“Owata,” tenth “Teargarden” song, streams on LAWeekly.com 8:53 am // Tuesday, May 3, 2011
Posted by alex in studio, teargarden by kaleidyscope.trackback
The Smashing Pumpkins released “Owata,” the tenth track from their 44-song effort Teargarden by Kaleidyscope, this morning. The song is streaming on LAWeekly.com, which reports that it will be available for download from SmashingPumpkins.com within 24 hours.
As predicted by HU commenters and others, Billy Corgan’s hometown of Chicago wins out as the city to which Corgan sings that he is “coming home.” The band had road-tested many different city shout-outs during their 2010 tour.
No word yet on whether “Owata” or March’s “Lightning Strikes” will see a physical release like the first eight Teargarden tracks.
A bunch of us have been suggesting a 7″ for these releases and I hope they go through with it.
great song! love it so much. the middle section is amazing. it is an awesome song. my favourite so far with the fellowship. LOVE IT
ugh
as for a physical release, i would love to see a 7″+CD package bringing together lightning strikes and owata
I love it. The first few notes took me by surprise initially, but I don’t feel it lost the heart of the song.
Feel neutral about the song itself, but production-wise, it’s the best teargarden song so far.
I don’t know what it is about Billy. I love the guy. He still has it. He writes great songs, has incredible shows. The talent is clearly still there. This is the song that I have been most anticipating.
Having said that, the synths murder the song in my opinion. Really disappointed. I don’t know what happens when he goes into the stupid – whether it’s trying to hard or having nobody that will tell him ‘no’ – but he is ruining some great stuff.
^ should be goes into the studio, not stupid. My mistake.
I´m not saying anything definite at the moment, but the synths totally disrupted my listening pleasure, they are too aggresive, sound much too creaky for my liking. It´s almost as if somebody made a really bad joke and succeeded in driwing away the subtle and tender spirit of the song… There might be something I can´t hear, some hidden magic, but it apparently doesn´t work on me. I don´t know, ever since the SFAS was put out I´ve been asking myself whether Billy hasn´t lost something vital in his judgement. There songs on Tbk that I really admire and at the same time there are those that I can´t reconcile with.
Maybe we’ve spent all these years underestimating the impact producers have had on all of Billy’s great work?
Possibly Microdance. I’m beginning to really have a lot of appreciation for Flood, certainly.
Drums don’t bother me at all. Vox are quite good. Synths are hilariously bad, and it makes me laugh that we’ve never had so much synth on SP tracks and he got rid of Lisa. ;)
I never loved this song as much as some other people, but the live electric version really grew on me because suddenly it had this energy. A little crunchier studio version would have been nice.
Given that I’ve liked the live versions of Song For a Son, Tom Tom, Spangled, Lightning Strikes and now Owata better, I’m starting to wonder about Billy producing this stuff himself.
I’m also a little surprised we didn’t get a studio version of My Love Is Winter or As Rome Burns, unless that’s happening on Oceania.
the artist creates something out of nothing. A good artist creates something we haven’t seen/heard before out of nothing. the producer makes that vision just a bit more digestable/understandable or you even might say more marketable. Billy has already done that route and was the best at it. Now he isn’t delluting the work anymore just making the art. people who like more commercial marketable music precieve that as loosing a step while others see it as being more genuine even at the sacrifice of writing a top ten. the he’s lost it crowd would prob be better off listening to green day or something they still are creating art for mtv/the radio
thats no insult to green day just they are more poppy and aim to please the radio mtv type of fan, compared to billy who at most is just struggling with the fact he was put on a pedestal and has falling off that would mess up anybodys ego.
I certainly have no wish for more commercial pumpkins, none whatsoever. It´s an unfair accusation for everyone who loves SP but doesn´t seem to get on good terms with their recent output.
This is the Ichabod everyone was excited about? Aside though, I really love this song and I’m glad it doesn’t sound like the other versions we’ve already heard. Vocals are definitely quite a bit different, he sounds younger if that makes any sense. I’d suggest quality headphones though for this one, many different things going on!
