guitar hero world tour smashing pumpkins

SMASHING PUMPKINS Debut New Song At 'Guitar Hero' Event

The Pulse of Radio reports that SMASHING PUMPKINS debuted a new song at a special Guitar Hero launch party in Los Angeles over the weekend. According to the Los Angeles Times , the track is called "As Rome Burns" and features the lyrics: "We are the new gods/same as the old gods/we'll take all your blood/and turn it into mud/as Rome burns/one by one/two by two/together they ride/side by side/into love/together they die/and still they want to weather the tide/as Rome burns." The group also played "G.L.O.W." , the new track featured in the Guitar Hero: World Tour video game. The single marks the first time a band has recorded a new song exclusively for Guitar Hero . Also in the PUMPKINS set were the songs "Tarantula" , "Siva" , "Speed Kills" , "Superchrist" , "Sounds of Silence" , and a cover of PINK FLOYD 's "Set the Controls for the Heart of the Sun" .

Fan-filmed video footage from the concert can be viewed below.

The PUMPKINS will release a documentary and concert DVD called "If It All Goes Wrong" on November 11.

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Smashing Pumpkins Debut Single in Guitar Hero: World Tour

Rock legends Smashing Pumpkins will release their next single “G.L.O.W” as a Guitar Hero: World Tour download.

Famous 90s rock group The Smashing Pumpkins recorded “G.L.O.W.” exclusively for Guitar Hero: World Tour and intend on releasing the song after the game’s release.

The single will be packed with classic Pumpkins’ hits “1979” and “The Everlasting Gaze” for an unknown price post-launch ( Guitar Hero III tracks sold in sets of three for $6). Another classic, “Today” from the platinum 1993 album Siamese Dream , will be offered on the disc from day one.

To promote the band’s music, lead singer and guitarist Billy Corgan will be available as a playable character on the disc.

World Tour won’t be The Smashing Pumpkins’ gaming premiere; their songs “Siva” and “Zero” are available as downloadable content from Harmonix’s Rock Band music store.

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Smashing Pumpkins Embrace G.L.O.W., Guitar Hero

The next Smashing Pumpkins single will premiere in Guitar Hero: World Tour on October 27 before it's available anywhere else, as part of a three song downloadable expansion pack that includes their songs "1979," "The EverlastingGaze" and a new song called "G.L.O.W." that appears to concern the Gorgeous Ladies Of Wrestling .

The Pumpkins' album will be released three days later, on October 30th – the same day G.L.O.W. plans on releasing its next video, "Volume 5: Another Glowing Moment." Coincidence? I think not. For some reason, Billy Corgan and company appear to have tapped into the G.L.O.W. phenomenon about two decades after the shows first aired.

Guitar Hero World Tour will offer Smashing Pumpkins fans thechance to play the song "Today" and use Billy Corgan as theircharacter within the game even if they don't purchase the expansionpack with the new single.

Although it probably wouldn't be a good idea for the band to sellits music exclusively through a videogame, the Smashing Pumpkins' decision to release the single three days early in the game can onlyadd to the buzz. I bet lots of people will be tempted to buy thatexpansion pack, because it means they get to play the song before manyfans of the band even get to hear it.

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New Smashing Pumpkins In GH: World Tour DLC

It's another band rhythm video game first as Activision announces that Smashing Pumpkins will debut their new single "G.L.O.W." as part of a track pack for Guitar Hero: World Tour before the song is released to the general public. The song, which I highly doubt has anything to do with the Gorgeous Ladies of Wrestling, will be part of a Smashing Pumpkins track pack, rounded out by "1979" and "The Everlasting Gaze". That makes four Smashing Pumpkins songs for Guitar Hero: World Tour, with "Today" shipping on the disc. In addition to the music, Smashing Pumpkins front man and creepiest bald man in music since Peter Garrett from Midnight Oil Billy Corgan will appear in the game as a playable character, allowing players to experience the joys of being Corgan as they advance through their vocal or guitar careers. I say screw that. I want an entire band made up of Billy Corgan. Corgan on bass. Corgan on drums. Corgan selling refreshments at the concessions stand. It's the stuff nightmares are made of. THE SMASHING PUMPKINS TO DEBUT NEW SINGLE "G.L.O.W." AS PART OF DOWNLOADABLE SONGPACK EXCLUSIVELY FOR GUITAR HERO® WORLD TOUR In-Game Model of Vocalist and Lead Guitarist, Billy Corgan, and "Today" from Four Times-Platinum Album Siamese Dream To Rock On-Disc at Launch Tuesday 2nd September/... The Smashing Pumpkins, one of rock's defining and most acclaimed bands who've sold over 30 million albums, is coming to Activision Publishing, Inc.'s (Nasdaq: ATVI) Guitar Hero® World Tour in a ground-breaking way as the band will debut its new single "G.L.O.W." exclusively in the game. This marks the first time a band has recorded a new song exclusively for the franchise which will be released afterwards, giving Guitar Hero® fans exclusive access to Smashing Pumpkins music before anyone else. The new track, bundled with two other rocking Smashing Pumpkins hits, "1979" and "The Everlasting Gaze," will be available post-launch of the game as a three-song downloaded content pack. Additionally, on-disc with the release of Guitar Hero World Tour this autumn, The Smashing Pumpkins' singer, songwriter and lead guitarist Billy Corgan will appear as an in-game character and will bring with him "Today," the band's smash hit from their pivotal and four-times platinum 1993 album Siamese Dream. "Today" is one of the band's many hits that have defined the alternative music era and continue to resonate on modern rock radio, influencing a whole new generation. Players will be able to experience the unique alternative rocker's likeness in-game as he sings and shreds on guitar, or play as the revered rock star throughout their vocal and axe careers. When the house lights go down this fall, a new generation of guitarists, drummers and fearless frontmen will come together and rock with Guitar Hero World Tour. The latest installment in the #1 best-selling video game franchise of 2007, Guitar Hero World Tour transforms music gaming by expanding Guitar Hero's signature guitar gameplay into a cooperative band experience that combines the most advanced wireless controllers with new revolutionary online* and offline gameplay modes including Band Career and 8-player "Battle of the Bands," which allows two full bands to compete head-to-head online for the first time ever. The game features a slick newly redesigned guitar controller, drum kit controller and a microphone, as well as an innovative Music Studio music creator that lets players compose, record, edit and share their own rock ‘n' roll anthems. Music creators will also be able to share their recordings with their friends online through GHTunesSM where other gamers can download and play an endless supply of unique creations.

Smashing Pumpkins to release new track through Guitar Hero

The Smashing Pumpkins are debut new single G.L.O.W. as part of a song-pack on Guitar Hero World Tour.

Apparently, "This marks the first time a band has recorded a new song exclusively for the franchise which will be released afterwards, giving Guitar Hero® fans exclusive access to Smashing Pumpkins music before anyone else."

Sensational. Press release after the link.

THE SMASHING PUMPKINS TO DEBUT NEW SINGLE "G.L.O.W." AS PART OF DOWNLOADABLE SONGPACK EXCLUSIVELY FOR GUITAR HERO® WORLD TOUR

In-Game Model of Vocalist and Lead Guitarist, Billy Corgan, and "Today" from Four Times-Platinum Album Siamese Dream To Rock On-Disc at Launch

Tuesday 2nd September/... The Smashing Pumpkins, one of rock's defining and most acclaimed bands who've sold over 30 million albums, is coming to Activision Publishing, Inc.’s (Nasdaq: ATVI) Guitar Hero® World Tour in a ground-breaking way as the band will debut its new single “G.L.O.W.” exclusively in the game. This marks the first time a band has recorded a new song exclusively for the franchise which will be released afterwards, giving Guitar Hero® fans exclusive access to Smashing Pumpkins music before anyone else. The new track, bundled with two other rocking Smashing Pumpkins hits, “1979” and “The Everlasting Gaze,” will be available post-launch of the game as a three-song downloaded content pack.

Additionally, on-disc with the release of Guitar Hero World Tour this autumn, The Smashing Pumpkins’ singer, songwriter and lead guitarist Billy Corgan will appear as an in-game character and will bring with him “Today,” the band’s smash hit from their pivotal and four-times platinum 1993 album Siamese Dream. “Today” is one of the band’s many hits that have defined the alternative music era and continue to resonate on modern rock radio, influencing a whole new generation. Players will be able to experience the unique alternative rocker’s likeness in-game as he sings and shreds on guitar, or play as the revered rock star throughout their vocal and axe careers.

When the house lights go down this fall, a new generation of guitarists, drummers and fearless frontmen will come together and rock with Guitar Hero World Tour. The latest installment in the #1 best-selling video game franchise of 2007, Guitar Hero World Tour transforms music gaming by expanding Guitar Hero’s signature guitar gameplay into a cooperative band experience that combines the most advanced wireless controllers with new revolutionary online* and offline gameplay modes including Band Career and 8-player “Battle of the Bands,” which allows two full bands to compete head-to-head online for the first time ever. The game features a slick newly redesigned guitar controller, drum kit controller and a microphone, as well as an innovative Music Studio music creator that lets players compose, record, edit and share their own rock ‘n’ roll anthems. Music creators will also be able to share their recordings with their friends online through GHTunesSM where other gamers can download and play an endless supply of unique creations.

Guitar Hero World Tour is being developed by Neversoft Entertainment for the Xbox 360® video game and entertainment system from Microsoft and PLAYSTATION®3 computer entertainment system. The Wii™ version is being developed by Vicarious Visions. The PlayStation®2 computer entertainment system version is being developed by Budcat. The game is rated 12+ by PEGI and 12 by the BBFC. For more information on Guitar Hero World Tour, please visit www.guitarhero.com.

Guitar Hero World Tour

The Smashing Pumpkins to debut their new single 'G.L.O.W.' exclusively in the game

Tuesday 2nd September/... The Smashing Pumpkins , one of rock's defining and most acclaimed bands who've sold over 30 million albums, is coming to Activision Publishing, Inc.’s (Nasdaq: ATVI) Guitar Hero® World Tour in a ground-breaking way as the band will debut its new single “G.L.O.W.” exclusively in the game. This marks the first time a band has recorded a new song exclusively for the franchise which will be released afterwards, giving Guitar Hero® fans exclusive access to Smashing Pumpkins music before anyone else. The new track, bundled with two other rocking Smashing Pumpkins hits, “1979” and “The Everlasting Gaze,” will be available post-launch of the game as a three-song downloaded content pack.

When the house lights go down this fall, a new generation of guitarists, drummers and fearless frontmen will come together and rock with Guitar Hero World Tour . The latest installment in the #1 best-selling video game franchise of 2007, Guitar Hero World Tour transforms music gaming by expanding Guitar Hero’s signature guitar gameplay into a cooperative band experience that combines the most advanced wireless controllers with new revolutionary online* and offline gameplay modes including Band Career and 8-player “Battle of the Bands,” which allows two full bands to compete head-to-head online for the first time ever. The game features a slick newly redesigned guitar controller, drum kit controller and a microphone, as well as an innovative Music Studio music creator that lets players compose, record, edit and share their own rock ‘n’ roll anthems. Music creators will also be able to share their recordings with their friends online through GHTunesSM where other gamers can download and play an endless supply of unique creations.

About Activision Publishing, Inc.

Headquartered in Santa Monica, California, Activision Publishing, Inc. is a leading worldwide developer, publisher and distributor of interactive entertainment and leisure products.

Activision Publishing maintains operations in the U.S., Canada, the United Kingdom, France, Germany, Ireland, Italy, Sweden, Spain, the Netherlands, Australia, Japan and South Korea. More information about Activision Publishing and its products can be found on the company's website, www.activision.com.

Cautionary Note Regarding Forward-looking Statements: Information in this press release that involves Activision Publishing’s expectations, plans, intentions or strategies regarding the future are forward-looking statements that are not facts and involve a number of risks and uncertainties. Activision Publishing generally uses words such as “outlook”, “will,” “could,” “would,” “might,” “remains,” “to be,” “plans,” “believes”, “may”, “expects,” “intends,” “anticipates,” “estimate,” future,” “plan,” “positioned,” “potential,” “project,” “remain,” “scheduled,” “set to,” “subject to,” “upcoming” and similar expressions to help identify forward-looking statements. Factors that could cause Activision Publishing’s actual future results to differ materially from those expressed in the forward-looking statements set forth in this release include, but are not limited to, sales of Activision Publishing’s titles, shifts in consumer spending trends, the seasonal and cyclical nature of the interactive game market, Activision Publishing’s ability to predict consumer preferences among competing hardware platforms (including next-generation hardware), declines in software pricing, product returns and price protection, product delays, retail acceptance of Activision Publishing’s products, adoption rate and availability of new hardware and related software, industry competition, rapid changes in technology and industry standards, protection of proprietary rights, litigation against Activision Publishing, maintenance of relationships with key personnel, customers, vendors and third-party developers, domestic and international economic, financial and political conditions and policies, foreign exchange rates, integration of recent acquisitions and the identification of suitable future acquisition opportunities, Activision Blizzard’s success in integrating the operations of Activision Publishing and Vivendi Games in a timely manner, or at all, and the combined company’s ability to realize the anticipated benefits and synergies of the transaction to the extent, or in the timeframe, anticipated. Other such factors include additional risk factors identified in Activision Blizzard’s most recent annual report on Form 10-K and any subsequent quarterly reports on Form 10-Q. The forward-looking statements in this release are based upon information available to Activision Publishing and Activision Blizzard as of the date of this release, and neither Activision Publishing nor Activision Blizzard assumes any obligation to update any such forward-looking statements. Forward-looking statements believed to be true when made may ultimately prove to be incorrect. These statements are not guarantees of the future performance of Activision Publishing or Activision Blizzard and are subject to risks, uncertainties and other factors, some of which are beyond its control and may cause actual results to differ materially from current expectations.

