Billy Corgan - THEFUTUREEMBRACE - June 21, 2005
03-31-05, 06:55 PM
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Billy Corgan - THEFUTUREEMBRACE - June 21, 2005
Tracklisting:
1. All Things Change
2. Mina Loy (M.O.H.)
3. TheCameraEye
4. To Love Somebody
5. A100
6. DIA
7. Now (And Then)
8. I'm Ready
9. Walking Shade
10. Sorrows (in blue)
11. Pretty, pretty STAR
12. Strayz
NEW YORK (Billboard) - Former Smashing Pumpkins/Zwan leader Billy Corgan has wrapped work on his solo debut, "THEFUTUREEMBRACE," to be released June 21 via Warner Bros.
The first single to be released to U.S. radio outlets will be "Walking Shade," while Corgan will embark on his first solo tour of intimate venues beginning in July.
The 11-track set includes a cover of the Bee Gees' "To Love Somebody" that features the Cure's Robert Smith on backing vocals. Former Pumpkins drummer Jimmy Chamberlin is behind the kit on "DIA," returning the favor of Corgan's recent appearance on his Sanctuary solo debut, "Life Begins Again."
"Many people assume when I do more progressive work that I am trying to move away from something, when honestly what I am trying to do is get closer to who I really am," Corgan says of the upcoming album. "I tried to sum up all my feelings about my life and the world around me in the most beautiful ways I could dream up. It is easy to be negative, and much harder to find that silver lining behind the clouds of modern society."
While working on the album, Corgan also wrote a volume of poetry, "Blinking With Fists," which reached the New York Times' best-seller list.
1. All Things Change
2. Mina Loy (M.O.H.)
3. TheCameraEye
4. To Love Somebody
5. A100
6. DIA
7. Now (And Then)
8. I'm Ready
9. Walking Shade
10. Sorrows (in blue)
11. Pretty, pretty STAR
12. Strayz
NEW YORK (Billboard) - Former Smashing Pumpkins/Zwan leader Billy Corgan has wrapped work on his solo debut, "THEFUTUREEMBRACE," to be released June 21 via Warner Bros.
The first single to be released to U.S. radio outlets will be "Walking Shade," while Corgan will embark on his first solo tour of intimate venues beginning in July.
The 11-track set includes a cover of the Bee Gees' "To Love Somebody" that features the Cure's Robert Smith on backing vocals. Former Pumpkins drummer Jimmy Chamberlin is behind the kit on "DIA," returning the favor of Corgan's recent appearance on his Sanctuary solo debut, "Life Begins Again."
"Many people assume when I do more progressive work that I am trying to move away from something, when honestly what I am trying to do is get closer to who I really am," Corgan says of the upcoming album. "I tried to sum up all my feelings about my life and the world around me in the most beautiful ways I could dream up. It is easy to be negative, and much harder to find that silver lining behind the clouds of modern society."
While working on the album, Corgan also wrote a volume of poetry, "Blinking With Fists," which reached the New York Times' best-seller list.
04-02-05, 10:19 AM
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This is awesome news for me. But the strange thing to me is that the album is only eleven songs(and 1 is a cover). We all know Billy could write ten songs in about 3 minutes. Maybe he has finally listened to some critics and is releasing a totally consistent album rather than a bloated one.
04-04-05, 04:56 PM
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I'll give it a shot, but I didn't really care for Machina and the Zwan album at all (although the early Pumpkins albums are some of my favorites of the '90s).
04-05-05, 05:45 PM
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They just shot the video last week in LA, so the single should be out late May, I would guess. When it will be leaked might be a different story, of course.
04-24-05, 10:28 AM
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Billy Corgan reminds me of Billy Howerdel from A Perfect Circle. Er, or maybe it's Billy Howerdel that reminds me of Billy Corgan. And certainly doesn't help that James Iha played with both SP and APC. That guy seems to have a weird fixation for bald-headed Billy's who are songwriters/guitarists. But I digress.
I used to be a huge Pumpkins fan. Not so much with Zwan though. So I'm a bit skeptical about this solo album since it seems to be an extention that.