I’m not usually so acerbic on public forums; but that is the biggest load of shit I have ever read Drowning Swan.
Wow. Best song yet off TBK. When I heard the first few seconds I thought, “Oh no.” Then it proceeded to blow me away. Great mix, as well.
shit ((((((((((((((
Maybe I should say “My favorite song,” not “best.” Don’t want to offend anyone who doesn’t like it!
erm. its shit. After a few great songs – its shit.
i thought he was a guitarist not an organ player – wheres the feckin guitar – jeffz playin more than he is?
notice the best song by far is Tom Tom and thats got a great guitar line/sound.
And those that are saying this isnt commercial – its bloody radio friendly pop
im being a bit harsh as im a big pumpkins fan – its a nice song but its a bit like the toothless zwan stuff – he can do much better
It’s a good song .. but this recording just leaves me cold .. I don’t know .. there is no depth, no feeling that takes you with it. Some live recordings have that something.. but this version don’t.
I dunno, I really liked Zwan. I did wish for an electric that Billy uses live- but not everything translates well to a recording from live. We just have to trust that Billy isn’t wanting to screw with his stuff. I love the song- stoked it is finally released
My first reaction was “What the fuck did they do to Owata?” (Pretty much the same reaction I had to most of the Viper Room songs on Adore and why I try to avoid listening to new songs prior to release.)
I liked it much better on the second listen; it almost has a chiptune sound at times.
Billy’s definitely not playing to expectations, that’s for sure.
@thereitgoes: I agree, this song is pretty tripped-out on headphones. So far, I think TBK may be SP’s most psychedelic album, even more so than Gish and Machina. LOTS going on in the background of each song, just floating around. But that’s just me.
I wasn’t all that jazzed about this one before it came out, but I like what they have done with it.
Now on to Oceania!
I really love what the band has done to this song. Really beautiful. I love the soft synth, love the backing vocals and love the solo! And I hope you love this video too! :)
Its so amazingly bad!
There’s a flubbed drum fill and a late note in the guitar solo! Embarrassing.
Hmm… I prefer the Chris Isaak version, but this isn’t BAD.
I just preferred it when it was sadder (Acoustic).
The only real complaint I have is that the guitar solo sounds odd compared to the synths.
Ossim! I can’t wait for Oceania and all of the remasters! Thank you Billy…or should we call you Willy now?
:)
Awesome vid!!
There’s a good download on the Netphoria forums if you can ignore all the members trying to out pretentious tosser each other. Must be nice to be so smart so you don’t have to bother with useless things like being able to feel the music.
I wonder for a physical release, they would add it as bonus tracks for a limited edition Oceania?
I think a big thing about this track, is that unlike Lightning Strikes- this song’s narrative is formed by the rest of the band. This is by far the best and most energetic that Mike is, and you feel the new energy and bounciness that the bass brings- to me it makes the song. Plus- Jeff- Jeff shines hear, not by shredding, but by him being himself. That tone during the lead is alien- but I mean that in the best way possible. Had WPC done the lead, it would be a ‘Billy’ lead, which sounded tired at times during Zeitgeist.
To me, this is Billy saying “See, this ride isn’t all about me”
I thought the synth added- it isn’t as distracting as Lightning Strikes. I wonder if the acoustic played is the one that WPC wrote this song on, because there’s a lot of the embodiement of the personality of the song. It also sounds like the one used on the Chris Isaac version. But for sure, this track is much livelier in spirit than the Chris Isaac version.
In some ways it’ll be unfair to compare these two tracks to the rest of TbK- it’ll be a nice bridge at what to potentially expect from how Oceania will be in approach and execution- at least I hope.
Owata week! Obama killed Osama & Owata is out. Great times… I luv these 5 letter words that have the exact same 1st, 3rd & 5th same letters!! lol
“Must be nice to be so smart so you don’t have to bother with useless things like being able to feel the music.”
lol quote of the month, DH
Also, the artwork is incredibly trippy. And kind of hilarious to me, since I am Aleut, so I grew up eating fur seal
Too early to give a proper opinion. I really wan’t to say that I strongly dislike it but I said the same thing about Stitch in Time and it became my favorite Teargarden song (but now that I think about it…Is that exactly a good thing?)