*Online gameplay is only available for the Xbox 360® video game and entertainment system from Microsoft, PLAYSTATION®3 computer entertainment system and Wii™ and may require an additional subscription.

“PlayStation”, “PLAYSTATION” and “PS” Family logo are registered trademarks of Sony Computer Entertainment Inc. Used with Permission. Microsoft, Xbox, Xbox 360, Xbox LIVE, and the Xbox logos are trademarks of the Microsoft group of companies. Wii and the Wii logo are trademarks of Nintendo.

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“Guitar Hero: World Tour” Unveils Full Track List

By Daniel Kreps

Daniel Kreps

Guitar Hero: World Tour has finally released its full track list. While the list of 86 tracks isn’t as jaw-dropping as that of its counterpart Rock Band 2 , there are a bunch of highlights, including a pair of tracks by Jimi Hendrix and Ozzy Osbourne, plus cuts from Metallica, Nirvana, Van Halen, the Doors and Lynyrd Skynyrd. All the songs are original master recordings. There’s karaoke favorites like the Eagles’ “Hotel California” and, for the true axmen, virtuoso songs like Joe Satriani’s “Satch Boogie.” Additionally, the game will boast exclusive Guitar Duel recordings by Ted Nugent and Zakk Wylde. There’s also a trio of new play options: Band Career, the Music Studio feature and the 8-player Battle of the Bands that allow bands to compete online. GH:WT also has those new instruments , new amps and that exclusive Smashing Pumpkins premiere single “G.L.O.W.” The game hits shelves October 26th.

Guitar Hero: World Tour Track List:

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311 – “Beautiful Disaster” 30 Seconds To Mars – “The Kill” Airbourne – “Too Much Too Young” The Allman Brothers Band – “Ramblin’ Man” Anouk – “Good God” The Answer – “Never Too Late” At The Drive-In – “One Armed Scissor” Beastie Boys – “No Sleep Till Brooklyn” Beatsteaks – “Hail to the Freaks” Billy Idol – “Rebel Yell” Black Label Society – “Stillborn” Black Rebel Motorcycle Club – “Weapon of Choice” blink-182 – “Dammit” Blondie – “One Way or Another” Bob Seger & The Silver Bullet Band – “Hollywood Nights” Bon Jovi – “Livin’ On A Prayer” Bullet For My Valentine – “Scream Aim Fire” Coldplay – “Shiver” Creedence Clearwater Revival – “Up Around The Bend” The Cult – “Love Removal Machine” Dinosaur Jr. – “Feel The Pain” The Doors – “Love Me Two Times” Dream Theater – “Pull Me Under” The Eagles – “Hotel California” The Enemy – “Aggro” Filter – “Hey Man, Nice Shot” Fleetwood Mac – “Go Your Own Way” Foo Fighters – “Everlong” The Guess Who – “American Woman” Hush Puppies – “You’re Gonna Say Yeah!” Interpol – “Obstacle 1” Jane’s Addiction – “Mountain Song” Jimi Hendrix – “Purple Haze (Live)” Jimi Hendrix – “The Wind Cries Mary” Jimmy Eat World – “The Middle” Joe Satriani – “Satch Boogie” Kent – “Vinternoll2” Korn – “Freak On A Leash” Lacuna Coil – “Our Truth” Lenny Kravitz – “Are You Gonna Go My Way” Linkin Park – “What I’ve Done” The Living End – “Prisoner of Society” Los Lobos – “La Bamba” Lost Prophets – “Rooftops (A Liberation Broadcast)” Lynyrd Skynyrd – “Sweet Home Alabama (Live)” Mars Volta – “L’Via L’Viaquez” MC5’s Wayne Kramer – “Kick Out The Jams” Metallica – “Trapped Under Ice” Michael Jackson – “Beat It” Modest Mouse – “Float On” Motorhead – “Overkill” Muse – “Assassin” Negramaro – “Nuvole e Lenzuola” Nirvana – “About a Girl (Unplugged)” No Doubt – “Spiderwebs” NOFX – “Soul Doubt” Oasis – “Some Might Say” Ozzy Osbourne – “Crazy Train” Ozzy Osbourne – “Mr. Crowley” Paramore – “Misery Business” Pat Benatar – “Heartbreaker” R.E.M. – “The One I Love” Radio Futura – “Escuela De Calor” Rise Against – “Re-Education (Through Labor)” Sex Pistols – “Pretty Vacant” Silversun Pickups – “Lazy Eye” Smashing Pumpkins – “Today” Steely Dan – “Do It Again” Steve Miller Band – “The Joker” Sting – “Demolition Man (Live)” The Stone Roses – “Love Spreads” Stuck In The Sound – “Toy Boy” Sublime – “Santeria” Survivor – “Eye of the Tiger” System of a Down – “B.Y.O.B.” Ted Nugent – “Stranglehold” Ted Nugent’s Original Guitar Duel Recording Tokio Hotel – “Monsoon” Tool – “Parabola” Tool – “Schism” Tool – “Vicarious” Trust – “Antisocial” Van Halen – “Hot For Teacher” Willie Nelson – “On The Road Again” Wings – “Band on the Run” Zakk Wylde’s Original Guitar Duel Recording

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Smashing Pumpkins

Edit source

The Smashing Pumpkins is an American alternative rock band that formed in Chicago, Illinois in 1988. Founded by Billy Corgan (vocals/guitar), the band disbanded briefly in 2000, but returned in 2006.

2.1 Current
2.2 Touring
3 Discography
4 Songs in Guitar Hero games:

Overview [ ]

Disavowing the punk rock roots shared by many of their alt-rock contemporaries, the Pumpkins have a diverse, densely layered, and guitar-heavy sound, containing elements of gothic rock, heavy metal, dream pop, psychedelic rock, arena rock, shoegazer-style production and, in later recordings, electronica. Frontman Billy Corgan is the group's primary songwriter - his grand musical ambitions and cathartic lyrics have shaped the band's albums and songs, which have been described as "anguished, bruised reports from Billy Corgan's nightmare-land".

Band Members [ ]

Current [ ].

Billy Corgan: vocals/lead guitar (1988-2000, 2006-present)
James Iha: rhythm guitar (1988-2000, 2018-present)
Jeff Schroeder: rhythm guitar (2006-present)
Jimmy Chamberlin: drums (1988-1996, 1999-2000, 2006-2009, 2015-present)

Touring [ ]

Jack Bates: bass (2015-present)
Katie Cole: keyboards, backing vocals (2015-present)
D'arcy Wretzky: bass (1988-1999)
Melissa auf der Maur (formerly from Hole): bass (1999-2000)
Ginger Pooley: bass (2007-2009)
Lisa Harriton: keyboards, backing vocals (2007-2009)
Mike Byrne: drums (2009-2014)

Discography [ ]

Gish (1991)
" Cherub Rock " and " Today " were released in this album. Another known hit from this album is "Disarm".
" Bullet with Butterfly Wings " and " 1979 " came out in this album, as well as other well-known hits like "Tonight, Tonight" and "Zero".
Adore (1998)
Machina/The Machines of God (2000)
Machina II/The Friends & Enemies of Modern Music (2000)
Zeitgeist (2007)
Vol. 1: Songs For a Son
Vol. 2: The Solstice Bare
Oceania (2012)
Monuments to an Elegy (2014)
Shiny and Oh So Bright Vol.1: No Past. No Future. No Sun. (2018)

Songs in Guitar Hero games: [ ]

Cherub Rock - Guitar Hero 3
Today - Guitar Hero World Tour
Bullet With Butterfly Wings - Guitar Hero 5
G.L.O.W. - Guitar Hero World Tour DLC
1979 - Guitar Hero World Tour DLC
The Everlasting Gaze - Guitar Hero World Tour DLC
Billy Corgan is unlockable Character in Guitar Hero World Tour and unlocked after playing "Today" on Band Career Mode.
1 Controllers and controller compatibility
2 Guitar Hero (series)
3 Guitar Hero Arcade/Setlist

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Guitar Hero World Tour December DLC Unveiled: Smashing Pumpkins, Nirvana, Eagles, More

The December DLC lineup for Guitar Hero World Tour has been revealed by publisher Activision, revealing the new tunes that owners of the Neversoft and Vicarious Visions-developed music game will be able to purchase and download later this month.

The below tracks will hit PlayStation 3, Wii and Xbox 360, priced individually at $2, which translates to 160 Microsoft Points and 200 Wii Points. PS3 and Xbox 360 owners can also purchase 3-song packs, which go for $5.50 and offer a savings of $0.50.

Chris Faylor was previously a games journalist creating content at Shacknews.

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Couple okay songs there, but I'm still glad I only rented GH:WT. HMX 4 Life... =D

harmonix bake me a You Know You're Right RIGHT FUCKING NOW >:(

"As good as D’arcy and James are, it was just going to sound better if Billy played it" – Billy Corgan, Jimmy Chamberlin, Butch Vig, Flood and more on the Smashing Pumpkins' recording history

Classic interview – From Gish to Zeitgeist, through the eyes of the key players… plus the 11 underrated Pumpkins songs guitarists need to hear

"I'm sorry, I’m on a tangent,” he laughs. “See, I told you. I don’t interview anymore. I’m just talking like a normal person.”

It’s ten minutes into our first interview, and Billy Corgan has gone slightly off-topic. Nothing too outlandish, but he’s affable and apologetic nonetheless. The two of us are sitting on the patio outside a nondescript home studio in Los Angeles, where the audio is being mixed for a forthcoming DVD chronicling the Smashing Pumpkins ’ 12-show run at the Fillmore in the summer of 2007 .

In two weeks he’ll travel to another studio to record G.L.O.W., a new Pumpkins track for the Guitar Hero World Tour video game. Corgan also went through facial scanning and motion capture at Neversoft to become a playable character.

Billy Corgan: “The gear should always support your vision”

“Digital me,” he smiles, right down to the sheen off his dome piece. There’s a lot on tap in Pumpkinland, but for the moment its chief resident is calm and centred. The loudest thing about him is a pair of bright orange socks peering over the top of his black-and-red high-top Nike Court Forces.

That anybody would announce the fact that they were talking like a normal person seems strange unless that person happens to be Billy Corgan. Frequently misinterpreted and misquoted, it’s understandable that Corgan is somewhat of a guarded interview, at least in regards to certain topics. Gear isn’t one of them.

“I love talking about that stuff,” he says. “I’d rather talk about that stuff than talk about emotional stuff. So yeah, as far as you want to go down the rabbit hole...”

The thing is, the further down you go, the more you realise that the emotional stuff and the technical stuff intertwine like patch cables. Personalities, playing styles, tension, harmony, exploration everything is interconnected.

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Riffs and rifts. Tone and atonement. The collective dynamic among Billy Corgan, drummer Jimmy Chamberlin , guitarist James Iha , and bassist D’arcy Wretzky manifested itself in one of the most sonically diverse and emotionally-complex bodies of work in rock history.

As individuals, they affected one another just as much with their absence as they did with their presence. They are torchbearers of the Alternative Nation, and their music resonates with hippies, shoegazers, goths, shredders, and e-music experimentalists alike.

“Thousands of songs have come and gone over the past 20 years, but we can count on one hand the iconic bands that are a staple in the format,” says Michael Martin, Vice President of Programming at 98.7 KYSR in Los Angeles. “We test thousands of records in a year, and Smashing Pumpkins are always near the top with multiple tracks. It’s beyond the single and beyond the album. It’s the band.”

Jimmy Chamberlin on drum education, developing your style and the mechanics of drumming

With Corgan at the helm, the Pumpkins filtered their concepts through a gamut of accredited producers, engineers, and mixers, achieving unique creative and critical outcomes for each project. The motivation, whether conscious or subconscious, remained the same: Move forward, apply pressure, don’t fake it.

“Go back and read the press on us from 1989 to 1992,” says Corgan. “People had no clue who we were and where we were going. We were onto something and we followed it through, and it built up into something that sold and was popular.

The mainstream world only wants to hear you when you have your shit together Billy Corgan

"It had its moment, but I think once we crested that wave it was back to a level of experimentation. What we didn’t understand were the ramifications it was going to have on the band commercially. You can’t build yourself into this superpower and then say, ‘I’m going to go back to being arty guy.’ They don’t want to hear that, and I wasn’t sophisticated enough to understand that. Now I am.