I used to be a huge Pumpkins fan. Not so much with Zwan though. So I'm a bit skeptical about this solo album since it seems to be an extention that.
04-24-05, 02:45 PM
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This isn't like Zwan at all. It's an electronic-type album more akin to Adore with dance beats. Song "A100" has leaked and you should be able to find it to hear what this is going to sound like.
04-24-05, 11:44 PM
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Originally Posted by fallfan
That will soon be the most terrifying album cover in my collection.
But he was with David Wells, so that was okay.
04-25-05, 08:29 AM
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I think A100 is different.
It's not what I was hoping for exactly, I was sorta just hoping for some accoustic Billy, or something more like the Pumpkins, however I'll support the guy and pick it up, and see if it grows on me.
It's not what I was hoping for exactly, I was sorta just hoping for some accoustic Billy, or something more like the Pumpkins, however I'll support the guy and pick it up, and see if it grows on me.
04-25-05, 01:43 PM
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Originally Posted by SpaceBoy
I think A100 is different.
It's not what I was hoping for exactly, I was sorta just hoping for some accoustic Billy, or something more like the Pumpkins, however I'll support the guy and pick it up, and see if it grows on me.
It's not what I was hoping for exactly, I was sorta just hoping for some accoustic Billy, or something more like the Pumpkins, however I'll support the guy and pick it up, and see if it grows on me.
There's Djali Zwan stuff and Billy's songs about Chicago floating around if you're looking for acoustic stuff.
-Paul Jacobi-
04-25-05, 02:06 PM
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Here's an article abou the new album
http://sheknows.com/about/look/5732.htm
Billy Corgan on TheFutureEmbrace
David Wild
Here's what Billy Corgan says about the places TheFutureEmbrace, his first solo album, took him:
ALL THINGS CHANGE:
This was the zero point for the record. We'd been messing around for a couple months, but "All Things Change" was the first time we found the feeling we were going for musically. I knew I wanted to sing something at the end, and the words "We can change the world" came into my head when I was driving around. I thought, "Oh man, you're asking for it." But there's something so car-crashy about someone actually saying something like that -- you don't want to look but you have to. The feeling is authentic. I do feel we can change the world, but it's not a Michael Jackson sense. There's a sense here that it's not going to be easy.
MINA LOY (M.O.H):
The guys I worked with on the album would label the soundscapes I had. This song was originally called "My Old Heart" and they abbreviated the name in the sound file as "M.O.H." At first I wasn't sure about my lyrics to "Mina Loy" because I felt like I was returning to one of my old themes -- rage. Yet it expressed my general feeling of paranoia. I live in Chicago and I love my city so much -- I love it like a woman. I was thinking how I'd feel if anyone ever set off a dirty bomb and destroyed this place I love so much. This is not some vague Soviet threat. It's the thought that someone on a whim can put their finger on a map and destroy something beautiful.
THECAMERAEYE:
This is like one of those poems where you vaguely know what it's about, but can't quite explain it. It has something to do with this feeling that love is constantly being perverted. You're constantly asking yourself what true love really is. I've been with women and I thought I found my true love and it's turned out to be the worst, most hurtful thing. You think, is that true love? I've been with woman who are completely devoted and would lie across a railroad track for me, and I think this is kind of boring. So what is true love anyway? Somehow the words and the images in "TheCameraEye" communicate that to me.
TO LOVE SOMEBODY:
The original song by the Bee Gees is in a major key and very up-sounding, and I knew it wouldn't fit that way. So I slipped it all into a minor key, so it's the same melody but sadder. We finished the demo and my engineer thought it was one of the best things we've ever done -- and that was just the demo. So I'm pretty good friends with Robert Smith from the Cure who were a big influence on me. We're not just rock buddies, we sort of have a loving relationship from afar. So I called Robert up and said, "Will you sing on my record?" He said, "Sure, whatever you want." I said, "It's a Bee Gees song." Over the Transatlantic line I hear Robert Smith going "The Bee Gees?" I said, "Trust me, just do your thing and it will be fine." He did and it was great.