Production sounds good imo, but i think the song doesn’t work. It sounds so happy go lucky…almost fake. But I know the typical fan would say I am being negative just to be negative but I really catch that with this song. Unlike Zwan where it felt organic, this feels strangely cold but Billy’s trying to convince the listener that it sounds happy and full… Don’t know how else to put it other than he’s trying to prove to everyone that the band works and that he’s happy. Maybe thats over analyzing but I really do get this non organic forceful smile when I hear this.
But I am not too distraught by being disappointed, (the opening synth of the song is just god awful, its so loud) Oceania is coming out, and with this release it makes me hope for new songs and a new path.
I really do think Billy gets it, he gets what is going on. Susan might have sounded cynical in the recent podcast but she totally hit it on the money and spoke what A LOT of fans have been saying. Oceania hopefully breaks away from some of this and re-starts what TGK is and what Billy meant it to be, thus me restating that I hope no current TGK songs make it into the album. He said it himself, he wants to re-focuse the group and vision with an album, and he is totally right. Not everyone gets the humor in releasing “b-sides” (and to be honest, can you blame most people? So what if you are in on the joke, all thats out their is a mediocre song at best) Anywho, I am incredible optimistic and can’t wait for the second have of the year.
Just_Erick
i wouldn’t say negative at all, its one thing to give an opinion on the song how you like it what you don’t like but its comparing to the past that comes off as negative i would say.
I think the change in Teargarden is an awesome move. The shorter vol. 3 as an introduction to the performing band, then Oceania. Jea! I hope Oceania will be labeled as vol. 4. I also hope it will be recorded as 2 guitars, bass and drums. Not anti-synth, but that was the thing I was most excited for when they announced Jeff and Nicole were going into the studio.
Owata has been one of my favorite SP songs since I saw it played on the 20th anniversary tour; the recording has it’s differences. I don’t nessecerily think it changes the song for the better or worse, but it does help the song connect with TBK. I was really amped to see Owata on the last 2010 tour after the Viper Room video, but the night I went they didn’t play it. That would’ve been a great recording, definitely would’ve laid down a more rockin’ solo (something I hope for on Oceania). Song for a Son got me too excited for SP shreddin’ on Teargarden. I think the 20th anniversary version feels a little old now, when I listen to my Las Vegas recording its really nostalgia. I get a similiar feeling I get with The Rose March and 99 Floors, SP had some beautiful stuff, Owata fell in with that American Gothic vibe. The ’10 performance kinda helped the song segue with Freak and Widow, whereas this new version is stylisticly aligned with Tom Tom and of course Lightning Strikes.
Teargarden vol. 3, best of the beast that is TBK yet!
Not what I expected, but it fits in well with the rest of Teargarden.
I *will* be disappointed if an mp3 file is the only format we get for Owata and Lightning Strikes (until the Big Giant Teargarden Release circa 2014-5).
Horrible. Absolutely.
[youtube http://www.youtube.com/watch?v=uJiV1EMWxzA&w=640&h=390%5D
Really disappointed in this. Just sounds bland, sterile, and underwhelming. The live versions had some character and grit to them.
As with all the TBK tracks so far, I’ve looked forward to this and wanted to like it. I hear it and it just sounds so watered down, not fresh or exciting at all. It’s like there’s some hidden force in the studio intent on sucking the vitality out of any song that was good in a live setting.
Just about anything this band’s ever put has eventually grown on me. Only recently have there been several songs that I honestly have absolutely no desire to ever hear again.
It’s a nice song, though it wasn’t what I expected. It fits really well with the other TBK songs.
My initial reaction: The synth is too much for me. The intro reminds me of an opening theme for a eighties cartoon series like “The World of David the Gnome”. (which I actually loved)
The production is a bump up as is having a solo in the song. I think his voice does sound more akin to his old style, but nothing horribly noticeable. Will I listen to it more? Yes. Will it grow on me? If any of the other songs are any indication, yes.