“The mainstream world only wants to hear you when you have your shit together. It may take us three years to get our shit together to a point where we can make that kind of level of work, and then we’ll show up and we’ll set the phasers to stun. I’m 41, Jimmy’s 44, we still have a good seven-plus years where we can play that kind of music that way. I think Superchrist is a good indication that we’re still willing to light stuff on fire.”

A blunt force psychedelic jam produced by longtime friend Kerry Brown, Superchrist is both a push to the future and a nod to the past. It’s the first fruit of a band no longer beholden to a label, Zeitgeist fulfilled their one-album deal with Warner Brothers and rekindles a raw, brazen energy that, to Brown, was a cornerstone of Gish-era recording.

Gish (1991)

If you ever saw that band play live, they could absolutely crush people Butch Vig

The Smashing Pumpkins rose to prominence in the shadows of Wrigley Field on the North Side of Chicago in the late 1980s. Outfitted in cold weather thrift store threads, they delivered punishing body blows of bombastic, cinematic love-rock, their pop appeal perfectly shaded behind a treacherous wall of sound. Destiny handed them an alternative pedigree, but their cover material, Sookie Sookie (Steppenwolf), The Joker (Steve Miller Band), Venus In Furs (The Velvet Underground), exposed deep roots that would inform their future recordings.

“The Pumpkins looked like they were from Mars,” says producer Butch Vig . “To see how they looked and hear how they sounded was one of the reasons why people thought they were really special. If you ever saw that band play live, they could absolutely crush people.”

The band had already released a self-produced single for I Am One in the spring of 1990 before Corgan contacted Vig about producing a Sub Pop seven-inch for the song Tristessa. The strength of that partnership prompted Vig to sign on for their full-length debut, which was to be recorded at Vig’s Smart Studios in Madison, Wisconsin.

“Billy was very ambitious,” Vig remembers. “He wanted to make everything sound amazing and see how far he could take it; really spend time on the production and the performances. For me, that was a godsend because I was used to doing records for all the indie labels and we only had budgets for three or four days.”

The band loaded into the studio with a modest amount of gear, most of which can be seen in their first few videos. On stage, the band’s signature sound was rooted in Corgan and Iha’s mid-’70s Strat/’87 Les Paul combination, but the recording centred around Corgan’s rig: An early ’80s Marshall JCM800 2203, known as the Soul Head, run through Marshall 1960A cabinets, all purchased off “some stoner guy” in Chicago for $800.

The KT88 tubes in the JCM produce a round, creamy tone that, when used in conjunction with an ADA MP-1 tube preamp, produced the Gish tone. Using the low input side of the JCM, Corgan would turn the master volume all the way up, and then use the preamp’s volume to make micro-adjustments. A host of effects, from the Fender Blender to the Phase 100, were folded in for extra fuzz and sweep comb filtering. The bass parts were recorded with Wretzky’s black Fender P-Bass, dubbed the “Rat Bass” for the scattering of white rat stickers all over the face and played through a Trace Elliot AH300SM.

“Billy was ‘green’ only in the sense that he didn’t necessarily have hands-on experience, but he knew what he wanted,” Vig continues. “He’s a big fan of Queen and ELO, and those records had big produced sounds, and as much as he didn’t know maybe from an engineering standpoint how to do it, I think sonically what he heard in his head, he understood.”

The band would collectively hash out the arrangements through exhaustive rehearsals, but when it came time to record, Corgan laid down the majority of the parts. This oft-talked about procedure became a standard practice.

“As good as D’arcy and James are, it was just going to sound better if Billy played it,” says Vig. “I think it probably caused some friction, but it was something they dealt with and accepted in the band.”

The drums were the one component of the Smashing Pumpkins that Corgan could not reproduce. A jazz drummer by trade, Jimmy Chamberlin paired swing and subtlety with a thunderous intensity reminiscent of legends like Keith Moon and John Bonham .

Chamberlin has been a Yamaha endorsee since 1993, but back then his setup was a Pearl DLX Series kit with a 16x22-inch kick and a Yamaha steel snare. As Chamberlin remembers, the kit was miked with Sennheiser 421s on the toms, Shure SM57 s on the snare, an AKG D112/Electro-Voice RE20 combo on the kick, and AKG C414s as overheads.

At the time, Vig didn’t have a tremendous amount of money to make significant cosmetic changes to Smart, but the shape of the studio’s live room, all odd angles and no parallel walls, made for an incredible sound, inspiring the live feel of the band’s studio performance.

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Gish was recorded onto a two-inch, 24-track Otari MX80, but few things were recorded through the studio’s newly acquired 56-input customized Harrison console (Vig relied largely on outboard Summit and API preamps) though he says that Harrison’s versatile EQ section and exceptional high- and low-pass filters made it easier to quickly carve out pockets in the mix for Corgan’s unique tone. When all was said and done, Gish cost around $20,000 to produce and took just over 30 days to record.

I was over the moon to think I had found a comrade-in-arms who wanted to push me, and who really wanted me to push him Butch Vig

“For me, that was the equivalent of making a Steely Dan record,” laughs Vig who, two months after wrapping production on Gish, travelled to Los Angeles to record Nirvana ’s Nevermind . “Having that luxury to spend hours on a guitar tone or tuning the drums or working on harmonies and textural things... I was over the moon to think I had found a comrade in- arms who wanted to push me, and who really wanted me to push him.”

But for all its sonic ambition, Gish couldn’t hold a candle to what came next. After touring behind their first record, Butch Vig and the Pumpkins spent five months recording their follow-up, Siamese Dream, working 14-hour days, six days a week. And towards the end of the recording process, after tours had been booked and a release date established, they worked a full seven days. Alan Moulder, whose history with dense guitar bands like Ride and My Bloody Valentine, was asked to mix. He booked two weeks at Rumbo Studios in Los Angeles.

Siamese Dream (1993)

We didn’t care if anybody thought it was overproduced Butch Vig

“When we set out to make Siamese Dream, we wanted to go way, way over the top,” explains Vig. “We didn’t care if anybody thought it was overproduced.”

Tack a zero onto the Gish tab and you come close to matching Siamese Dream’s total cost. Through it all, the tenacity of the group’s work ethic was eclipsed only by the pressure to succeed. Along the way, Iha and Wretzky ended their relationship, Chamberlin developed what would become an acute substance abuse problem, and Corgan’s creative turmoil pushed him to the point of near suicide.

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His songwriting, as if voiced by a choleric yet optimistic teenager well beyond his years, hinged on defiance, acceptance, family, and alienation. Of the “hundreds of dumb riffs” they would play, the ones that stuck not only sounded good, they felt good to play.

“I’m a person who tends not to repeat technique, which I guess is kind of suicidal in a way,” says Corgan. “Most people look at a recording career as a series of conclusions. I’ve always treated my recording career more like a journey. I think when an artist gets into a comfortable set of choices, that’s where the death of creativity lies.”

Months of recording meant lots of time for experimentation and tweaking. To help minimise distractions, Vig and the Pumpkins checked into Triclops Studios in Marietta, Georgia, a cosy space that allowed the band a sort of temporary respite. Unlike Smart, Triclops’ ’70s style room had high, woody ceilings that made for a modest decay.

We found a secret weapon on that record Butch Vig

Vig brought along his API Lunchbox loaded with modular pres for the bass and a few guitar overdubs, but most of the instrumentation was run through the studio’s Neve console onto Studer A800s. Corgan’s “Soul Head” and Marshall cabinet were still in effect, but he no longer used the MP-1. Instead, Corgan achieved Siamese Dream’s highly stylized tone with a litany of DOD pedals and a ’70s-era, silver-faced Big Muff Pi. As the guitar he’d used on Gish had been stolen, his go-to guitars became ’57 Eric Clapton re-issue Strats with Lace Sensor pickups.

“We found a secret weapon on that record,” says Vig. “A little preamp in a pedal steel guitar. It wasn’t built for a loud guitar. It was built for a low output on a pedal steel, so it had this super high-end white noise gain that gave the guitar this sonic jet sound.”

That pedal steel preamp, coupled with an old school tape flanging created by physically speeding up and slowing down the reel by hand is the sound behind Corgan’s otherworldly solo on Cherub Rock. Quiet features hard-panned left and right guitars running through the Big Muff with the tone turned all the way down, while the howling break in the chorus to Mayonnaise is nothing but pure feedback created by Corgan’s $60 pawn shop “Mayonnaise Guitar.”

You can’t have 40 guitars that are all full range – there have to be places for them to fit Butch Vig

But Corgan’s gear was only part of the equation. The endless overdubs, at least 40 in Soma are well-documented, but Vig says that proper mic configuration is what allowed the parts to congeal. Vig’s mic'ing technique was as follows: Corgan would crank up his amp to full gain, and then set the guitar down. After boosting the headphones send on all the mics, Vig entered the room to move around the mics, using the phase-shifting hiss from Corgan’s guitar echo as his guide. According to Vig, an AKG C 414 produced the widest spectrum of sound, a Sennheiser 421 accented the midrange, and ribbon mics were used to obtain a smoother sound with quick, yet mellow, transients.

“You can’t have 40 guitars that are all full range,” says Vig. “There have to be places for them to fit. You could have low-midrange, or you could have everything scooped out with a high-pass that’s cut at 300 or 400kHz.”

The miking tactic seemed almost drum-like, which, given Vig’s musical expertise, is a fair assumption. “Maybe from me being a drummer, that’s an aesthetic I brought to the table that I didn’t even really understand at the time,” he says.

My voice is really hard to record Billy Corgan

The army of guitar signals would later make vocal tracking a strenuous procedure for Corgan. Vig didn’t much care for the midrange in Corgan’s voice, so to soften that particular timbre he used a Shure SM7 (generally regarded as a more “open”-sounding mic when its roll off and boost features are engaged simultaneously) through an API preamp and a Summit TLA-100 Tube Limiter, all fed back into Corgan’s headphones. Like everything else, vocal takes were abundant, with Corgan sometimes singing for eight hours at a time to make sure his tracks were pitch-perfect.

“My voice is really hard to record,” says Corgan, smiling. “It’s hard to record, it’s hard to monitor, and it’s hard to mix. I’m Irish, I’m meant to sing sad ballads! My voice isn’t really meant for rock, and I’m pretty sure many people out there would agree with me.”

He laughs again, and you can hear it a little clearer. His voice. That voice, lurking underneath his conversational tone. That unmistakable inflection that can shift from an airy lilt to a nasal, sandpapery growl at the turn of a verse.

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To some, it represents instant alternative rock salvation; a vocal uppercut to the face of the status quo. To others, Bruce Britt of the Broward-Palm Beach New Times, for instance, it’s the “most annoying voice in rock.” But Siamese Dream has gone four-times platinum on the strength of that voice because emotionally, it carries with it as much layered complexity and contradiction as the instrumentation that backs it.

“Today” was the greatest day Corgan had ever known, not because it really was, but because it couldn’t get any worse. Somehow that was enough of a comfort to lure him away from the edge . Somehow, against all odds, the Smashing Pumpkins kept moving forward.

“People don’t always articulate their expectations,” says Corgan. “I think whenever we would work with producers, they would do their best to try and balance those forces between what somebody would want, what I would want, and what was best for the record.”

Mellon Collie And The Infinite Sadness (1995)

Before a single note was recorded, Corgan knew he wanted the next release to be a double album. Flood and Alan Moulder, friends since their early days at the prestigious Trident Studios in London, were tapped to co-produce.

The band began rehearsing at Pumpkinland, their Chicago recording space, and Billy began funnelling cassette demos to Flood for review. Roughly two-thirds of Mellon Collie & the Infinite Sadness was tracked at Pumpkinland on an Otari MTR-90 MKII, while the remaining portion was tracked at the Chicago Recording Company on Studer A820s.

“I love recording at 15 ips NAB, but with Dolby SR, because it just adds a whole different dimension to the sound,” says Flood. “Apart from the obvious benefits of Dolby, if you tweak the Dolby unit really, really well, it’s a bit like adding an Aphex and a dbx sub-harmonic bass enhancer on every channel.

Also, the way that tape changes the sound or modifies the sound, 15 ips is technically not correct, but I find it to be so musical, particularly on the bottom end. This was very much a conscious decision, and very much a part of the album’s sound.”

"A lot of Mellon Collie was tracked by the band at deafening volumes. I mean deafening." Billy Corgan

Another conscious decision was to change up the manner in which the group recorded. In the past, the band had only used one room to track, which of course meant only one thing could be going on at a time. Hours spent waiting for one person to finish up their part led to frustration.

For Mellon Collie, Flood would generally work with Corgan in the A room on the Otari and an MCI board, while Moulder worked with Wretzky and Iha in the B room on a Pro Tools rig slaved to both Tascam DA-88 digital recorders and two-inch tape.

