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Rock - Verschenen op 1 januari 2013 | SMASHING PUMPKINS - DEAL #2 DIGITAL

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Rock - Verschenen op 27 juli 1993 | Virgin Records

Onderscheidingen The Qobuz Ideal Discography
While Gish had placed the Smashing Pumpkins on the "most promising artist" list for many, troubles were threatening to break the band apart. Singer/guitarist/leader Billy Corgan was battling a severe case of writer's block and was in a deep state of depression brought on by a relationship in turmoil; drummer Jimmy Chamberlin was addicted to hard drugs; and bassist D'Arcy and guitarist James Iha severed their romantic relationship. The sessions for their sophomore effort, Siamese Dream, were wrought with friction -- Corgan eventually played almost all the instruments himself (except for percussion). Some say strife and tension produces the best music, and it certainly helped make Siamese Dream one of the finest alt-rock albums of all time. Instead of following Nirvana's punk rock route, Siamese Dream went in the opposite direction -- guitar solos galore, layered walls of sound courtesy of the album's producers (Butch Vig and Corgan), extended compositions that bordered on prog rock, plus often reflective and heartfelt lyrics. The four tracks that were selected as singles became alternative radio standards -- the anthems "Cherub Rock," "Today," and "Rocket," plus the symphonic ballad "Disarm" -- but as a whole, Siamese Dream proved to be an incredibly consistent album. Such compositions as the red-hot rockers "Quiet" and "Geek U.S.A." were standouts, as were the epics "Hummer," "Soma," and "Silverfuck," plus the soothing sounds of "Mayonaise," "Spaceboy," and "Luna." After the difficult recording sessions, Corgan stated publicly that if Siamese Dream didn't achieve breakthrough success, he would end the band. He didn't have to worry for long -- the album debuted in the Billboard Top Ten and sold more than four million copies in three years. Siamese Dream stands alongside Nevermind and Superunknown as one of the decade's finest (and most influential) rock albums. © Greg Prato /TiVo
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Alternative en Indie - Verschenen op 1 januari 2012 | Virgin Records

Booklet Onderscheidingen The Qobuz Ideal Discography
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CYR

Rock - Verschenen op 27 november 2020 | Sumerian Records

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The Smashing Pumpkins waste no time. Billy Corgan and his reformed band are back together after releasing the very short Shiny & Oh So Bright Vol.1 in 2018, their first album in 18 years. Cyr is conceived as its follow-up and we notice from its sleeve that it is once again produced by the studio TNSN DVSN. Still, from the Pumpkins’ Siamese Dream and Mellon Collie & The Infinite Sadness era, only drummer Jimmy Chamberlin and guitarist James Iha are back, bassist D’arcy Wretzky is still yet to reconcile with the tyrannic Corgan. At it seems they never will. While the reformed band’s work produced by Rick Rubin revives their golden age of alternative rock, Cyr also embraces a fresher pop sound for one simple reason.“I got sick of making music that people kept telling me didn’t sound contemporary.”, explains the frontman. In this twenty track double album, Corgan accentuates the synths and feminine choirs. At the beginning, we are reminded of the Canadian band TR/ST with Sulk and its dark pop sound and hammered kick drums. This formula is repeated (which may weary some) but is switched up on Wyttch and its heavy guitars, the organ on Save Your Tears and the chiaroscuro Purple Blood. This unique double album, the opposite of the best-selling one sold in the 90s, proves (if it can continue) that Billy Corgan is best when surrounded by the Pumpkins. © Charlotte Saintoin/Qobuz
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Alternative en Indie - Verschenen op 1 januari 2012 | Virgin Records

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Alternative en Indie - Verschenen op 1 januari 2001 | Virgin Records

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Alternative en Indie - Verschenen op 1 januari 2013 | SMASHING PUMPKINS - DEAL #1 DIGITAL

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Alternative en Indie - Verschenen op 29 februari 2000 | Virgin Records

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Rock - Verschenen op 1 januari 2011 | Virgin Records