A100:
Just your typical God is Disco Love Song. I come from Chicago, the home of house music. We grow up there in a place where for a lot of people it's really all about the kick drum. That's why New Order was so big in Chicago -- they really captured that feeling. There's still something in me that just resonates to that Big techno moment. That said, the song is still semi-sarcastic. I've got my tongue in my cheek a little bit there.
DIA:
One of the last songs written for the album. I figured out some new ways to write songs this time and by this point in the process I'd gotten comfortable with new approach. So I went back to my old process. To me, it's sort of an old school song written in a new way. "DIA" has got a nice Gothic vibe. Actually, Courtney Love was staying at my house at the time. She’d come into town for me to write songs for her record. I had this one and another one. I liked the other one, but Courtney picked this song.
NOW (AND THEN):
This one's just really sad -- some fucked up, weird tale of teenage isolation that never really happened to me. It's a sad devotional about willing to be hurt and consumed by someone. At first the song had a different feel and I was ambivalent about it. Perhaps it was a bit too Pumpkins for me right now. Then Bon said he really loved the song, and thought it was the best thing we'd worked on. He said, "Mind if I ***** it up for you?" So then I went away, came back and thought what Bon had done was really beautiful. Then the whole song clicked for me.
I'M READY:
Bjorn wanted me to take this one off. He said, "It's not that I don't like it, I'm just not sure if it fits the record." And in a way, that's what I do like about "I'm Ready." It comes at the point in the record where you need a different feeling. I often like the underdog songs on any album. And to me, there's something satisfying about knowing it will be someone’s favorite song.
WALKING SHADE:
I like where this song comes on the album. Someone I work with told me, "It's that point where you want to put your foot on the accelerator and drive a little faster." Without it, the album tailed off into a blissful thing, and I didn't want that. I wrote this song at the last possible second -- I wasn't sure what I was writing about. Then a week later, this whole thing blew up with this girl, and I had pretty much written what was going to happen but a week before. It's the psychic breakup song. We've made a video for it with all my pasts coming back to haunt me.
SORROWS (IN BLUE):
Now that's a weird one. Besides "All Things Change," I think this song captures what I was trying to say emotionally and sonically with the album. But it's a strange song and I don't even know what I'm trying to say exactly. It's definitely a feeling-based song and not at all intellectualized.
PRETTY PRETTY STAR:
Yes, this is the most Bowiesque title imaginable and that's the point. It was my way of winking and saying that I know what's going on here and I'm not going to pretend I’m not going there. I know David halfway decently, and I've always been open about my love for his work. Then having played with Mike Garson who was the Aladdin Sane pianist and all that stuff, my heart is close to that feeling.
STRAYZ:
This is just one of those things we did and everybody loved it. If I even brought up ever taking it off, there would have been a mutiny -- which was nice. The guys I was working with on this album really made an emotional investment in this music. They really helped me fight for the idea that the best music should be on the album. And I hope that it is.
-Paul Jacobi-
http://sheknows.com/about/look/5732.htm
Billy Corgan on TheFutureEmbrace
David Wild
Here's what Billy Corgan says about the places TheFutureEmbrace, his first solo album, took him:
ALL THINGS CHANGE:
This was the zero point for the record. We'd been messing around for a couple months, but "All Things Change" was the first time we found the feeling we were going for musically. I knew I wanted to sing something at the end, and the words "We can change the world" came into my head when I was driving around. I thought, "Oh man, you're asking for it." But there's something so car-crashy about someone actually saying something like that -- you don't want to look but you have to. The feeling is authentic. I do feel we can change the world, but it's not a Michael Jackson sense. There's a sense here that it's not going to be easy.
MINA LOY (M.O.H):
The guys I worked with on the album would label the soundscapes I had. This song was originally called "My Old Heart" and they abbreviated the name in the sound file as "M.O.H." At first I wasn't sure about my lyrics to "Mina Loy" because I felt like I was returning to one of my old themes -- rage. Yet it expressed my general feeling of paranoia. I live in Chicago and I love my city so much -- I love it like a woman. I was thinking how I'd feel if anyone ever set off a dirty bomb and destroyed this place I love so much. This is not some vague Soviet threat. It's the thought that someone on a whim can put their finger on a map and destroy something beautiful.