The combination of analogue and digital opened up a world of recording possibilities and played to the creative strengths of Mellon Collie’s adventurous spirit. A track like Thru The Eyes Of Ruby, which contains approximately 70 guitar tracks, would have been nearly impossible to do with tape alone. Likewise, Porcelina Of The Vast Oceans contains roughly six sections that were all recorded at different times with different instrument and microphone configurations and then fused together, another beneficial byproduct of editing in Pro Tools.

Guitar and amplification choices were the key differences between Siamese and Mellon Collie. For the bass, Wretzky switched up from the P-Bass to a ’60s era Fender Jazz Bass reissue with Ampeg and Mesa/Boogie amps. For Corgan, what sounded great about the Siamese fuzz pedal set up in the studio made it sound horrible live. He still had his Marshall 1960A cabinets, but Corgan shifted to a Mesa Boogie Strategy 500 and a Marshall JMP-1 preamp (Corgan also notes that he used an Alesis 3630 to drive extra gain into a Marshall). As the ultimate goal for Mellon Collie was to capture the band’s live, unbridled sound, Billy largely used this touring rig to record.

“Flood felt like the band he would see live wasn’t really captured on record,” says Corgan. “So a lot of Mellon Collie was tracked by the band at deafening volumes. I mean deafening. There was so much SPL in the room that it was physically uncomfortable. Your ears, your emotional resistance, would wear down.”

Flood also discovered that Corgan was a much better singer pitch-wise when he didn’t use headphones, so he switched Corgan up to a Shure SM58 and had him sing in front of open speakers.

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“My experience with U2 taught me that a lot of things you’d expect to become problematic with monitors in the room aren’t, and by careful use of screening, by positioning the monitors and what you put in the monitors you can actually get a lot of benefits,” says Flood.

We also developed this system whereby we had what was called ‘rehearsal mode’ and ‘tape mode’ Flood

“For instance, Jimmy used to love having the kick drum and a bit of snare going through his wedges, which were directly behind him. So if you’ve got a kit that’s lacking a bit of bottom end, you pump the kick and the snare through the wedges and you start to tweak them to get extra weight.

"We also developed this system whereby we had what was called ‘rehearsal mode’ and ‘tape mode.’ In rehearsal mode, everybody was on the floor, the amps were blaring, and you wouldn’t have to worry about spills. We had the speakers inside these big coffin flight cases in the back of the room and mic'd them close up, then mic'd them about six feet away. Then we’d close the lid. When you were tracking in tape mode, everybody could flick over at the flick of a footswitch and their amps would be quietly purring away in the corner. When you’d give a little bit back to them in their own respective monitors, automatically the sound of the room cut right back and you’d get the vibe of four people playing on top of each other.”

For the drums, Chamberlin’s core Mellon Collie kit was a Yamaha Maple Custom with a 16x22-inch kick, a 22-inch ride, 18-inch and 19-inch Zildjian A Custom crashes, 22-inch swish knockers, and 10-inch and 15-inch fast crashes. Because of his big band background, he frequently changed out his snares, building his kit around the snare and the ride as opposed to the kick. The familiar drum rolls all throughout “Tonight, Tonight” can be attributed to Jimmy’s classic 5 1/2x14- inch Ludwig Supra-Phonic.

“From there I go to microphones as far as how I want the drums to sit dimensionally in the track,” Chamberlin informs. “If I want the drums upfront and aggressive, I’ll use a lot of AKG C 414s so they sit in front of things dimensionally. If I want the drums to sit in a rhythm section configuration, I’ll lean back towards the 414s and maybe some Shure SM98s. Then maybe go for Shure 12As on the bigger drums.”

Mellon Collie debuted at No.1 on the Billboard 200 when it was released in October of 1995. Less than a year later it had crested $6 million in sales and was later nominated for seven Grammys. It was the most powerful statement the Smashing Pumpkins had made to date. Unfortunately, much-publicized events that took place during the group’s 1996 tour produced an equally powerful effect.

"Blank page is all the rage. Never meant to say anything." Blank Page (1998)

Death, divorce, and harsh life realizations “that have only recently probably finished playing out,” says Corgan, clouded the two years after Mellon Collie’s release. By the time Corgan saddled down to write Adore, Iha was focusing on his solo album (Let It Come Down), Wretzky was a sporadic presence, and Chamberlin was out of the band. Filter’s Matt Walker was brought in to replace Chamberlin for the remainder of their tour, but the hole left by the original drummer’s absence would significantly impact the creation of the new record.

“I thought I was going to do this really different album,” says Corgan. “So typical me, I didn’t use any of my gear. Like, any. I went out and bought new guitars and strange amps, a Fender Blackface and a Selmer combo, I think. Most of my memories with Adore have more to do with programming.”

Adore (1995)

The success of Eye, an industrial hip-hop crossover track that appeared on the soundtrack to David Lynch’s Lost Highway instilled much-needed confidence in Corgan. It was basic electronic production, but it proved to him that he could press on with more sophisticated fare. Corgan hooked up with Brad Wood (Liz Phair, Placebo) and began recording with the band in Chicago during the summer of 1997. Never one to do anything the easy way, Corgan decided to load into a new studio nearly every week. It was catch-as-catch-can recording. If something wasn’t working in a new surrounding or couldn’t get set up in time, it wasn’t used.

“He was trying to create a different environment, quickly and geographically, and trying to avoid certain things that happen when a band settles into a studio,” says Bjorn Thorsrud, who has engineered every Pumpkins record since Adore.

“I did go around and proclaim rock to be dead, which was probably the stupidest thing I ever did." Billy Corgan

The material was recorded on a mix of analogue and digital formats. Already familiar with Studio Vision Pro for MIDI and audio editing, Corgan used ReCycle to chop up and manipulate drum loops. A Kurzweil K2500 and an Alesis HR-16, the same drum machine used to create the beat for 1979, were also used for additional rhythmic elements and sequences. Wood’s classic EMS VCS3 “Putney” was featured prominently on Ava Adore.

As it was with Mellon Collie, experimentation was paramount. Boxes would show up in the post every other day, each one containing a new sample library, vintage synth, or rack module gobbled up from eBay or plucked from the pages of Keyboard magazine. Still, the pieces weren’t fitting together and, eventually, Corgan and Wood parted ways.

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“It was a total crapshoot,” says Corgan, who soon relocated to L.A. to refocus his energy. “I was out of depth. There was no process, there was no system, and there was no go-to piece of gear. There was nothing. I learned a tremendous amount, but I couldn’t tell you what the hell I did.”

Billy reached out to Nitzer Ebb’s Bon Harris, who contributed additional programming and sound design with the aid of his Nord Modular, Oberheim Xpander, and massive Roland System 100M. But the songs didn’t come into full focus until Corgan reconnected with Flood, whose experience with bands like Depeche Mode and Nine Inch Nails made him the perfect candidate to help actualize Adore’s hybrid vision.

The dissonance was evident to Flood upon arrival. The mix of disparate Pro Tools sessions and one-inch tape created a textured canvas that proved difficult to homogenize, and the tension between band members was palpable. The band worked at Sunset Sound until reoccurring technical difficulties with the Neve console forced them to complete the project at the Village Recorder in Santa Monica. To further Adore’s maudlin, Goth-tech spirit, Corgan assumed a Max Schreck-like persona, emphasizing his shaved head with lighting and make-up and donning long, flowing garb that accented his 6-foot 4-inch frame.

I did go around and proclaim rock to be dead, which was probably the stupidest thing I ever did Billy Corgan

“I did go around and proclaim rock to be dead,” Corgan laughs, “which was probably the stupidest thing I ever did. I was in my Adore personality saying things like ‘Fuck the electric guitar !’ And of course, 12 months later I’m playing The Everlasting Gaze.”

Many fans attributed Adore’s stylistic shift directly to Chamberlin’s lack of participation, and contrary to favourable reviews and another Grammy nomination for Best Alternative Music Album, Corgan insists “nobody got the record.” “To Sheila” pumped blood through its mechanized heart, “Ava Adore” flashed her crooked teeth, but the bite wasn’t as strong. Chamberlin’s raw power was replaced by reverberating, distorted 808 kicks. Shuffle and swing turned into quantized grooves and fills. Predictable ticks marched along in place of glittering cymbal embellishments.

“I don’t feel excluded from Adore,” says Chamberlin. “When I listen to that record, I hear decisions that I totally influenced because I wasn’t there.”

Machina / The Machines Of God (2000)

"You know I’m not dead. I’m just living in my head." The Everlasting Gaze (1999)

Chamberlin returned to the Smashing Pumpkins in March of 1999, but another absence would alter the face of the band’s fifth studio release, Machina/The Machines of God. Flood was once again asked to produce, but unlike Mellon Collie, where many ideas were mapped out before a single note was recorded, few were aware of Corgan’s creative intent: a concept album about a fictitious rock band fronted by a character whose life is forever altered after hearing the voice of God. As could be expected, the sonic subtext would prove just as esoteric.

The goal was to take the digital lessons learned from Adore and apply them to a rock environment. How does one create the sound of a band playing on another planet? Through tape degradation, synth-like mechanized guitars, soaring pads and effects, heavily-processed vocals, and of course, big drums.

Chamberlin returned with a custom-made Yamaha green maple kit, but Machina marked Corgan’s first real departure from his fleet of Fenders, instead using a Les Paul Junior reissue with P90 pickups that often ran through a Crate practice amp. An SIB Varidrive and a host of Moogerfooger pedals were also used to add to Corgan’s sonic repertoire. The hazy shimmer in big choruses for Stand Inside Your Love and The Everlasting Gaze is another trademark Machina sound.

“I hope I’m not taking credit for somebody else’s work,” laughs Alan Moulder, “but I’m pretty sure I created it with a tape delay on a short, slappy guitar reverb going through an AMS Harmonizer. I think I ducked it with compression triggering off the drums.”

To help the band gel with the new material, Corgan decided to take the Pumpkins out for a few select club dates in April of ’99 while Flood went on holiday. They would return to the studio fine-tuned, ride that live momentum through a weeklong recording session, and then bring in Moulder to mix after another head-clearing break. When Wretzky’s commitment to the band began to erode, plans began to change. Though rumoured since late summer, it was publicly announced in September that she had left the band.

Billy Corgan, Jimmy Chamberlin and James Iha at the Bridge School Benefit concert at Mountain View, California, 1999

“Billy and I thought, ‘How are we going to do this?’” Flood remembers. “We decided that we were going to have to make a very different kind of record. They saw out their time on the tour, and after that we pretty much went back to the drawing board. Certain songs on the record are survivors from that first period, but it meant a shift in the way the songs had to be formed.”

The majority of the songs were recorded into Pro Tools through Corgan’s API Legacy board, but the band had multiple mixing consoles to choose from at Chicago Recording Company, so Flood performed a litmus test. He transferred two songs onto tape using a Studer A280, which as luck would have it, was found in each of the mix rooms. He then ran the tape through each console with all the faders at zero, no EQ, no panning and then into a DAT machine. When he compared the recordings, the differences were unbelievable.

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Of the Neve VR72, SSL 6056E, and the ’80s Neve broadcast console that Corgan brought in, the SSL won out. Its low-mid punch would help tighten up the record’s bright sound. Though Corgan wasn’t a big fan of SSL boards, the team found a workaround.

“Howard Willing, one of the mix engineers, knew a guy at Inward Connections who built an API simulation mix bus,” remembers Moulder. “The idea was that we were going to replace the mix bus in the SSL with this API one, which kind of ‘de-SSL’d’ it a bit.”

Machina was made with the understanding that it would be the Pumpkins’ final album. Machina II/The Friends & Enemies of Modern Music, originally intended to be the second disc on a Machina double album before Virgin vetoed the idea received an internet-only release, but a handful of copies were distributed on vinyl through Corgan’s own imprint: the befittingly titled Constantinople Records.

"Erase the schemes that I’m drawn to believe. There’s no fear anymore." Sunkissed (2008)

Zeitgeist (2007)

I know a lot of our fans are puzzled by Zeitgeist Billy Corgan

“I know a lot of our fans are puzzled by Zeitgeist,” admits Corgan. “I think they wanted this massive, grandiose work, but you don’t just roll out of bed after seven years without a functioning band and go back to doing that.”

A few key decisions had already been made before Corgan and Chamberlin set out to record Zeitgeist. Thematically, the record was going to bear down on the country’s sordid sociopolitical state, and blunt force analogue production would galvanize the ship. Furthermore, Corgan penned Zeitgeist knowing his new band members would be both qualified players and singers, which allowed him to expand the scope of his vocal parts.

We were working purely on intuition as to what the overall sound should be” Roy Thomas Baker

Corgan and Chamberlin began demo-ing at a rented space in Arizona before moving to Kerry Brown’s studio in Los Angeles for further fleshing out. Though initial work began with Michael Beinhorn (Korn, Black Label Society), Roy Thomas Baker became the album’s primary producer.

“We were working purely on intuition as to what the overall sound should be,” says Baker, whose long list of production credits includes Queen’s A Night At The Opera. “It was supposed to be an analogue sound, but it wasn’t supposed to be old school. If you’re doing everything intuitively, there’s no such thing as old and new school. We were going for an audio uniqueness as opposed to sonic purity.”