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Rock - Verschenen op 1 januari 2012 | Virgin Records

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Rock - Verschenen op 1 januari 2012 | Virgin Records

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Alternative en Indie - Verschenen op 16 november 2018 | Napalm Records Handels GmbH

The Smashing Pumpkins are "back together" (note the quotation marks). The four piece was born in Chicago in 1988 and led with an iron grip by the charismatic bald-headed Bill Corgan. Along the way they lost D'Arcy Wretzky, the platinum blonde bass player. She was the only one who didn't give in to the boss' request to regroup. Despite being in her fifties, the grudges have held. From the original Smashing Pumpkins line-up only Jimmy Chamberlin (drums) – the ever-faithful companion - and James Iha (guitar) – a more surprising appearance - gave in to Corgan. Jeff Schroeder was also added to the guitar and keyboards midway through. We haven’t seen Chamberlin, Iha and Corgan on stage or on a record together in 18 years, and that's probably why this strangely titled opus sounds so much like their best piece of work from the mid-90s: Mellon Collie And The Infinite Sadness. This time, the story is simple. "We just thought we'd get our heads down and play," Corgan explains. At first, the singer just wanted to release a track. They showed sixteen to Rick Rubin and the famous producer became so excited that he pushed for an album. Two weeks later, the whole thing was recorded in his Shangri La Studios in Malibu. Eight tracks, 31 minutes. It’s a dazzling mix of ‘90s grunge (Solara, Silvery Sometimes), heavy metal (with the blaring guitars of Marchin' On) and mystical and orchestral rock (the strings and choirs on Knights Of Malta or the keyboard on Alienation). All in all, a very nice Smashing Pumkins record. © Charlotte Saintoin/Qobuz
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Alternative en Indie - Verschenen op 8 december 2014 | BMG Rights Management (US) LLC

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As he set to work on Monuments to an Elegy, the second "album within an album" within the larger Teargarden by Kaleidyscope project, Billy Corgan slowly whittled down Smashing Pumpkins to himself and guitarist Jeff Schroeder. This narrowing of the group -- the duo is supported by the hired hand of Mötley Crüe's drummer Tommy Lee -- ultimately doesn't matter much because ever since the Pumpkins' 2007 comeback, the secret of Corgan's complete control of the group was out in the open. More than either Zeitgeist or Oceania, both of which traded in the surging six-strings of Siamese Dream, Monuments to an Elegy feels like a Corgan solo project and not just because this percolates with analog synthesizers straight out of The Future Embrace. Monuments stitches together all of Corgan's obsessions -- thick sheets of guitars, 4AD space rock, delicate acoustica, Commodore 64 synthesizers, a fondness for both noise and beauty -- but there is an ease to the album that not only feels self-reflective but also rather mature. Usually, when Corgan covers this much ground it was with the express intent to dazzle, but here his attitude is almost casual as he slides from the volcanic "One and All" to the exquisitely sculpted new wave of "Dorian," stopping for a respite of disco on "Anaise!" The breadth impresses and it resonates stronger because he's funneled all these sounds and textures into a tight nine-song album that lasts barely over a half-hour. For an artist who has fervently believed more is indeed more, this restraint is thoroughly appealing and helps showcase his craft in surprising -- and, yes, sometimes dazzling -- ways. © Stephen Thomas Erlewine /TiVo
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Alternative en Indie - Verschenen op 18 juni 2012 | Martha’s Music, LLC