All I really have definitively to say at the moment is I hope Oceania sounds a bit more organic and deep. I enjoy galloping into the sunset on a magic unicorn of love, but not necessarily when I’m listening to the mighty SP.
I get the cool happy vibe easy. I’ll be hated for this but I like the synth. with 700 SP recordings featuring primarily guitars it’s nice to have a change. lightning strikes missed the mark with the synth a bit, but I find this one gets it right.
Dunno where you all get “forced” and “sterile” from, i’d go more along the lines of “carefree” and it suits the song very well. nothing extremely deep to fake about it, its just a straightforward happy song.
I love it very much already :)
@Drevpile – Has there been a song on TBK that you HAVE liked?
The old ‘I liked the live version I heard first’ syndrome is in full effect here… I feared firing up any of the pumpkins forums, because the negative response is SO predictable any time there’s a studio version of a previously heard song. Here we go again, I guess.
personally, I love it. It’s not much different than what they’ve been performing on the latest tours other than having the synth instead of the delay-effected guitar riff. I’m happy about that because it makes it so much more unique; also gives it a cohesive sound with The Solstice Bare and Lightning Strikes.
His voice sounds great, as do the backing vocals… guitar on the bridge is fantastic, Loved the addition of the harmonized guitar solo. Nicole’s bass rips, and Mike is hitting his stride on this stuff finally. It’s well mixed… overall very good.
It’s a well written song and a worthy (and long overdue) studio version.
It just now occurs to me that Billy is currently making the sort of music that The Smashing Pumpkins (v.1) made a point to ridicule.
Seriously, if OCEANIA has these weak flowery carnival synths all over it like the rest of TbK…
…it’ll make Zeitgeist seem like a out-of-the-park homerun.
The recording sounds good. The song is well written. I just don’t like a goddamn thing about it. Not hating, cause really, opinions are just that, but dear god, I want to like this project, but the only thing so far I can stomach and/or enjoy is The Solstice Bare.
So stoked for you kids that love this shit though. Not being insincere. I’m glad you like it. I’m glad someone does.
JCelsius: Don’t dishonor my memories of David the Gnome by comparing this to it. But yeah, I guess you kind of have to… because that’s exactly it.
Sounds like “Its A Small World After ALL” at the beginning.
Must be inspired from all his little Disneyland visits with his PIC.
Maybe going back to an album is good- too much value is placed on the B-side songs.
I’m sorry to triple post, but I just don’t understand how the man who made Adore made this. I don’t even understand how the man who made Gish made this. It’s just such a disconnect.
I mean the guy is obviously happy with where he is right now, and that’s wonderful. But damn, man.
I just don’t know what would possess Billy to put these stupid carnival synths in every fucking song. It’s almost as if he’s doing it so the project has some sense of cohesion through the length of time it takes to release it… but dude, if you listen to every track, back-to-back, it just makes everything repetitive as opposed to unified.
I hope that in the end it’ll all make sense, because Billy has created some of the greatest albums of all time, and this? THIS? Cotton fuckin’ candy and motherfucking funnel cakes. Sooey and saints, at the fair.
Owata is just beautiful. It’s a high time for you guys to stop listening to Smashing Pumpkins, but to the music.
OWATA is beautiful. if you dont like it … go listen to cock rock and go read Pitchfork
OWATA = greatest song EVER
one of the reasons SP works is because no two albums sound alike. Billy is too smart to try and recreate his 90′s hits or its possible that he can’t write songs as epic as “Disarm” or “Tonight, Tonight” anymore but either way he is trying to take the band in a new direction that seems to involve a lot of synths
Sounds decent. In my mind “Owata” has always been a pop song in the same way “1979″ or “Perfect” are pop songs. That said, I have to admit that I like the sonics of the last tour, and the arrangement (no breakdown) of the 2008 version more. I can appeciate the sentiment of the CA/Chicago, but I don’t think the song really needs it. But I’ve also been listening to it like that for quite some time, so I have a bias. I prefer the solo acoustic/backing vocals version of “Perfect” from the Adore tour to the album as well, even though I like the album version. Overall I like this song a lot, regardless of the recorded version.
