Hole’s “Samantha” free from Stereogum presented by ABC’s “V” 3:20 pm // Tuesday, March 30, 2010Posted by jjb in courtney love, hole, news, stereogum.
There’s been a fair bit of skepticism and controversy around this “Hole” reboot, the band’s ninth lineup and one which features Courtney Love as its sole original member. But it’s really happening: We’ve heard the surprisingly successful alt.rock slab of “Skinny Little Bitch,” and since then Hole 9.0 has been doing the promotional rounds to prep the launch of Nobody’s Daughter: playing sets down at SXSW, performing “Samantha” for Jonathan Ross, and on.
A download link for the album version of “Samantha,” a song written by Love with help from Linda Perry and Billy Corgan, can be found on this thoroughly sponsored page.
Pumpkins on iPhone? Sorry, Stereogum, there’s no app for that 4:04 am // Saturday, December 19, 2009Posted by jjb in bullshit, gaming, stereogum.
The sad parade of gratuitous band iPhone apps marched on this year: Death Cab, Smashing Pumpkins, R.E.M., Daniel Johnston (!) … Even the ubiquitous “I Am T-Pain” lost its novelty appeal after the first day of recording yourself singing “I fucked a mermaid!”
There is, of course, no Smashing Pumpkins iPhone application. (To see this, you can click on each band name above — the band apps dominate Google search results for each except the Pumpkins, whose search only finds use of music in the Rock Band and Tap Tap Revenge games. Alternately, knock yourself out searchn’ for one via iTunes.) But the Stereogum writer threw them in anyway because, you know, didn’t they make one? Probably. I mean, it’s the fucking Smashing Pumpkins they’re talking about.
HU Podcast #48: Everything From Here to There 5:19 pm // Tuesday, September 22, 2009Posted by chris in criticism, efhtt.com, pitchfork, podcast, stereogum.
We have an unprecedented two podcasts for you this week. In the first, we discussed Billy’s new website and how it was received.
Later in the week, we talk all about the announcement of Teargarden by Kaleidyscope and what it means for Smashing Pumpkins fans over the coming months and years.
This week’s topics:
-Chris, Jason, Jill, and Andrew
-Billy Corgan debuts EverythingFromHereToThere.com, and we wade through its posts, be they insightful or psueudoscientific, to try to get to the bottom of what he hopes to accomplish with the site. (23:34)
-Billy’s recent collaboration with Dave Navarro did not merit a mention by the music blogosphere, but the new website garnered its fair share of ridicule. We discuss the disparity in coverage and talk about why we care how the band and Billy Corgan are covered. (20:20)
Song of the Week
-If All Goes Wrong, Asheville, NC July 2, 2007
Keep a lookout during the next day or two for our second podcast of the week.
For top indie music sites, Corgan remains mostly a gossip item 2:14 pm // Thursday, September 10, 2009Posted by jjb in billy corgan, criticism, news, pitchfork, stereogum.
Its most insular readers don’t know that Jane’s Addiction guitarist Dave Navarro was part of Billy Corgan’s Spirits in the Sky, nor have they seen a word about the nine new Corgan songs performed on that band’s recent tour, but today Pitchfork Media (“the essential guide to independent music and beyond”) carried a 250-word report on the spirituality-themed website Corgan launched yesterday.
As his source for this news item, Pitchfork’s Tom Breihan cited SmashingPumpkins.com — a music-themed website that during August carried thorough coverage of the six-date Spirits in the Sky tour.
Led by Pitchfork, blogosphere unites on top song of decade 4:26 am // Saturday, August 22, 2009Posted by jjb in idolator, listmaking, maura johnston, news, outkast, pitchfork, stereogum.
If there must be a “song of the decade”, everybody — critics included — knows that song is OutKast’s “Hey Ya!” But as the music-news site Stereogum notes today, Pitchfork Media has refused to certify the obvious at the pinnacle of its listicle “The Top 500 Tracks of the 2000s”:
The top track’s by a group you might expect at the top spot but via a different song.