Following up on, and in many ways amending, much of the bombastic overcompensation of 2007's Zeitgeist, Smashing Pumpkins 2012 release Oceania is an exuberant, gloriously melodic, fluid return to form for Billy Corgan. While Zeitgeist certainly contained many of the elements that make for a classic Smashing Pumpkins release -- including slabs of distorted guitars, passionate vocals, and poetic lyrics, not to mention drummer Jimmy Chamberlin, who was the sole remaining original member besides Corgan and who subsequently left the band -- there was something cold and perhaps a bit too calculated about the production. Ultimately, Zeitgeist didn't do much to dissuade audiences that Corgan, undeniably the mastermind behind the best Pumpkins work, was now overvaluing his abilities in an attempt to recapture fans disillusioned by his various side projects. Thankfully, none of these concerns are applicable to Oceania. Ostensibly an "album within an album" of the greater 44-track Teargarden by Kaleidyscope concept project, Oceania works as a stand-alone album. Conceptual conceits aside, these are some of the most memorable and rousing songs Corgan has delivered since 1993's Siamese Dream, the album that Oceania most closely mirrors in tone and aesthetic. Which isn't to say that Corgan is treading old ground; on the contrary, there is something fresh and inspired about the songs on Oceania. Admittedly, kicking the album off with the heavy psychedelic acid rock groove of "Quasar" -- in which Corgan croons several EST-era-style affirmations including, "God right on! Krishna right on! Mark right on!" -- is a move that almost begs comparisons to Smashing Pumpkins' euphoria-inducing 1991 single "Siva." A similar sentiment comes to mind with the latter album rocker "The Chimera," a classic rock-sounding groover that sparkles with crisscross laser-beam guitar lines recalling the jewel-toned guitar heroics of Queen's Brian May. But these are welcome comparisons, born out of Corgan finally delivering a gorgeous and cohesive set of songs that balance some his more arch, cerebral inclinations with his generously romantic and sweepingly cinematic gift for revelatory guitar rock. Elsewhere, we get the soaring "Panopticon" and the minor-key, prog rock-inflected drama of "Violet Rays." However, Oceania is perhaps best represented by the euphoric mid-album ballad "Pinwheels." Starting with a repeated keyboard line and building to swells of acoustic and electric guitar before settling into one of the most swoon-worthy melodic anthems Corgan has ever written, "Pinwheels," much like the rest of Oceania, is a masterpiece of pop songcraft and rock production. As Corgan croons on the song's chorus, "Sister soul, lovers of the tune, sing!/I got you/I got you." On Oceania, the Smashing Pumpkins definitely have us. © Matt Collar /TiVo
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Alternative en Indie - Verschenen op 9 maart 2016 | Doxy Records

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Alternative en Indie - Verschenen op 19 april 2021 | Cult Legends

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Alternative en Indie - Verschenen op 16 november 2018 | Napalm Records Handels GmbH

The Smashing Pumpkins are "back together" (note the quotation marks). The four piece was born in Chicago in 1988 and led with an iron grip by the charismatic bald-headed Bill Corgan. Along the way they lost D'Arcy Wretzky, the platinum blonde bass player. She was the only one who didn't give in to the boss' request to regroup. Despite being in her fifties, the grudges have held. From the original Smashing Pumpkins line-up only Jimmy Chamberlin (drums) – the ever-faithful companion - and James Iha (guitar) – a more surprising appearance - gave in to Corgan. Jeff Schroeder was also added to the guitar and keyboards midway through. We haven’t seen Chamberlin, Iha and Corgan on stage or on a record together in 18 years, and that's probably why this strangely titled opus sounds so much like their best piece of work from the mid-90s: Mellon Collie And The Infinite Sadness. This time, the story is simple. "We just thought we'd get our heads down and play," Corgan explains. At first, the singer just wanted to release a track. They showed sixteen to Rick Rubin and the famous producer became so excited that he pushed for an album. Two weeks later, the whole thing was recorded in his Shangri La Studios in Malibu. Eight tracks, 31 minutes. It’s a dazzling mix of ‘90s grunge (Solara, Silvery Sometimes), heavy metal (with the blaring guitars of Marchin' On) and mystical and orchestral rock (the strings and choirs on Knights Of Malta or the keyboard on Alienation). All in all, a very nice Smashing Pumkins record. © Charlotte Saintoin/Qobuz
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Alternative en Indie - Verschenen op 8 december 2014 | BMG Rights Management (US) LLC

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Rock - Verschenen op 11 november 2019 | BBM

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The Smashing Pumpkins in het magazine