You’ll think I’m stupid, but I just realized today Owata = Oh what a (beautiful night)
Catchy song, it remainds me Untitle. Solo in the middle is sweet, simple and amusive. But those synths, oh those synths…But still like it.
I laugh so hard when people don’t call the new stuff epic but call standard, basic, I&V abusing, major/minor songs like disarm and tonite tonite epic
“OWATA is beautiful. if you dont like it … go listen to cock rock and go read Pitchfork
OWATA = greatest song EVER”
That is the type of a comment I would expect from a 15-year-old. Sadly, even older people post similar comments. I noticed already that some people get too anxious to prove how much the are in BC and the current production of the band, so whenever somebody writes that he/she doesn´t like a song and points out what exactly it is that according to his/her opinion doesn´t fit or work out very well, those people start talking trash. I am critical, yes. Am I ashamed of it? No. Why should I be? Am I going to stop listening to SP because I am not excited about what they´ve been doing recently? No. Should I listen to Green day because I am not content with the music? Hell no! What kind of mentality is that? Carnival synths… yes, that´s exactly it, I couldn´t have said it better. I was listening to A Kiss in the Dreamhouse by Siouxsie and the Banshees tonight, this record also features some wild carnival-like synths, but they are used with such taste and innovation… I have no intention of comparing SP and the Banshees, they are bands of different musical eras, but my point is that you can use synths in an unusual manner and deepen the music immensely, but no-one in SP is capable of this, or so it would seem. Quite honestly, I don´t mind the synths in Lightning strikes so much, but in Owata they are louder than other instruments and it crushes the magic. The passages without the synths are good, they really are… and it makes me annoyed even more. Tbk is a great change in comparison to Zeitgeist, that is positive, but to be completely sincere… Zeitgeist really had something to communicate, something of importance. I am not suggesting that only albums with some sort of a political message or statement are deep and meaningful, but when you want to make a more introspective album, you really should apply a different approach. Perhaps it´s all intentional, since the first part should represent the journey of a fool, we´ll see, but as for now… I keep the Tbk songs in my computer, but I am going to listen to them rarely, if at all.
@Marek get a life. your boring ass long comments prove that you are a genius. OWATA is amazing and you assholes wont destroy the song for me. Awesome song!
C.Isaac Hour version is better in every way … there is emotion, great drumming and amazing atmosphere. You can formally hear the real soul of this song. This studio version just killed Owata.
Oh, thank you, I´ll consider that… oh no, hell, screw that. See, that´s what I´ve been talking about. Now I see why Andrew Eldritch hates die-hard fans of his own band. They are fanatical, nazis in a manner of speaking. Whoever agrees with you is all right, but when there´s a difference of opinion… well, here we go. For your information, I have no intension or desire to “destroy the song for anyone”, how could I? By being sincere and saying aloud that I have certain reservations? Unless you live in China or North Korea you must surely know that I am only executing my right of speaking my mind frankly. That´s all there is. It´s supposed to be a discussion here, not a place of uniform views. That would be kinda boring now, wouldn´t it? I´ve never called anyone who wrote positively about any song that he/she is an asshole… and you can draw the rest of the picture yourself.
@thereitgoes – there was one or two with some decent moments in them. But overall no – not really; I’d probably take anything from TFE over any of them – at least that was a coherent & consistent record.
*sees wall of Marek text, doesn’t read*
“I keep the Tbk songs in my computer, but I am going to listen to them rarely, if at all.”
Please dont listen to them. There’s no reason to listen to music you dont like. And dont worry, as Tbk continues, it will bring in new fans to replace you.