Yes, Pitchfork did choose an OutKast song for #1, but it was lesser known single “B.O.B.” And, interestingly, influential blogger Maura Johnston of Idolator quickly lined up behind the indie titans’ choice:
Listening to Pitchfork’s No. 1 song of the decade with @jamiattenberg. I kind of love this pick!
I must say that the “B.O.B.” selection is a brilliant out for the critics. For their readers, it means that the keut guy/girl they’re hitting on does correctly recognize the greatness of OutKast but simply prefers the less edgy of their two most awesome songs! Nothing very wrong with that! And for the critics themselves, it means keeping the rest of us securely in thrall to their slightly superior taste.
UPDATE: Well-known New Yorker critic Sasha Frere-Jones has signed on.
Stereogum chief seeks MP3s from Pumpkins tour he mocked; says “sweet” performances “would make a swell iTunes EP” 8:14 pm // Saturday, April 11, 2009Posted by jjb in criticism, stereogum, tour, twitter.
Stereogum founder/editor-in-chief/blogger Scott Lapatine is still not over the songs that the Smashing Pumpkins performed for “The Chris Isaak Hour”. After writing eight days ago that the program features “sweet acoustic performances to remind us why we still care about the Smashing Pumpkins”, he tweeted this message earlier tonight:
The “Isaak Hour” episode — taped on December 1 in the midst of the Pumpkins’ fall tour — featured five songs, four of which were songs the band performed repeatedly on the tour and always in the same acoustic arrangements delivered for “Isaak”. But this was a tour against which Lapatine and his website hurled a stream of unmitigated disdain. Two instances where Lapatine himself wielded the pen:
- Following the Pumpkins’ New York City appearance (three weeks before the “Isaak” taping), Lapatine wrote that “Reviews…haven’t been kind”, citing a Rolling Stone writeup and a post by blogger Matthew Perpetua but ignoring (for one) the glowing New York Times review. To illustrate his post, Lapatine splashed the word “FAIL” across a picture of Billy Corgan.
- Just after the tour’s end (one week after “Isaak”), Lapatine called the tour’s setlists “misguided” and claimed that the tour had “left even hard core fans hurt and confused”.
One can assume that Lapatine now believes the inclusion of “Owata”, “99 Floors”, “The Rose March”, and “Sunkissed” on those setlists to have been — at the very least — a valuable warmup for that swell mid-tour TV gig. But he couldn’t have gotten anything else about the tour wrong, could he?
Stereogum claims to “still care about the Smashing Pumpkins” 5:02 pm // Friday, April 3, 2009Posted by jjb in live, stereogum, video.
The pissy website has stamped its name on video clips of what it calls “sweet acoustic performances” by the Smashing Pumpkins, taped December 1 for Bio Channel’s “Chris Isaak Hour” and aired for the first time last night. If they can do that, I can sure embed one below. Here’s “Owata”:
On Christmas Eve, Stereogum’s evil shell cracks slightly 8:40 pm // Wednesday, December 24, 2008Posted by jjb in amusing, merchandise, stereogum.
Why is Stereogum advertising for a band that they’ve done nothing but shit all over (rightfully so, I might add)? This kind of undermines your credibility a little, doesn’t it, Scott?
I think the bigger question is: Will the winner skip only to his or her favorite tracks?!
Music-news sites discover “G.L.O.W.”, aren’t over themselves 5:40 pm // Monday, October 13, 2008Posted by jjb in analysis, G.L.O.W., idolator, pitchfork, stereogum.
Within a three-hour span this afternoon, music-news websites Stereogum, Idolator, and Pitchfork all posted the same recording of “G.L.O.W.” sourced from the song’s radio debut on Chicago’s Q101. “NEW SMASHING PUMPKINS” blared a Stereogum headline, with the accompanying article stating that “it finally hit the airwaves”. Shortly thereafter, Idolator promoted the recording as “Leak Of The Day”, declaring that today marks the song’s “WEB DEBUT”. Pitchfork followed, saying “Chicago’s Q-101 played it, someone upped a rip to YouTube, and now you can listen to it in rather abysmal sound quality.”