Corgan’s new guitar rigs included Diezel Herbert and Einstein heads (the latter for overdubs) and a Bogner Uberschall , again run through his classic Marshall cabinet. He also began experimenting with different model Fenders in preparation for the release of his signature model Strat, but, as Baker recalls, “there were more guitars in the studio than at Guitar Center.” Recording at The Village on both a new Neve 88R console and a vintage Neve 8048, the goal was to capture the impenetrable truth of a live, organic performance.

Jimmy is probably one of the most unique drummers I’ve ever worked with. Even when he does something he considers bad, it’s still better than 98% of the people out there at their best” Roy Thomas Baker

As Corgan isn’t generally a punch-in player, all the guitar parts had to be replayed from the top down, which at times put both Billy and Jimmy in even more visceral situations. Drums for the nearly ten-minute epic “United States” were recorded in one take.

“Jimmy is probably one of the most unique drummers I’ve ever worked with,” says Baker. “Even when he does something he considers bad, it’s still better than 98% of the people out there at their best.”

The drums were recorded in Studio A at Los Angeles’ Sage and Sound, a spacious room with 18-foot ceilings and a fully restored Neve 8048 console. The drum and overhead mic configurations didn’t change much from the Gish days, but the room was miked with an AKG C24. Chamberlin also switched to his now-favourite crash, a lush, dark 22-inch Zildjian Constantinople and downsized his kick from a 16x22-inch to a 14x22-inch to obtain more resonance and a different shell sound. Another tactic he used to employ fuller sound in his drums was to customise the bearing edges to 60 degrees instead of 45, which Chamberlin says pushes the sound around the drum instead up back to the drummer.

Jimmy Chamberlin playing live with the Smashing Pumpkins in 2008

“Roy was the only guy that really noticed that phase cancellation,” laughs Chamberlin. “That guy hears things that nobody else hears! I learned more with Roy Thomas Baker in those four or five months than I have ever learned in my entire recording career.”

In addition to Baker, former Pantera and Soundgarden producer Terry Date assisted in the final stages of production. For Corgan, Dates’ straightforward approach to the songs “helped them resonate on a physical level,” and was a good foil for Corgan’s complex methodology. Mixing was also a very absolute process.

“Everything had sort of an on/off switch,” explains Baker. “So instead of having various degrees of volumes, we’d have the approach of, ‘It’s either on or it’s not.’ Billy would say things like, ‘I can hear it, but it should either be a lot louder, or a lot quieter.’”

Everything got progressively louder and louder

Corgan, Chamberlin, and Baker took their methods even further during the mixing of the American Gothic EP. “We did everything by hand . . . multiple hands,” laughs Baker. “I was sitting on one end and Billy and Bjorn [Thorsrud] were on the other. Jimmy was maybe standing back and listening to the overall mix, leaning forward and turning something on—and everyone had different faders. Everything got progressively louder and louder, it was like a race to see who could reach peak volume the fastest! We had a good laugh doing that.”

Jeff Schroeder: "The Smashing Pumpkins guitar sound is very unique in terms of what’s required

The four-song American Gothic represents some of the Pumpkins’ best and most exciting material to date. It also signals a potentially new style of “bite-sized” recording that seems to fit with Corgan and Chamberlin’s current creative mindset: smaller packages, single producers, streamlined concepts. Corgan isn’t one to force the issue these days, and now that the Pumpkins no longer report to a label, anything goes.

“I know the next record is going to be really psychedelic,” says Corgan. “I don’t think the Sabbath influence is going away anytime soon, but I’m thinking more late ’80s/early ’90s English shoegazer mixed with ’60s psychedelia and ’70s funk. I can hear it in my head, but that doesn’t mean it’ll ever get out of my head.”

Fans can expect a Smashing Pumpkins 20th Anniversary Tour sometime in late 2008, as well as the Fillmore live DVD release. But spring of 2009 is when things should get really interesting. As this article is being written, SmashingPumpkins.com is petitioning fans for original photos from 1987–1992 in preparation for the release of a Gish box set, which may include everything from demos and B-sides to revisited versions of old songs.

The group also has archived performances of their first 40 shows, warts and all. As they have no label contract in place, the size of the box set is to be determined, which is good news for superfans, as Corgan is no stranger to releasing Herculean sets of material.

The Pumpkins will also embark on a small-scale tour to support the release, which means Gish songs, Gish gear, and intimate Gish-sized venues. Need more message board fodder? Corgan plans to give each and every Pumpkins album the same treatment. Does all this historical activity signal a break in fresh songwriting? Not a chance.

“Look, we hit massive homeruns. We never followed them up. We never took the safe, obvious next step" Billy Corgan

“This should now be where I prove what I’ve always felt I’m capable of,” says Corgan. “There’s nobody in my way, there’s no MTV not playing my video, there’s no gatekeeper. If I can truly do phenomenal work, it will be heard, whether it’s acquired for free or bought, it doesn’t make any difference. There’s nothing standing between me and an audience.

“Look, we hit massive homeruns,” he continues. “We never followed them up. We never took the safe, obvious next step, and I think that gets lost. We’re not a milk-it band. We never were a milk-it band. There’s that old saying, ‘If it’s on the cover of Time, it’s too late.’ By the time people got around to understanding what we were doing, we were gone. Now is the time to prove our mettle.”

Age Of Innocence: An 11-song journey through the Pumpkins' underrated catalogue

1. tristessa (gish).

Palm muted guitar chunks, extreme snare rolls, and a mellow break followed by a blistering solo, Tristessa is every trademark Pumpkins embellishment rolled into one track.

Producer Butch Vig utilized light compression through a combination of Summit and API compressors to preserve headroom and accommodate the song’s extreme dynamics, but Corgan’s Gish-era, attack-style guitar still cuts through the mix like a blade.

2. Starla (b-side from the I Am One single)

An epic, mesmerizing track built up around extended solos, Starla was produced by Kerry Brown and recorded through a Soundcraft TS12 board onto a TASCAM MS16 one-inch tape machine. Brown used a Yamaha SPX90 for the reverb effect on Corgan’s voice, and an Eventide H3000 Ultra-Harmonizer is responsible for the backwards effect that runs through the first third of the song.

“I remember that overdub guitar solo,” says Brown. “Just him, the headphones, and the cabinet. You don’t hear that much anymore. You can’t simulate what you can do with a cabinet in front of you. I mean, Billy was bending notes on a mic stand!”

3. Glynis (No Alternative compilation)

Though it’s rarely played live, Glynis is one of the Pumpkins’ finest non-album tracks, and can only (officially) be found on the 1993 No Alternative compilation.

An old Speak & Spell “hello” starts the song, and the soupy solo in the middle is the result of double-tracked guitars fed through a vintage Electro- Harmonix Bassballs pedal. The song is a dedication to former Red Red Meat bassist Glynis Johnson, who passed away from AIDS-related complications in 1992.

4. Beautiful (Mellon Collie & the Infinite Sadness)

A result of digital/analogue synergy, Beautiful is a processional ballad featuring opening and closing orchestral-style arrangements created via MIDI. Corgan handpicked sounds that fit with the song’s psychedelic vibe, and then jammed to the track in MIDI, adding and removing notes as he went along.

“There’s something about that visual connection to my brain that’s really good for me in terms of writing,” says Corgan. “But let me say this,” he continues with a laugh, “can we please get off MIDI? When you’re a guitar player, you plug it in. It works; it doesn’t work. If it’s the pedal, you change the battery. But then you’re sitting in front of a computer and you get that spinning wheel of death. . . .”

5. Eye (Lost Highway soundtrack)

Most people know Eye as the electro-rock crossover from the popular David Lynch film, but the track began as an instrumental for Shaquille O’Neal. The two were linked up by a longtime friend of Corgan’s. Being a big sports fan, Corgan was up for the challenge.

He concocted the instrumental before speaking with Shaq, but the two weren’t able to meet up to seal the deal. Lynch, on the other hand, thought it was perfect for Lost Highway. The track relied heavily on a Kurzweil K2500 for its 808-styled percussion, a Waldorf VST for the synth line, and a 12-string acoustic lined in direct.

6. Blissed & Gone (Still Becoming Apart promo)

With radio samples and distorted percussion sliced and diced in Propellerheads’ ReCycle, Blissed & Gone is another product of Corgan’s Adore-era experimentation with loops and samples. “I remember playing the song for Rick Rubin when he came to visit me in the studio, and he didn’t know what to say,” Corgan remembers. “That’s the trip I was on.”

7. Untitled (Rotten Apples)

The final track recorded by the original Smashing Pumpkins line-up in 2000, Untitled was semi-acoustic home cooking that rekindled the vibes of Gish and Siamese Dream.

"The song was our way of saying ‘f**k you’ to all those people who thought we’d somehow lost our minds and weren’t able to return home" Billy Corgan

The chain for Corgan’s solo, one of his favourites, features a DOD FX84 Milk Box compressor and a Shin-Ei Companion Fuzz Wah. “The song was our way of saying ‘f**k you’ to all those people who thought we’d somehow lost our minds and weren’t able to return home,” says Corgan. “We were in the studio for what appeared to be the last time, so it was very emotional, and we had only three days.”

8. The Everlasting Gaze (Machina/The Machines of God)

The Everlasting Gaze is the first track off Machina, a highly conceptual piece that marked the return of Chamberlin, but whose course was altered by the departure of Wretzky halfway through recording. The shiny, cosmic grunge that defines the album is encapsulated in this four-minute juggernaut.

Corgan switched up to a Les Paul Junior ’57 reissue with P90 pickups, but the extra crunch came by running it through a little Crate practice amp, then going direct into the box from the amp’s line out jack. “When we really wanted to ‘go there’ we would plug into the headphone jack,” laughs Corgan.

9. Pomp & Circumstances (Zeitgeist)

When Danny Elfman had to bow out amicably of doing the string arrangement, Corgan opted to forego their second option for an internal fix. Using an E-mu Emulator II, they built up a shredded wall of sound that was then bounced down and tape degraded numerous times until it was virtually falling apart at the seams.

The tonal disparity between the 8-bit E-mu (although it used a data compression algorithm that gave the equivalent of at least 12 bits), an inspired, bluesy solo, and Corgan’s soaring vocals, doubled nearly 30 times in true Roy Thomas Baker fashion give the song its uniquely operatic feel.

10. Again, Again, Again (The Crux) (American Gothic EP)

Another product of the Pumpkins’ tenure with Roy Thomas Baker. The exceptionally loud Gibson J-160E acoustic had such a distinctive punch in the lower midrange that it was paramount to pair it up with an electric that didn’t overshadow the tone.

The solution: A 1973 Telecaster run through a ’60s Selmer amp and double-tracked. If Zeitgeist is the sound of a world pounded into dust, American Gothic is the sound of that world waking up to a new era of possibility.

11. Superchrist (Fresh Cuts, Volume 2)

Superchrist pairs the Pumpkins with longtime friend and producer Kerry Brown (Starla) for a 6/8 psychedelic jam. A custom API console in Studio 3 at Sunset Sound was used for tracking, with a fair amount of trial-and-error determining which instruments sounded best on what channel.

With 18 analogue drum tracks thrown against the well-worn tone of a 1958 Fender P-Bass (run through an Ampeg SVT-VR head with an SVT- 810E cabinet and miked with an AKG D12), “ballsy” doesn’t even come close to describing the sound.

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“I may not be the absolute best player out there – in fact, I know I’m not! But what I have is an undying love for guitar and heavy metal”: Kiki Wong landed the gig of a lifetime with the Smashing Pumpkins – and she knows she has big shoes to fill

The 35-year-old Instagram shredder was chosen from 10,000 applicants after she’d almost given up on her dream. She opens up on the interview and audition process, bonding with Billy Corgan over Dimebag Darrell, and why getting the guitarist spot was as joyful as giving birth

In November 2023, metal-loving shredder Kiki Wong told Guitar World that her long-term goals included “world domination,” while in the short term she wanted to “keep spreading the word of metal with my ridiculous videos,” adding: “and I hope I can have a few laughs and jams along the way.”

Six months later she’d make good on the former by way of the latter. Turns out her clips caught the attention of Smashing Pumpkins leader Billy Corgan, and when he staged an open call to replace guitarist Jeff Schroeder in October 2023 – and 10,000 people applied – she got the gig .

It's a surprisingly metal pick for the ‘90s alt-rock heroes. “It’s definitely been a challenge learning the Pumpkins style of rock,” Wong admits. “There’s so much feel and rhythmic eloquence that goes into their style of playing. I’ve been taking guitar lessons, going back to the blues roots, and even playing more acoustic to integrate it into my playing.”

Fortunately, while Wong is a ride-or-die metal fan, she – like many children of the ‘90s – grew up on the Pumpkins’ music. “I remember hearing Bullet With Butterly Wings for the first time and just having my mind completely blown,” she says. “I was just a kid getting into guitar. Cherub Rock was absolutely bonkers to me because there was so much finesse with the muting.

