that it had some incredible things more, the matter is in the confessional eloquent description: they look not on paper but on the artistic biography. What general outlook for Corgan very typical thing.

From an early age he was listening to Jeff Beck and Jimi Hendrix learned to play the guitar blues under the influence of his father (so he probably still was not all bad); from high school, he was released with honors. He was invited to come to the University of Michigan, but he decided that he would become a musician. With his countryman James peace ful they decided to create a «gothic group»; already revealed differences in temperament, as Iha, listen to the songs composed by Corgan, and suggested that some of his work, but Corgan so tough it’s criticized, that they did not communicate after two months. With bass player D’Arcy Retsky acquaintance took too typical — after she heard a disparaging criticism Corgan against speaking rock band (she still is, called the Dan Reed Network, plays funk-metal). The three plus drum machine they attempted to arrange concerts in the Chicago club Metro, but there they were told that they will not take no drummer. Someone advised Jimmy Chamberlin, at the time jazz drummer, listen to staff Corgan; he found that the trio played «absolutely horrible», but noticed in Korgan makings of a serious leader and decided to stay. Because of the four Jimmy was the most technically competent musician, it’s very fast musically pulled partly blanket over himself — for «new wave group», which then was The Smashing Pumpkins, his performance was too sophisticated, and Corgan shifted the emphasis, making the sound more overweight and aggressive. It was in the late ’80s, America began to sweep the tide of grunge, and any team with ambition, who did not want to play music «for girls», was sound difficult, partly pompously and depressing: a merit Corgan that he did not repeat grungy cliché, but the dialectic of aggression and wide dynamic contrasts from grunge took. Nevertheless, the taste he had in some sense a conservative -one among his influences calls Black Sabbath and even the Queen, in a passion for that while not everyone dared to admit. In the end, with all his influence, he had very originality mosaic — from the post-punk British alternative to the late ’70s he took a line drawing bass from Queen — style to create multi-layered guitar parts on the record from the hardcore alternative to 80 — hard, dry sound, blast beats and screaming singing style. The debut album (Gish, which was released in 1991, had very moderate success, but — as is especially noticeable now that backdating had quite a certain charm piece of the product. The fact that Corgan and none other in the group, «took» those or other drawing bass and guitars — this is not a reservation in the studio, he wrote almost all tools (except drums) party itself on the grounds that every time different — something that at the right moment to hand anyone not happen (and it there often spend the night), the fact that it was easier to play himself, rather than to explain to someone else how to. Even then, recording the first album, there were two semi legends that since Variations played about The Smashing Pumpkins This is the story that Billy Corgan in the process tend to become depressed, and that Billy Corgan — a man who from the beginning till the end controls the entire process of creating music himself (in English this is called a control freak). In the same The image was recorded and a second album, Siamese Dream (1993), which became a hit (in the recording process, as reported by chroniclers, Corgan «fell into a deep depression»), and then, two years later, the band embarked on an ambitious project to create, in the words of Corgan , «The Wall for Generation X», ie double concept album along the lines of classical works Pink Floyd, called Mellon Collie and the Infinite Sadness. A year later, the band had to lay off Chamberlin — drug addiction that has already become unmanageable; The charges stemmed from formal politics, when he and keyboardist Jonathan Melvoyn pinned in the room and Melvoyn died. Before recording the album Adore (1998) Corgan’s mother died, and he, of course, once again fell into a depression; Adore the band decided to make a «more electronic, to get away from the standard format of» shock-bass. » At about the same time comes suddenly flourishing popularity of the group we -otechestvennye magazines, almost always making a pair of The Smashing Pumpkins and The Prodigy, argued that the future of electronic music is not to charge the consecutive number of «electronic tools» (whatever whatever that means), but to learn a new way to operate but with sound, «is how Billy Corgan, who writes forty simultaneously sounding parties.» Megalo Manskaya side art rock musicians have always enjoyed great success in the past, it was for her, we uncritically loved the band Queen, and, of course, Corgan, who apparently used the same techniques of building entry could not be in a Russian hero . Already listening to Adore, it is difficult to understand what was the basis of the arguments about the «electronic sound» of the group; rather to say that Billy Corgan decided that the album sounds «electronically», and all the rest of the world could not help but pick up — such is the charm of this man.

While recording the album Machina / The Machines of God (2000) went Retsky (Corgan has announced that by the time she also became «uncontrollable drug addict») and the band took its place Melissa Auf der Maur from collective longtime girlfriend Corgan Courtney Love Hole — since replaced by the bass luxury women have become as it were the hallmark of the group: after Mawr was Ginger Pooley, and now at this point Nicole Fiorentino. Appeared in the same year work Machina II / The Friends & Enemies of Modern Music, the band released on its own label, Corgan with the intent to distribute on the Web for free — original copies were printed just 25 pieces, along with instructions on how to copy them to the network and distribute there. However, not to be «progressive» Corgan in question antikopirayta exaggerated, as in 2008, he made a public support for the so-called Performance Rights Act, ie amendments to the law requiring pay artists royalties from their songs being played on the radio in public places — and this is the piece of legislation upon which prohibit retailers can now listen to the radio in their stores. It was also announced that the group ceases to exist. Of course, Corgan announced it. Generally, people who have given much time and energy to any project, can not keep away from it for a long time; but what Corgan bored without the band, it was obvious at once as The Smashing Pumpkins was, in fact, the medium through which he communicated with the world. Arguments about the «confessional» his lyrics -nepremenny attribute of any review of the albums of: indeed, he sings mostly about themselves and their feelings, and in terms that, in its intimacy sometimes reach impropriety. Left without a group, but with the same thirst for self-expression, he began to write poems in the blogs; in 2004 was one collection of poetry Blinking With Fists, sell well, but was very skeptical assessment of critics — the most positive response was that it is «the best poems of many young poets.» Without a mediator in the form of music to express Corgan have turned bad; and in 2005 he returned back to the group. From the original line-up in it besides Corgan he found himself alone for a long time to rehabilitate Chamberlin, but he left four years later. On the other comrades Corgan reported conflicting information: it seems called Ihu Retsky and then they refused, they threw him in the outrage that something. Later Iha commented dryly that he had not been asked, in principle, with Corgan and they do not talk for ten years. A classic word story. Nevertheless, this did not prevent The Smashing Pumpkins to write two papers, Zeitgeist (2007) and Oceania (2012), suddenly plastic musically and emotionally, as it is scary sound, open: that before in Korgan was a pose, there suddenly became sincere empathy world. Now here’s a new program of his, they travel the world tour, during which come to us.

That in itself is very good, because, paradoxically, to evaluate The Smashing Pumpkins is it a concert? The idea is that all the above hits vanity led to the fact that The Smashing Pumpkins — not exactly revered for what they really should be loved and respected. «Confessionals», «Theatre» and «aggression» — that rock and roll has long been no surprise, uniqueness as Corgan is that he seems to summarize his music the whole motley experience the American alternative to being in a sense, American counterpart Radiohead, less cynical, but much more reflective. In view of the sophisticated complexity, which recorded the studio work of the group, that his talent can catch the aesthetic commentator at once: the concert The Smashing Pumpkins looks quite different. Corgan was well aware from the outset that the play on the stage of a studio version of his work opportunities will not, and invented a very distinctive «live» version of the material — assembled, concise and very, so to speak, focused in which the fore displayed is musical meaning core; in the end, all this develops in a very unsentimental whole, invented on the basis of laconic British post punk like Joy Division, in which the most important — is rigidly structured composite frame that allows inside an abundance of the most complex nuances — that is the truth of logical simplicity, which, by and large, the building has grown and rock ‘n’ roll.

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