The YouTube clip of “G.L.O.W.” embedded and hailed as newsworthy by all three sites? It’s been on YouTube for a week. The Q101 debut featured in the clip? That happened two weeks ago. And the song has been in the top 40 at alternative radio for eight days now. Links to various recordings of the song (even to perfect-quality versions) have been appearing in comments on HU posts over that entire span, and of course similar links are all over Pumpkins messageboards.
It’s one thing for these sites not to cover the Smashing Pumpkins well and therefore not to have the story on day one; really, that’s fine and no one should much care. But for them to claim that they are right on it, to act as though the music world has shrunk to the size of a three-site circle jerk, is in every sense of the word…wait for it… pretentious.
Still waiting for someone to pan Pumpkins’ August tour 4:45 pm // Monday, August 18, 2008Posted by jjb in criticism, radiohead, stereogum, the hold steady, tour.
Hilary Langford, writing for Landmark Communications’ Style Weekly of Richmond, Va., lauds the Smashing Pumpkins for delivering “an impeccable set of blistering rock” on Saturday night in nearby Charlottesville:
Seemingly intoxicated on his own music, Corgan wavered back and forth as he weaved a psychedelic “Star Spangled Banner” into “United States.” With roundhouse, Townsend-styled guitar strums, the frontman kept the searing energy going with “Heavy Metal Machine” and asked the audience “Are you ready to die for rock and roll?” What he should have asked was, “Are you ready to see the strangest show closer in Smashing Pumpkins history?”
Meanwhile, Pitchfork, Stereogum, Idolator, et al, were unable to comment as today they hit a rough patch in their relationships with the Hold Steady, whose
frontman guitarist just now told them — after like two years together! — that he doesn’t like Radiohead. My favorite part is Stereogum’s lament:
Ugh. Look it’s Rock Interviews 101: a band slags another, and like a moth to the Flame, the internet will post it. Because it is inflammatory, and the Internet and Inflammatory are BFFs. So congrats Tad Kubler, you clearly wanted to be blogged, and now you are. The Hold Steady guitarist told BBC6 (via NME): …
Stereogum shows great respect for ‘em original Pumpkins 1:10 pm // Monday, June 23, 2008Posted by jjb in criticism, d'arcy wretzky, james iha, stereogum.
Of course this begs of Billy (again) the D’arcy and James question, but more importantly, whether he decides to bring ‘em out or not…
Wow. So this guy thinks James Iha and D’Arcy Wretzky are just like dolls in Billy Corgan’s closet, with Billy able to choose when and whether to “bring ‘em out” and turn their lives upside-down against their will. Because, you know, James and D’Arcy don’t have other projects and the rest of their lives or anything — they’re just sitting around waiting for Billy to grab them and hang tiny instruments on their movable appendages! See, that’s why their renewed presence would be so important to the band…
Death Cab guitarist: “I sold my copy of Siamese Dream” 1:54 pm // Friday, April 25, 2008Posted by jjb in analysis, criticism, death cab for cutie, interview, siamese dream, stereogum.
Stereogum today highlights two quotes from the new Spin magazine article on Death Cab for Cutie. Out of an article that is presumably (yeah, I don’t subscribe to Spin) full of actually Death Cab-related material, Stereogum chose to reproduce only a pair of controversy-provoking-type remarks about other artists. Even less surprisingly, one is…oh, let’s just get to it:
They played right after the Beastie Boys, who were awesome; they were the Beastie Boys, they ruled it. And when the Smashing Pumpkins came on, the reception was a little icy, so Corgan said, “You guys want the Beastie Boys to come back out?” and everybody went crazy. He spent the rest of the night yelling at people. The next day, I sold my Siamese Dream and bought the Breeders’ Last Splash and a Shudder to Think record and Mars Audiac Quintet by Stereolab. All because of the experiences I had that day.
This guy sold an album because the singer expressed anger? As if there’s no anger expressed in Beastie Boys songs or on Last Splash. But Corgan did it IRL, dude! Uh, yeah, and Kim Deal is all sugar and spice.