“Palm muting was a little tricky for me as a beginner, so it was kind of like this elusive magical sound they were making, and it really inspired me to work on my rhythm playing more.”

From indie artist to social media influencer to Pumpkins touring guitarist, Wong has come a long way – but she’s not done. “I’m 35 years old with a kid,” she says. “I’ve been playing piano since I was six, guitar since I was 13, drums since I was 16, and bass thrown in there somewhere.

“I’ve been in touring bands since I was 20. I’ve had a love/hate relationship with music – and even a point in my life where I didn't touch my guitars for three years and got a corporate job.

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“I’ve played shit shows where there's no-one in the audience, where we got kicked off stage, to festivals and shows with pop artists that were aired on live TV. I fought tooth and nail and stuck to my guns. I always practiced more than one would think was worth it – because I feel like it takes longer for me than others.”

What led you to be among the 10,000 people who applied?

“One of my boyfriend’s close friends sent me a DM about the audition. At first glance, I didn’t think it was a real post. But when I clicked in and saw it was real, I thought, ‘Man, what an awesome thing they’re doing, to give everyone out there a chance.’

“But I thought my touring days were over, since I have a little kiddo now. I sort of gave up hope on any future tours, though my dream was always to play to a sea of people in the audience.

Billy has seen Pantera live numerous times – that was always my dream. It’s super-rad that Billy has a heavy metal side to him

“My boyfriend gave me a push and said I had to apply. So I threw together a resume and sent it in, thinking it would get lost in the sea of incredible resumes submitted. Then I got the email that changed it all.

“I had a Zoom meeting with the band. The vibe was good, even though I was so nervous – my palms were sweating the whole time! But they made me feel like a part of the family. It was such an inviting and great experience, though certainly intimidating.

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“The next step was in-person auditions in LA. There was a waiting period between then, and at that point I figured they’d gone with another guitarist. But I got my audition time and we packed up the whole family and drove from Phoenix.

“The day after I auditioned, I got the life-changing call. I honestly haven't felt joy like that since my baby was born!”

What was the audition process like?

“The in-person audition was so intimidating at first. They gave me four songs to play: Today , Cherub Rock , Jellybelly and Bullet [With Butterfly Wings] . I practiced those songs in and out like my life depended on it for three weeks. I watched every live video I could find of those songs, trying to analyze every move they made. I wanted to make sure I did it right, not just do it the way I thought it sounded.

“When I arrived, Vic the drum tech gave me such a nice pep talk and calmed my nerves. He said very softly and sweetly, ‘Remember, you’re here for a reason. There were 10,000 submissions, and you were chosen to meet in person. Even if you only get this far, you’ve done well.’ It made me feel good and recentered the chaos in my brain.

Portrait photograph of new Smashing Pumpkins guitarist Kiki Wong

“I walked in, and it was one of the biggest rehearsal studios I’ve been to. My heart was going a million mph because almost the whole OG line-up was there. It was like looking through a glimpse of my teenage years in real life!

“And man, were the guys nice. The vibes were so good I kind of forgot about the nerves and we just jammed. In that moment it didn’t even matter if I got the gig or not. I was so grateful to be jamming with such legendary players. Truly.”

What gear did you go in with?

“I just came with my Zemaitis IGF AC 24 guitar, and that was it!”

What were your initial conversations with Billy Corgan like?

“When we started the Zoom call, one of the first things Billy said was that he followed me on social media, that he’d always stop to watch my videos, and that he was a fan of my work.

Jeff’s knowledge of effects and feel are going to be very difficult to emulate… My voicing will be different and new

“In that moment, I think my soul left my body and my heart stopped! It was honestly one of the nicest and most validating compliments I've ever received.

“We all chatted about music, what they expected from a guitarist – but more importantly, Dimebag Darrell. He’d just passed away when I was a rebellious little angry teenager, so I used to graffiti ‘RIP Dime’ onto walls all over the Sacramento area.

“Billy has seen Pantera live numerous times – that was always my dream. It was cool to hear that; it’s super-rad that Billy has a heavy metal side to him. It inspired him to fuse the lines between alt-rock and metal. Absolutely groundbreaking – I’m glad I can be a part of it now!”

What’s the chemistry like between you, Billy, James Iha and Jimmy Chamberlin?

“It’s pretty wild to be even considered jam-worthy on their level – but man, it’s such a cool feeling. There’s something a bit different about jamming with people of this caliber of musicianship. Everything just locks in, and you feel like you’re playing right with the record, but with even more vibe and feel.

“We got to play straight out of the amps and jam it out, which was a bit reminiscent of when I played in my teenage days, except it sounded so dang good.

“Billy is just amazing and he’s literally a musical genius. Jimmy has a pocket like no other – the man is a downright drum shred master. And James adds so much personality and style to the playing. There’s really no-one else who could emulate what they’re doing. I have huge shoes to fill.

Schism by @TOOLmusic with your favorite twins ðŸ‘¯â€â™€ï¸ - YouTube

“Jeff is truly an incredible player. Filling his shoes is going to be near-impossible because his style is so unique and special.

“I’ve learned a lot about feel while practicing his parts. Taking advantage of the strength, you strike the strings, bends, effects and voicing. He’s been a huge inspiration to me, and I have so much respect for him.”

What’s the greatest challenge in stepping in?

“I think Jeff’s knowledge of effects and feel are going to be very difficult to emulate. He added so many interesting voices. My voicing will be different and new, and some may not be used to my style. But I hope I can bring a little chunk and dirt to the sound, in the best way possible, without tainting the iconic sound of the Smashing Pumpkins.

Lots of bands these days sound a bit mechanical since they’re so used to playing to a click… the Pumpkins have their own pocket

“Honestly, I may not be the absolute best player out there – in fact, I know I'm not! I’m continuously learning, trying to improve every day. But what I have is an undying love for guitar and heavy metal.

“I probably have an unhealthy obsession with guitar and heavy metal, and a slightly self-deprecating sense of humor. But I hope it can bring a little bit of that heavy side of Pumpkins out more, since I know that’s what their music is rooted in.”

I Kissed A Girl by Katy Perry gone metal - YouTube

How will the division of labor break down between yourself, Billy, and James?

“I’ll be taking over Jeff’s parts, but they’re leaving some areas open for my own solos and additions, while trying to keep it very close to the albums at the same time.”

Have you had to alter or change your approach to fit the Pumpkins scope?

“One of the best pieces of advice Billy and Jimmy gave was to listen closely to the records and feel the Pumpkins pocket. Lots of bands these days sound a bit mechanical since they’re so used to playing to a click and hitting right on the nose.

“The Pumpkins have their own pocket, which is something I’m trying to learn and adapt to. It really gives them that edge that creates the foundation for their own vibe and sound. It’s really astonishing.”

The band are very Yamaha-friendly. Will you be adopting any new gear?

“The touring rig is going to be a wild one. I’ll be bringing close to eight guitars from Jackson, PRS, Yamaha and Zemaitis. We’re having a new pedalboard built and some other cool tricks. It’s gonna be one of the beefiest rigs I’ve ever played on!”

Is anything proving to be especially challenging?

“I like to say, ‘I’ll be your favorite rhythm guitarist.’ Soloing has always been a bit of a challenge for me. But I’ve really been going back to my roots and trying to fill in the gaps in my playing.

I always came back to music. No matter how effed up things got, it always led me back

“Since I taught myself guitar on the internet pre-YouTube days, there are still a ton of missing pieces in my guitar knowledge. Also, trying to create memorable melodic voices in my solos – and not just shredding for shred’s sake – has been my main focus.”

Will you have freedom to stretch out?

“Honestly, it’s really flattering and honorable how much trust they have in my playing. We still have in-person rehearsals coming up to smooth over any edges. But it’s been really cool how much freedom they’re giving me for solo bits, while still sticking to the sound of the albums.”

Beautiful Things by Benson Boone - YouTube

What has your journey taught you?

“I put a lot of effort into social media and just being myself. People either love it or hate it – and that’s fine. It’s not for everyone. But putting in the work helped get me to where I am today, and I’m grateful for all those who supported me through it all.

“At the end of the day, I always came back to music. No matter how effed up things got, it always led me back. And now my dreams are finally coming true. I can’t thank the Smashing Pumpkins enough for believing in me and everyone else who has supported my journey.”

Wong joins the Smashing Pumpkins on tour starting on July 7.

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Andrew Daly is an iced-coffee-addicted, oddball Telecaster-playing, alfredo pasta-loving journalist from Long Island, NY, who, in addition to being a contributing writer for Guitar World, scribes for Rock Candy, Bass Player, Total Guitar, and Classic Rock History. Andrew has interviewed favorites like Ace Frehley, Johnny Marr, Vito Bratta, Bruce Kulick, Joe Perry, Brad Whitford, Rich Robinson, and Paul Stanley, while his all-time favorite (rhythm player), Keith Richards, continues to elude him.

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5 Things You Need To Know About FEW Smashing Pumpkins Bourbon

by Mark Bostock
July 15, 2024

In an innovative collaboration alternative rock group The Smashing Pumpkins has partnered with craft distiller FEW Spirits to unveil a distinctive bourbon whiskey.

Inspired by the band’s iconic discography and iconography, FEW Smashing Pumpkins blends the bold flavors of FEW Spirits bourbon with The Smashing Pumpkins’ avant-garde musical spirit to create a unique limited-edition whiskey expression.

If you’re a fan of celebrity-backed spirits, here are five things you need to know about FEW Smashing Pumpkins Bourbon.

1. The whiskey is a collaboration between Smashing Pumpkins and FEW Spirits

American alternate rock group The Smashing Pumpkins is known for their influential sound showcased in iconic albums including, Gis and Siamese Dream .

The band was formed in Chicago by frontman, vocalist, and guitarist Billy Corgan, bassist D’arcy Wretzky, guitarist James Iha, and drummer Jimmy Chamberlin in 1988. The band has undergone several line-up changes, a breakup, and a reunion over 36 years, with Billy Corgan the sole constant member since The Smashing Pumpkins’ formation.

With a diverse sound style, The Smashing Pumpkins is best-known for melancholic melodies, such as ‘Try, Try, Try’, ‘Bullet with Butterfly Wings’, and ‘1979’, and has received accolades including two Grammys and an AMA award.

The band has collaborated with hometown, Chicago-based craft distiller, FEW Spirits, located in a suburb of Evanston, Illinois. A grain-to-glass distillery established in 2011, FEW Sprits has produced a range of award-winning craft whiskies and gin, and was subsequently acquired by Kentucky-based distiller, Heaven Hill.

Aside from celebrating The Smashing Pumpkins’ unique musical style, the new bourbon release also honors the shared Chicago origin of the band, and FEW Spirits founder and master distiller, Paul Hletko. “Whether you’re making music, painting, blending tea, or distilling spirits, you’re making art,” stated Hletko in the whisky’s launch release, “As a Chicagoan, I felt a personal responsibility to match the raw, primal energy of the Pumpkins”.

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2. the bourbon whiskey is cut from cask strength using tea .

FEW Smashing Pumpkins Bourbon starts life as the FEW distillery’s core straight bourbon expression, distilled from a mashbill of 70% corn, 20% rye, and 10% two-row malted barley. After an aging period of 4 years, the bourbon was cut from a cask strength of 62% ABV to a bottling strength of 46.5% ABV – but unusually the bourbon was flavor cut using ‘Midnight Rose’ black tea instead of water.

The tea is supplied by Madame ZuZu’s Emporium, a boutique tea shop run by The Smashing Pumpkin’s own, Billy Corgan, and his wife, Chloé Mendel Corgan, located in Highland Park, Illinois. Midnight Rose is a blend of black teas scented with rose petals, which imparts flavors of rose water and sandalwood to the whiskey, combining with characteristic bourbon notes of vanilla and caramel.

While the FEW Smashing Pumpkins uses a bourbon base, the addition of tea legally disqualifies the expression from being labeled as bourbon whiskey . The label states FEW Smashing Pumpkins is a straight bourbon whiskey with tea, indicating the bottling is a blend of both – although according to US spirits definitions the expression would be classified as a ‘distilled spirits specialty’.

3. The bottle’s label design is inspired by The Smashing Pumpkins’ stage backdrops and lyrics

The label for FEW Smashing Pumpkins whiskey was designed by Chicago-based visual artist, Katelan Foisy, who was inspired by the style of vintage tea tins and labels combining them with elements of Art Deco and Victorian design. Foisy has previously created designs for Billy Corgan’s Madame ZuZu’s tea emporium products, the interior album art for Corgan’s solo album Ogilala , and stage tour backdrops for the Smashing Pumpkins.

Etched on the whiskey’s back label is the lyric, “Time is never time at all,” taken from the band’s hit single, ‘Tonight, Tonight’ from the Smashing Pumpkins’ 1996 third album, Mellon Collie and the Infinite Sadness .

The tasting notes for FEW Smashing Pumpkins bourbon are also possibly inspired by the band’s diamond-selling Mellon Collie album, encouraging drinkers to expect “bright aromas” of “ripe honeydew melon”.

