(14-06-2012) Ѕилли рассказывает о песн€х с его последнего альбома.
Ѕилли орган рассказал о всех треках с нового альбома Smashing Pumpkins - Oceania.
УIt was one of those riffs that we had laying around for a while. Actually, I think it went back to when I started working with Mike Byrne in 2009. The original riff was called СNero Riff-O.Т So it sat around for a long time, and I was finally able to turn it into a song.
УUltimately, I just sat down and wrote the song on the piano. Sometimes, when youТve got a riffy song, it helps to just play the chords with no rhythm, and then you hear the СsongТ in it. ItТs those very Paul McCartney/Wings-type chords Ц Broadway-type chords.
УThe arrangement is kind of like classic MTV, circa 1994. You start with the acoustic and then the band kicks in grunge. I was kind of laughing about it at the time.Ф
УThis song, in particular, really shows what the band is bringing to the table. ThereТs a certain vibe and ambience thatТs very much them. ThereТs a lot of parts to it. WeТre rehearsing it right now for the tour, and weТre like, СWhat the fuck is going on?Т [laughs]
My Love Is Winter
УMy guitar solo is triple-tracked. On stuff like Pinwheels, thereТs lead guitar work by Jeff and heТs double-tracked. To me, if youТre going to double or triple-track a guitar, itТs got to be the same person, unless youТre Judas Priest or Iron Maiden. ThereТs a certain sound they get because theyТve played together, so their doubling works, even if itТs not a perfect double. But thereТs an effect you get if itТs the same person Ц it gets really loud in the track.Ф
One Diamond, One Heart
УI really liked the track, but I think at one point it was very keyboard-heavy, and it was only going so far in my mind, so I went to Nicole and said, СYouТve really got to pull a rabbit out of the hat. YouТve got to make something happen.Т She sat down, and in two hoursТ time she wrote the bass part. That, to me, was the turning point.
УThatТs all JeffТs guitar stuff at the end. What I love about Jeff as a musician is, heТs always learning, heТs always pushing himself. Technically, heТs far superior to me, but where IТve been able to help him is, not to just say, СStudy this guy,Т but to explain to him why I think a particular guitarist would help him. And he came back and said, СIТm really understanding why you asked me to listen to this guy.Т
УFor the longest time, we just had the opening figure and some other parts. The way that itТs broken into three sections wasnТt the original intention. It was meant to be a long song, but we were like, СThis is going nowhere.Т So the arrangement that is there came together the day we recorded it. I just winged it. We felt strongly about it, and that was it.
УA lot of times when you have that kind of riff, you donТt want to get too tricky. It creates a hypnotic effect. You donТt want to change keys too much, so I leaned back on some of those artists who used space well. In old Pumpkins ideology, if you started with that riff, the song would get bigger and louder. In this ideology, it actually gets smaller, and thatТs how you get the dynamic back up.Ф
УWe were recording drums for something else, and there was a problem with the snare drum. I had 10 minutes where I was just standing there with a guitar around my neck, so I started playing a riff. Mike just went, СOh, man, I love that riff!Т I was like, СReally?Т So to be a show-off, I quickly arranged it into a song. Mike was all for it, and within a week we were recording it.
УHonestly, this is another song that happened when we were sitting around in the studio, waiting for something to get fixed. I started playing the riff, and we were all thinking, Oh, thatТs good. I went home and wrote the melody and some of the lyrical content. УThe next day, I played it for Nicole on acoustic guitar, and she almost started crying. She said, СGod, thatТs so beautiful.Т And I was like, СOK Ц that works for me!Т [laughs] Heartache never gets old.
УThe soloЕ I remember we were mapping the guitars out, and I decided to just leave all this space for some reason. People would say, СWhatТs that for?Т and IТd be like, СOh, IТm going to put the solo in there.Т ItТs pretty unusual, the drop. You hear it on Queen records because of the nature in the way they worked, but itТs pretty unusual in most modern music to hear no rhythm guitar at all. But I love it because you can really hear the texture of the sound and take the journey of the crazy bends.Ф
УAfter Mark died in the early part of last year, I found myself going back through the tapes of all the stuff we did, kind of mining for forgotten riffs and also taking this weird walk down memory lane of how heТd impacted my life. I came across the song, and I thought, СIТve just got to do something.Т I specifically remember Mark, when I came up with the idea for the song, he was like, СI love these chords! ItТs so cool, the way you put the chords together.Т He would always say, СHow do you come up with this shit?Т [laughs]