If Corgan’s…error?…is being a bit too real, Walla’s mistake is being too fake. Reading between the lines, I see a story in which “the experiences [he] had that day” informed the then-18-year-old Walla about what the preponderance of the hip Lolla crowd thought was cool and what they thought was not cool. The crowd was “icy” for the Pumpkins and “crazy” for the Beasties (and that before any “yelling” started), which were the important things to pick up on for any status-conscious teen, who, man, really needed some Stereolab. The “omg, that guy once yelled at a girl” rationalization was developed simultaneously and later could be applied
to score chicks whenever useful.
Rolling Stone edits Corgan interview; Stereogum bash ensues 1:07 am // Friday, March 28, 2008Posted by jjb in billy corgan, blogging, bullshit, criticism, news, photo, radiohead, rant, stereogum.
The well-read music blog Stereogum has a post today entitled “Billy Corgan On Radiohead: ‘Publicity Is Better Than Music'”. This five-word quotation comes from Billy’s recent interview with Rolling Stone. Stereogum plays up the quotation as if it were a slap at Radiohead, but — as demonstrated below — it ain’t so.
Here’s the portion of the Rolling Stone interview that was reproduced by Stereogum:
Rolling Stone: Artists are finding their own ways to get paid outside of the major-label system, like the Eagles with their Wal-Mart deal, Madonna signing up with Live Nation.
Billy Corgan: I think it’s really difficult for the young artist, who doesn’t have at least some sense of a pathway. For example, if you were a kid today and you’re looking at the bands who are successful right now, you think, if you don’t sort of sell out and let somebody make you a star, go on American Idol, then you can’t be successful. Alternative culture is really critical towards introducing new ideas. We need those young bands to push old band like us, to push new boundaries. We need our butts kicked regularly. That’s where all the energy comes from, from the bottom. And when the message on Amy Winehouse is drama is better than music, and for Radiohead publicity is better than music — no disrespect to them. But I think it’s a bad message to young bands of how to make it happen. It’s almost like the evil stepchild of the rap bling-bling thing, like, the only way to make it work is I’ve got to come up with a gimmick.
Unfortunately, that quotation standing by itself lacks perfect clarity. More unfortunately, Rolling Stone has removed from its site an earlier portion of the interview — such portion, as luck would have it, upon which Corgan was building in the Stereogum-quoted segment. Mercifully, however, that earlier portion was saved for posterity in a post on HU. Here (again) is that earlier portion of the interview:
RS’s Evan Serpick: It seems like the last decade or so, we haven’t seen many superstars emerge. Do you think it’s because of the focus on singles or the fickle market?
Billy Corgan: Number one, I think there’s just too much. I mean, how can you ask an eighteen-year-old to sort through everything that they’re presented with? Realistically, just being hot and talented and having a good single isn’t enough anymore. You really need like the extra story, like Amy Winehouse had, or a Britney freak-out. Like, Radiohead putting out a great album is not enough of a story. Radiohead putting out a free album, and blah, blah, that’s the story. So it becomes more media-driven, event-driven, than music-driven.
Corgan’s intent here is rather clear: he is describing what he sees as a problem with the contemporary culture or music industry, such problem being that what gets attention for an artist is not “a great album” (note his implication that In Rainbows is a great album) but an “extra story” like a “freak-out” or a “free album”. With this fuller context, it’s (more) obvious that the Stereogum-quoted section is an expression of empathy for young artists and an affirmation of the primacy of music over drama and PR escapades. (You know, everything for which an “indie” blog is supposed to stand?)
To be clear myself: I’m assuming Rolling Stone just wanted to tighten up the interview and thus they quite innocently removed a part that appeared redundant. However, I see Stereogum as going out of their way to jump to a shocking conclusion, when any attempt at sympathetic research would quickly reveal that Billy Corgan very much likes Radiohead. But, you know, fo*k that. Why bother when some manufactured drama between the Devil and the angels (right) can really pump up the page views? You see, Billy?! For generating ad revenue on the Internet, publicity is definitely better than…truth.