4. FEW Spirits has released a series of rock-music-themed expressions

The FEW Smashing Pumpkins bottling is the fourth label from a series of rock-music-themed celebrity collaborations released by FEW Spirits. The first was ‘Brainville’, created in collaboration with rock act The Flaming Lips, a rye whiskey distilled from a mash fermented using French wine yeast.

A second label, ‘All Secrets Known’ was named after a song by legendary grunge band Alice in Chains, and was tequila cask-finished bourbon. The third label, ‘Motor Oil’ is a blend of two cask-finished bourbons and a smoked wheat whiskey created alongside the Black Rebel Motorcycle Club, and one of Whisky Advocate’s highest-rated whiskies.

FEW Spirits has also previously experimented by proofing whiskey to bottling strength by cutting the spirit with alternatives to water. The craft distillery’s releases include, ‘Cold Cut’, a bourbon cut from cask strength using cold brew coffee, and ‘Immortal Rye’, a rye whiskey that uses cold extracted Eight Immortals oolong tea for proofing.

5. The release coincides with The Smashing Pumpkins’ North American Tour 2024

The FEW Smashing Pumpkins bourbon is a limited-edition release, celebrating the upcoming release of the new thirteenth Smashing Pumpkins album, and will be rolled out to select US retailers throughout Summer 2024.

In June 2024, Billy Corgan stated the new guitar-driven studio album, created over 2 years, would appeal to the Smashing Pumpkins’ old-school fans.

On July 29 th, 2024, the band hit the road, alongside Green Day and punk rock band Rancid, for the North American ‘Saviours Tour’ starting at Nationals Park in Washington D.C. The ‘Saviours Tour’ concludes at Petco Park in San Diego on September 28 th, 2024.

FEW Smashing Pumpkins bourbon will be available from select retailers along the tour’s route, with a suggested retail price of $50. For those located off the tour route, the bourbon is also available to purchase online from the FEW Spirits Distillery website.

Mark Bostock

Since joining Mark Littler LTD as a freelance article contributor in 2019, Mark Bostock has become an integral part of our UK content writing team. His enthusiasm for whisky, particularly independent bottlings, drives him to deepen his knowledge through frequent attendance at tasting events and the thoughtful expansion of his own whisky collection. This dedication not only fuels his passion but also enriches his contributions to our platform, blending expertise with a genuine love for the subject.

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The big review: Mad Cool festival 2024

Boasting a line-up featuring everyone from Pearl Jam and Smashing Pumpkins to Bring Me The Horizon and Måneskin, Mad Cool festival know how to put on a serious rock show...

While the UK is bogged down in what feels like the wettest summer ever, we head off to Madrid and the scorching Mad Cool festival for four days of the biggest and brightest bands in rock and alternative.

From returning grunge legends to pop-punk farewells to brawling Irish hip-hop, and much more besides, the Spanish megafest is one of the hottest tickets around. Literally. So we've donned our summer moshwear, slapped on the factor 50 and are heading into the pit with 40,000 more music lovers from across the globe.

Here's what went down...

Garbage Region Of Madrid stage

“If I look weird with fucking ice packs on my head, it’s because I grew up in a very cold culture,” laughs Shirley Manson. “I’m a goth, I’ve always been a goth – I was a goth at 13 and I’m a goth now.” Yet, despite the mercury rising to 35ºC and spending an hour in a rather extravagant red and tartan dress, the Garbage vocalist never wavers, instead relishing in the moment of effectively opening for Smashing Pumpkins once again – the first band they ever toured with.

Having performed in Spain for three decades at this point, the alt.rock veterans haven’t lost a single ounce of vitality or vigour in that time, bringing serious attitude to the second of Mad Cool’s main stages. Ploughing through a career-spanning set featuring Stupid Girl, I Think I’m Paranoid and The Men Who Rule The World, Shirley is on formidable form. And as the set descends into an emphatic, cathartic Only Happy When It Rains, the smile on the band’s faces say otherwise.

Smashing Pumpkins Region Of Madrid stage

After Dua Lipa’s masterclass in pop on the other main stage, now the sun has well and truly set, it’s up to Chicago legends The Smashing Pumpkins to send Mad Cool off into the night. Holding his hands in prayer, Billy Corgan receives a hero’s welcome. With just one hour and 20 minutes to fill, it’s a pared-down version of the band’s recent UK arena tour, focusing much more on fan-favourites than deep cuts, with half of the set dedicated to Melon Collie… and Siamese Dream’s heaviest hitters – who can deny the majesty of Tonight, Tonight as the clock nears midnight and the moon rises?

And since said tour, new recruit Kiki Wong has grown exponentially in confidence and charisma, taking real ownership of the stage, while Billy presides over proceedings like an alt.rock preacher. “Is everybody having a reasonable time tonight?” he asks, in typical fatalistic fashion, and the rapturous response of the masses is answer enough, before Pumpkins deliver the knockout one-two of Disarm into Bullet With Butterfly Wings. With today marking 36 years of Billy and guitarist James Iha playing together, this headline set really does feel like a celebration of sorts, as Pumpkins enter another new era and can still demand (and deserve) such energy and emotion from crowds thousands of miles from home. Rounding off with the sublime Cherub Rock and Zero, there are few better ways to close the first day of a festival.

Kneecap Mahou Cinco Estrellas stage

The queue to get in one of the twin indoor stages is snaking across the site long before the Belfast wrecking crew are due to arrive. One of the most anticipated performances of the festival, following their critically-acclaimed debut album Fine Art and astonishing Glastonbury set , a strong Irish contingent – complete with wigs and flags – has appeared seemingly from out of nowhere for Kneecap ’s first-ever set on Spanish soil. As the doors fling open, fans sprint to the barrier, as more and more bodies pile into the tent – some curious, some already converted to the trio’s loud and lairy brand of hip-hop. “Fuck the people at the back queuing, let’s make ’em jealous,” barks Móglaí Bap, calling for bigger and wilder pits throughout, flanked by co-vocalist Mo Chara and balaclava’d DJ Próvaí, stalking the stage like a pack of hunting dogs in sportswear.

Making the most of their 40-minute set time, they blast through ragers from the Fine Art LP like Sick In The Head alongside OG viral hits like Get Your Brits Out. Calling for complete darkness except for strobes, there’s an authentic, no-fucking-about edge that feels more like an apocalyptic rave than a summer party in Madrid. With adrenaline and sweat levels pumping at lethal levels, the baseball bat blow of Your Sniffer Dogs Are Shite (introduced by Kneecap explaining they’ve “got a problem with giving dogs jobs”), and I’m Flush send the melting pot down front into a limb-flailing frenzy. By the time the punky punch of H.O.O.D. kicks into gear all bets are off, as the floor erupts into human soup, before heading back out into the scorching sun bellowing ‘ Olé, olé, olé… ’ as one. A truly unifying experience.

Pearl Jam Mad Cool stage

While many overseas artists have resorted to the tried and tested method of dropping the odd “muchas gracias” into their set, Eddie Vedder has come prepared with a full-on Spanish script to describe his love and gratitude for the monster crowd gathered for the grunge legends’ headline set. Armed with his trusty bottle of wine for courage, it’s an endearing display of dedication and genuine love for his audience, as he welcomes tens of thousands “a show about friends”. With one eye on their recent 5/5-rated Dark Matter LP, Pearl Jam find room to take us through their almost 35-year history, peppering in Corduroy, Do The Evolution, Unthought Known and the timeless Even Flow, with Mad Cool duly losing its collective shit.

True to his word about the amigos and amigas here, it really does feel like a show about community, camaraderie and a shared experience. The deafening chorus to Black, the euphoric Alive, and even calling on the capacity crowd to sing happy birthday to Eddie’s brothers, the spirit of Seattle truly lives in Madrid tonight. “We’ve been here before but this is the best,” he beams, receiving no disagreement from the faithful tonight who were no doubt here in 2018 too. Shouting out the incredible and inspirational Motxila 21 who opened the festival earlier today, a band comprised of musicians from the Down Syndrome Association of Navarra, Pearl Jam’s undiluted and unwavering love and passion for music, their fans and Spain itself pours off the stage. As we get to the traditional finale of Rockin’ In The Free World and Yellow Ledbetter, that adoration is returned with change, and you know it won’t be another six years before they headline again.

Tom Morello Orange stage

‘U changed my world’ reads a sign from one fan at the front, and looking at his repertoire, it’s hard to imagine the rock and metal landscape in 2024 without the influence of Tom Morello ’s rebel spirit and inimitable guitar playing. And judging by the talent and tenacity of his son Roman, joining his father onstage to play their track Soldier In The Army Of Love, the future is in very capable hands. In similar fashion to his Download Festival set last month , it’s a whistle-stop tour of Tom’s career and influences, from instrumental Rage Against The Machine medleys (because let’s face it, no-one can do the vocals justice besides Zack de la Rocha) to a cover of Springsteen’s The Ghost Of Tom Joad, those at Mad Cool looking for some serious grit and groove have come to the right place.

Joined onstage by Måneskin ’s Thomas Raggi for a blistering run of MC5’s Kick Out The Jams, it’s a duel between two generations of guitar hero, shredding their fingers down to nubs. Dedicating his track Hold The Line to “the working class radicals”, the sun begins to set and the revolution starts to build, as more and more comrades join the crowd. The power of the people is the focal point not just figuratively but literally, as Tom turns the mic on the audience for a heart-wrenching rendition of Audioslave ’s Like A Stone – “that’s more of a prayer than a song” – and the peerless petrol bomb Killing In The Name that he jokingly introduces as “an old Spanish folk song”. And like those old standards we all learned in school, that RATM battlecry has been etched into the core of everyone here. If music is the great communicator, there’s no clearer message than screaming ‘motherfucker!’ with thousands of your new friends.

Sum 41 Region Of Madrid stage

As AC/DC ’s TNT blasts over the PA, the biggest crowd of the entire weekend is gathering to witness Sum 41 ’s farewell run. Thousands upon thousands of fans here grew up with these underclass heroes, and in January next year, the pop-punk icons will take their final bow. “After almost 30 years of Sum 41, I think the world has had enough of this band already,” laughs frontman Deryck Whibley, introducing a stonking setlist that’s packing “old songs, older songs, and the oldest songs” in a true celebration of a very special band. Unleashing some real heavy metal pyro, true to their word all those years ago, it’s still all killer and no filler – even new tracks from Heaven :x: Hell fit seamlessly into scene staples Over My Head, Motivation and Still Waiting.

The pure, undiluted energy from crowd and band could replace jet fuel with its potency, with all five men playing like it’s their last – because they’ll literally never be on this stage ever again. As the lights dip onstage and the festival is illuminated by an ocean of phone lights, the air turns thick with Madrid’s voices for Walking Disaster and With Me, a fitting, tender moment that comes as proof that Sum 41 are – and always were – much more than gurning skater dudes. Breaking out riffs from Smoke On The Water and Seven Nation Army, and a punked-up cover of We Will Rock You, the mile-wide grins on the band’s faces say it all. Ending on the unfuckwithable triple threat of In Too Deep, Fat Lip and Still Waiting, it dawns on everyone just what we’re going to be missing come 2025: one of the very best to lace up their Converse, who had an indelible, undeniable impact on pop-punk then and in its resurgence today. The final UK and European run kicks off this autumn – be there.

Måneskin Mad Cool stage

It’s staggering just how at home Måneskin are on these kind of stages now, having only really broken onto the scene three years ago. Perpetually the coolest-looking people within a 100-mile radius, the Italian superstars’ headline set is undoubtedly stylish and slick, but lacking that huge groundswell of catharsis and unadulterated joy that Sum 41 brought. As bassist Victoria De Angelis and Thomas Raggi strut and slay through GOSSIP, ZITTI E BUONI and HONEY, vocalist Damiano David holds court in fluent Spanish, yet doesn’t seem perhaps as engaged as his bandmates.

With extended intros, jams and solos scattered throughout, those standing on the sidelines do start to filter toward the exit, but the Kool Kids down front aren’t willing to miss a single second. Swaggering through megahits Beggin’ and SUPERMODEL, it’s a curious choice to play I WANNA BE YOUR SLAVE twice just a few songs apart, but not one that fans here are complaining about. Wrapping up earlier than expected, though, it’s not an explosive ending to the Friday night of a festival.

The Warning Mad Cool stage

This is quite the glow up for The Warning . After the last-minute cancellation by new pop sensation Tyla, the Mexican trio – and recent Kerrang! cover stars – have been bumped up. Running basically unopposed, the field swarms with existing and soon-to-be fans, gathering in the baking heat to see the only native Spanish-speaking band on either main stage all weekend. Grabbing the opportunity by the toro horns, early flashes of nerves are swiftly blown away by the crunch and groove of S!CK, CHOKE and Qué Más Quieres.