@ Marek get a life and go listen to bon jovi if you want “consistent” music. Billy is a maverick. Get used to it.
hmm @Marek i think keep politics out of music where possible. allows the possibilty for it to be timeless. its where zeitgiest fell down, althought it was probably also partly the point of it.
i like that billy changes with each album. but its fair to say TGK has only recently hit its stride and great songs like as rome burns, my love is winter and lonely is the name (the trip?) should not be missing.
actually it seems the idea of one-at-a-time songs to focus quality has shot itself in the foot as there is no cohesive identity to the songs as a group – all pumpkins albums have a distinctive sound to them.
owata is good – but listen to cupid de locke, by starlight, luna.. theres something missing. you dont listen and go thats amazing wish i coulda written that.
will be interesting where TBK goes next…
I don’t think @Marek is that harsh. EVERY song can’t be the BEST song EVER; I see a lot of that hoopla on here. Glorifying BCs music isn’t gonna win you a contest, so be real about your comments. If we don’t tell him enough is enough with the Disney synth- then he’s gonna keep going with it- so be honest! Its hard for one song to stand out among a group when they all have similar orchestration.
He has enough singles to make a single album; but the journey on the album as a whole makes a lot of over produced carnival noise.
I am a LLLOOONNNGGGG time fan and will never stop being a fan; but I’m really not that excited by the sound.
@ lala
Why so hostile? Just because someone posted a critique of the song and why it wasn’t to their liking, and that makes them an ‘asshole’? A real fan is someone who can be true to their feelings, not just be a passive follower.
Also, best song EVER?? It’s not even in the best 100 songs Billy has written. It’s a nice little pop song, but nowhere near the greatness that we all know Billy is capable of.
[...] few reviews of new Smashing Pumpkins track “Owata” are trickling in, mostly from sister blogs of the song’s debut website [...]
[youtube http://www.youtube.com/watch?v=LJx8-DGgbiM&rel=0&hl=en_US&feature=player_embedded&version=3%5D
This is so true. Actually less synths here though. :P
(Never embedded a video on here before. Hope it works.)
Initially, the synths were jarring and I had a knot in my stomach. But….I’ve just listened to this song five times. Not because I felt I had to to “feel the song”, but because I REALLY wanted to. It’s charming. I really do like it. I wish As Rome Burns or My Love Is Winter was the new song. I think that the synths here are actually much better than the 2010 version; whereas THAT truelly felt like pop-punk blandness, I think this actually captures the song very, very well. Breakdowns and solo are great. But I want some guitar rock on Teargarden. That’s all. Really, a great song that I feel like I will often come back to. Gonna be played alot while I drive around this summer :) But at this point, a real, straitforward rocker is what I’m jonesing for. hopefully Oceania!
Not feeling the synths… I heard this for the first time at Forecastle last year and thought it was just perfect with guitar, bass, and drums, no funny filters or whatever.
Also, I hope he keeps doing the shout-out of the city he’s in when it’s live, I really liked that touch =/
yeah, i’m going to say this one is pretty solid. I’ve listened about 30 times, none of them forced, I really do like this song alot. The synth is still a little garish but it really does go into the song well.
I really enjoyed the live version of the song, but I definitely don’t think the synth ruins the song. All of Billy’s songs are so unique, and you can definitely see that in this song.
El Corgo’s use of synths on Teargarden reminds me a little of Townshend’s synthmania circa Quadrophenia. I can dig it, but I can see how it might turn off purist/rockist types. I mean, I love me some Big Muff, but I think holding out for a retro-flavored return-to-form is gonna disappoint ya 9 outta 10 times. Thus far, Billy seems unwilling to cooperate.
It’s more difficult when we’ve heard this song back in 2008 on the 20th Anniversary tour. This isn’t something that was just toured and now some people don’t like the album versions of the songs (i.e. Machina).
We had a really acoustic version, a somewhat rocking acoustic version, and an electric version, and they all worked better IMHO.
^
“We had a really acoustic version, a somewhat rocking acoustic version, and an electric version, and they all worked better IMHO.”
.
It’s no good!
1/5
After a second time listening to it and this time with some quality headphones I actually really like it. The production is even better than I originally thought and his voice too is seems to be doing what it should instead of trying to sound “good”. The synths sound bad on bad speakers. I think that’s really all it is too it. With good headphones on it fit and wasn’t jarring as it initially was.
Billy has talked about how music today is listened through headphones instead of speakers as it used to be. Perhaps he is recording his music in a way that he feels better appeals to headphones. That would be unfortunate for me considering I rarely listen to music through headphones.