Sisters Dany, Pau and Ale Villarreal Vélez valiantly put Mad Cool through their paces with their youthful, vibrant brand of fist-pumping hard rock, shaking the astroturf underneath the feet of the still-growing crowd. Stomping through the likes of MORE, MONEY and the chant-along na-na-nas of Narcisita, this isn’t a band just picking up the gauntlet but using it to slap non-believers across the face. The Warning’s star is rightly in its ascendancy and being able to not just play but conquer stages of this size is evidence that there’s so much more to come. As the siblings take their bow and well-earned photo with the crowd, you can practically hear the abject elation coursing through them. Next time, they’re going to need a bigger slot.

Avril Lavigne Mad Cool stage

Fans have been waiting at the main stage for well over an hour, frying so much in the heat that security are having to hose down those on the front rows. And following her capacity crowd at Glastonbury the previous weekend, Avril Lavigne has again pulled one of the largest audiences of the festival to witness her greatest hits tour. Having not played in Spain since 2007, anticipation couldn’t be higher for the first lady of pop-punk, when she makes her appearance in traditional mid-’00s scene attire of graphic print hoodie and knee-high socks, it’s less screams from the crowd and more feral shrieks of excitement. Kicking straight off with Girlfriend and an explosion of pink streamers (that get stuck on a nearby electricity pylon, which is probably fine…), Avril casts a casual figure that's so at odds with her feverish fans.

Swigging from a bottle of champagne and spraying it onto the crowd, the resultant lung-buster of Here’s To Never Growing Up strikes at the heart of all millennials in Madrid, taking them back to that carefree, formative, better time of life before rent, bills and jobs ruined everything. Winding the clock back 22 years, it’s the hits from debut LP Let Go that still go hardest, with the underrated banger Losing Grip showcasing Avril’s vocal chops, and as the sun sets on I’m With You and the supermassive Sk8er Boi, the gargantuan crowd never falters or misses a beat, all ready to go to war for The Motherfucking Princess.

Bring Me The Horizon Region Of Madrid stage

Eerie, ethereal electronics emanate from a stage covered in red drapes. The tension is building. But, after 20 minutes and still no sign of Bring Me The Horizon , it’s clear something is up as anticipation turns to agitation amongst the crowd. Finally, though, the Sheffield crew take to the stage but without their synthetic sixth member E.V.E, as it’s clear the side-screens – and thus the structural narrative to the show – aren’t working. “Sorry we’re late, it was not our fault, well, not the band’s fault,” Oli Sykes explains midway through the set, the disappointment and frustration plainly visible on his face, but nothing is going to stop one of the best live bands on the planet right now from living up to that reputation. Flying through DArkSide into MANTRA into Teardrops, those who’ve been itching for some serious pit action all weekend can finally let loose, as literal sparks fly from the stage and Oli calls for more and more brutality. “That’s not a mosh-pit, that’s a puddle,” he grins. “I thought you were mad cool.”

Having to drastically cut their set short by six songs due to the tech issues, they manage to cram in the monstrous Shadow Moses and intoxicating Kingslayer with CGI BABYMETAL on the wall behind them. As Oli heads into the crowd for Drown, one fan’s sign simply reads ‘Thnx 4 saving me’, as a reminder that music connects on a deeper level than language ever could – although pretty much everyone can understand the frontman’s sentiment when he says, “Jump or you’re a 100 per cent certified dickhead” before the cacophonous Can You Feel My Heart.

No, this isn’t the full Bring Me The Horizon experience, and you can’t help but feel gutted for everyone involved when Oli dejectedly looks to the floor and apologises “for letting you down”. But they’re still a formidable force, and it’s a testament to the quality of the songs that they don’t need all the cybernetic razzmatazz when armed with the generation-defining Throne to close out Mad Cool in a wall of flames. Horizon have never been a band to give up on anything and this is defiance at its most visceral. Never bet against them.

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COMMENTS

Guitar Hero World Tour
Today - Smashing Pumpkinsoptimal babyyyy! Fucking love this song, and the whole album it's on. Siamese Dream is an incredible album, so many great songs on...
List of songs in Guitar Hero World Tour
Guitar Hero World Tour is the fourth major release in the Guitar Hero series of music video games, ... The Smashing Pumpkins Track Pack: Dec. 4, 2008: Yes 1996 "1979" The Smashing Pumpkins: Alternative: The Smashing Pumpkins Track Pack: Dec. 4, 2008: Yes 1999 "The Everlasting Gaze" +
Guitar Hero
Playlist:https://www.youtube.com/playlist?list=PLhqQblXS9-ERn779BtyMZ1NLbDKl2LcBbAny Ads On This Video Are NOT Monetized By Me.
Today
Today is a song by the Smashing Pumpkins featured as a Master track in Guitar Hero World Tour. It makes its debut early in the game, and features simple parts on all instruments, making it one of the easiest tracks in the whole game. If beaten on band career mode, The Smashing Pumpkins' lead vocalist/lead guitarist Billy Corgan becomes available as a playable character on all instruments ...
SMASHING PUMPKINS To Debut New Single Via 'Guitar Hero World Tour
The SMASHING PUMPKINS arecoming to Activision Publishing, Inc.'s Guitar Hero World Tour in a ground-breaking way as the band will debut their new single "G.L.O.W." exclusively in the game. This ...
SMASHING PUMPKINS Debut New Song At 'Guitar Hero' Event
The group also played "G.L.O.W.", the new track featured in the Guitar Hero: World Tour video game. The single marks the first time a band has recorded a new song exclusively for Guitar Hero .
Smashing Pumpkins release exclusively on Guitar Hero
The Smashing Pumpkins are delivering an exclusive single for the upcoming game, Guitar Hero World Tour, which is due for release this autumn. are delivering an exclusive single for the upcoming game, Guitar Hero World Tour, which is due for release this autumn.
Smashing Pumpkins Debut Single in Guitar Hero: World Tour
Rock legends Smashing Pumpkins will release their next single "G.L.O.W" as a Guitar Hero: World Tour download. Famous 90s rock group The Smashing Pumpkins recorded "G.L.O.W." exclusively ...
Guitar Hero World Tour: The Smashing Pumpkins
Content: "1979" by The Smashing Pumpkins Price: 160 Microsoft Points Availability: All Xbox LIVE regions Dash Text: [ESRB: T (Teen) MILD LYRICS,MILD SUGGESTIVE THEMES] "1979" by The Smashing Pumpkins downloadable single for Guitar Hero World Tour.Please Note: Many songs are available both as singles and as a part of a Track Pack, so please carefully consider your purchases before ...
Smashing Pumpkins Debut Single on Guitar Hero: World Tour
Guitar Hero: World Tour is set to come out on the PlayStation 2, PlayStation 3, Xbox 360, and Wii on October 27. The Smashing Pumpkins "G.L.O.W." track pack will come out shortly following the ...
Smashing Pumpkins Embrace G.L.O.W., Guitar Hero
The next Smashing Pumpkins single will premiere in Guitar Hero: World Tour on October 27 before it's available anywhere else, as part of a three song downloadable expansion pack that includes ...
The Smashing Pumpkins
The Smashing Pumpkins - 1979 [Guitar Hero: World Tour Definitive Edition]Mods:2B: https://www.nexusmods.com/guitarheroworldtour/mods/195Rei Ayanami: Not avai...
New Smashing Pumpkins In GH: World Tour DLC
It's another band rhythm video game first as Activision announces that Smashing Pumpkins will debut their new single "G.L.O.W." as part of a track pack for Guitar Hero: World Tour before the song ...
Smashing Pumpkins to release new track through Guitar Hero
The Smashing Pumpkins are debut new single G.L.O.W. as part of a song-pack on Guitar Hero World Tour. Apparently, "This marks the first time a band has recorded a new song exclusively for the ...
Guitar Hero World Tour
The Smashing Pumpkins, one of rock's defining and most acclaimed bands who've sold over 30 million albums, is coming to Activision Publishing, Inc.'s (Nasdaq: ATVI) Guitar Hero® World Tour in a ...
the smashing pumpkins
Guitar Hero World Tour Definitive Edition
"Guitar Hero: World Tour" Unveils Full Track List
GH:WT also has those new instruments, new amps and that exclusive Smashing Pumpkins premiere single "G.L.O.W." The game hits shelves October 26th. Guitar Hero: World Tour Track List:
Smashing Pumpkins
The Smashing Pumpkins is an American alternative rock band that formed in Chicago, Illinois in 1988. Founded by Billy Corgan (vocals/guitar), the band disbanded briefly in 2000, but returned in 2006. Disavowing the punk rock roots shared by many of their alt-rock contemporaries, the Pumpkins have a diverse, densely layered, and guitar-heavy sound, containing elements of gothic rock, heavy ...
Guitar Hero World Tour December DLC Unveiled: Smashing Pumpkins
The December DLC lineup for Guitar Hero World Tour has been revealed by publisher Activision, revealing the new tunes that owners of the Neversoft and Vicarious Visions-developed music game will ...
"As good as D'arcy and James are, it was just going to sound better if
In two weeks he'll travel to another studio to record G.L.O.W., a new Pumpkins track for the Guitar Hero World Tour video game. Corgan also went through facial scanning and motion capture at Neversoft to become a playable character. ... Fans can expect a Smashing Pumpkins 20th Anniversary Tour sometime in late 2008, as well as the Fillmore ...
Guitar Hero
Alan Walker, Noah Cyrus, & Digital Farm Animals. 3:20. Shivers
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Other users include the Edge, the Smashing Pumpkins and Radiohead's Ed O'Brien, who included the unit on his signature Fender EOB Sustainer Strat. While the future is uncertain for Fernandes, it remains to be seen whether another, larger company will bail out the brand - with over five decades of history, an iconic pickup and some high ...
The Smashing Pumpkins
Expert Full Band Chart of the song "Today" of the band "The Smashing Pumpkins", album "Siamese Dream", on the game Guitar Hero World Tour which came out on O...
Smashing Pumpkins guitarist Kiki Wong on landing the gig ...
From indie artist to social media influencer to Pumpkins touring guitarist, Wong has come a long way - but she's not done. "I'm 35 years old with a kid," she says. "I've been playing piano since I was six, guitar since I was 13, drums since I was 16, and bass thrown in there somewhere. "I've been in touring bands since I was 20.
5 Things You Need To Know About FEW Smashing Pumpkins Bourbon
The FEW Smashing Pumpkins bourbon is a limited-edition release, celebrating the upcoming release of the new thirteenth Smashing Pumpkins album, and will be rolled out to select US retailers throughout Summer 2024. In June 2024, Billy Corgan stated the new guitar-driven studio album, created over 2 years, would appeal to the Smashing Pumpkins ...
The big review: Mad Cool festival 2024
Joined onstage by Måneskin's Thomas Raggi for a blistering run of MC5's Kick Out The Jams, it's a duel between two generations of guitar hero, shredding their fingers down to nubs ...

SMASHING PUMPKINS Debut New Song At 'Guitar Hero' Event

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Smashing Pumpkins Debut Single in Guitar Hero: World Tour

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Smashing Pumpkins

Overview [ ]

Band Members [ ]

Touring [ ]

Discography [ ]

Songs in Guitar Hero games: [ ]

Guitar Hero World Tour December DLC Unveiled: Smashing Pumpkins, Nirvana, Eagles, More

"As good as D’arcy and James are, it was just going to sound better if Billy played it" – Billy Corgan, Jimmy Chamberlin, Butch Vig, Flood and more on the Smashing Pumpkins' recording history

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Gish (1991)

Siamese Dream (1993)

Mellon Collie And The Infinite Sadness (1995)

Adore (1995)

Machina / The Machines Of God (2000)

Zeitgeist (2007)

Age Of Innocence: An 11-song journey through the Pumpkins' underrated catalogue

2. Starla (b-side from the I Am One single)

3. Glynis (No Alternative compilation)

4. Beautiful (Mellon Collie & the Infinite Sadness)

5. Eye (Lost Highway soundtrack)

6. Blissed & Gone (Still Becoming Apart promo)

7. Untitled (Rotten Apples)

8. The Everlasting Gaze (Machina/The Machines of God)

9. Pomp & Circumstances (Zeitgeist)

10. Again, Again, Again (The Crux) (American Gothic EP)

11. Superchrist (Fresh Cuts, Volume 2)

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“I may not be the absolute best player out there – in fact, I know I’m not! But what I have is an undying love for guitar and heavy metal”: Kiki Wong landed the gig of a lifetime with the Smashing Pumpkins – and she knows she has big shoes to fill

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3. The bottle’s label design is inspired by The Smashing Pumpkins’ stage backdrops and lyrics

4. FEW Spirits has released a series of rock-music-themed expressions

5. The release coincides with The Smashing Pumpkins’ North American Tour 2024

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Garbage Region Of Madrid stage

Smashing Pumpkins Region Of Madrid stage

Kneecap Mahou Cinco Estrellas stage

Pearl Jam Mad Cool stage

Tom Morello Orange stage

Sum 41 Region Of Madrid stage

Måneskin Mad Cool stage

The Warning Mad Cool stage

Avril Lavigne Mad Cool stage

Bring Me The Horizon Region Of Madrid stage

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