All that being said, I still hope the sound is different in Oceania. My theory (although backed by no hard evidence whatsoever) is he planned on changing the “sound” of the next batch of songs after Owata. The easiest way he could get people to adjust to the shift would be to release an actual album to include all songs in the new “sound”. This is pure speculation and beyond wishful thinking, but at this point, it’s going to be all theories until September (hopefully).
Notions of pixie flutes dancing above Bunnymen ethereals and spritely basslines.
people here are insane. it is still the same song, just a diffrent version. if billy recorded it the same as the live version you assholes would still complain.
^true
Is the synth dominant in one side? in the L or the R? Because I listen through earphones, and my iPhone doesn’t always play stereo. I barely hear any synths at all
@JENN
That’s Hilarious.. I met him for the first time at Disneyland outside of It’s a Small World in July ’09! He was waiting for some girl to get back from the ride VIP-style.. I guess it was good I didn’t meet him by the Teacups..
Coming from someone who hasn’t been crazy about the majority of Teargarden up till now: there’s stuff to like here. I enjoy the background harmonies that are NOT a chorus of Billies. The arrangement is dynamic. The bass line is pretty interesting. Billy’s vocal is in fine form. The synth is only overbearing for the first minute or so, after that the balance is very pleasant. Nice melody. Lyrically it’s focused, with some nice imagery for once. The whole package is a little syrupy, but I don’t mind that for one song.
Reminds me of this:
Oop didn’t mean I think you all are a-holes. Just reread lala’s comment now
lala –
“people here are insane. it is still the same song, just a diffrent version. if billy recorded it the same as the live version you assholes would still complain.”
Is the TBK “Song for a Son” the same song as the one we heard in the 20th anniversary tour? Kinda, but not really. What about Stitch? That is different from the SITS version.
Have you heard “Disco King” or “Virex”? Quite a bit different from TEG or Imploding Voice.
No doubt some people would complain no matter what, but to say if you like one incarnation of a song, you have to like them all is inane.
Listening on headphones, the production/mix is pretty great and the backup vox are used properly, no Million Billy Choir.
It’s one of the catchier TBK songs I think and definitely reminds me of Zwan. It also seems fairly disposable.
@Johnny
“But I want some guitar rock on Teargarden. That’s all. Really, a great song that I feel like I will often come back to. Gonna be played alot while I drive around this summer :) But at this point, a real, straitforward rocker is what I’m jonesing for.”
Why doesn’t anyone like “Astral Planes”? Too repetitive, I guess? Just go into a trance and leave your body then you’ll ‘get’ it.
I love “Astral Planes”. that and “tom tom” rock
@Steve
Haha I actually like Astral Planes more and more. It is sort of trancy. I just want one straitforward rocker. Tom Tom, Lightning Strikes, Song For A Son are all fine rock songs. But I just want one more agressive, straitforward. Haha, really I guess I just want As Rome Burns :)
Great tune marred by more cheesy production… The synth-free bridge is beautiful. I’ll take the soaring live versions over this saccharine lullaby any day… It does, however, sound a part with the other glossily produced melody bombs on this album.
I like Astral Planes as well.. The only issue with the song is singing the exact same notes as the instruments in unison comes across a little corny. If he had let the guitars do their thing then drop into the lyrics that bit would have sounded a little smoother to me..
Man this stuff sounds like cheesy christian rock… I love the Pumpkins past stuff. Even Zeitgeist and a few TBK songs but the last 2 songs… well they aint my cup of tea.
[youtube http://www.youtube.com/watch?v=UMAamaJg0fI&w=425&h=349%5D
@Andy @Seb
EXACTLY!! lol! Thats what I said! “Its a Small World Disney Synth Bonanza!” Where’s my mouse ears????
What a bunch of moaners. Moan moan moan. Lighten up for fecks sake.
[...] debuted March 17 on the website of Rolling Stone. Another Teargarden song, “Owata,” appeared May 3; the band later promoted the track with a short film and music [...]