THECAMERAEYE:
This is like one of those poems where you vaguely know what it's about, but can't quite explain it. It has something to do with this feeling that love is constantly being perverted. You're constantly asking yourself what true love really is. I've been with women and I thought I found my true love and it's turned out to be the worst, most hurtful thing. You think, is that true love? I've been with woman who are completely devoted and would lie across a railroad track for me, and I think this is kind of boring. So what is true love anyway? Somehow the words and the images in "TheCameraEye" communicate that to me.
TO LOVE SOMEBODY:
The original song by the Bee Gees is in a major key and very up-sounding, and I knew it wouldn't fit that way. So I slipped it all into a minor key, so it's the same melody but sadder. We finished the demo and my engineer thought it was one of the best things we've ever done -- and that was just the demo. So I'm pretty good friends with Robert Smith from the Cure who were a big influence on me. We're not just rock buddies, we sort of have a loving relationship from afar. So I called Robert up and said, "Will you sing on my record?" He said, "Sure, whatever you want." I said, "It's a Bee Gees song." Over the Transatlantic line I hear Robert Smith going "The Bee Gees?" I said, "Trust me, just do your thing and it will be fine." He did and it was great.
A100:
Just your typical God is Disco Love Song. I come from Chicago, the home of house music. We grow up there in a place where for a lot of people it's really all about the kick drum. That's why New Order was so big in Chicago -- they really captured that feeling. There's still something in me that just resonates to that Big techno moment. That said, the song is still semi-sarcastic. I've got my tongue in my cheek a little bit there.
DIA:
One of the last songs written for the album. I figured out some new ways to write songs this time and by this point in the process I'd gotten comfortable with new approach. So I went back to my old process. To me, it's sort of an old school song written in a new way. "DIA" has got a nice Gothic vibe. Actually, Courtney Love was staying at my house at the time. She’d come into town for me to write songs for her record. I had this one and another one. I liked the other one, but Courtney picked this song.
NOW (AND THEN):
This one's just really sad -- some fucked up, weird tale of teenage isolation that never really happened to me. It's a sad devotional about willing to be hurt and consumed by someone. At first the song had a different feel and I was ambivalent about it. Perhaps it was a bit too Pumpkins for me right now. Then Bon said he really loved the song, and thought it was the best thing we'd worked on. He said, "Mind if I ***** it up for you?" So then I went away, came back and thought what Bon had done was really beautiful. Then the whole song clicked for me.
I'M READY:
Bjorn wanted me to take this one off. He said, "It's not that I don't like it, I'm just not sure if it fits the record." And in a way, that's what I do like about "I'm Ready." It comes at the point in the record where you need a different feeling. I often like the underdog songs on any album. And to me, there's something satisfying about knowing it will be someone’s favorite song.
WALKING SHADE:
I like where this song comes on the album. Someone I work with told me, "It's that point where you want to put your foot on the accelerator and drive a little faster." Without it, the album tailed off into a blissful thing, and I didn't want that. I wrote this song at the last possible second -- I wasn't sure what I was writing about. Then a week later, this whole thing blew up with this girl, and I had pretty much written what was going to happen but a week before. It's the psychic breakup song. We've made a video for it with all my pasts coming back to haunt me.
SORROWS (IN BLUE):
Now that's a weird one. Besides "All Things Change," I think this song captures what I was trying to say emotionally and sonically with the album. But it's a strange song and I don't even know what I'm trying to say exactly. It's definitely a feeling-based song and not at all intellectualized.
PRETTY PRETTY STAR:
Yes, this is the most Bowiesque title imaginable and that's the point. It was my way of winking and saying that I know what's going on here and I'm not going to pretend I’m not going there. I know David halfway decently, and I've always been open about my love for his work. Then having played with Mike Garson who was the Aladdin Sane pianist and all that stuff, my heart is close to that feeling.
STRAYZ:
This is just one of those things we did and everybody loved it. If I even brought up ever taking it off, there would have been a mutiny -- which was nice. The guys I was working with on this album really made an emotional investment in this music. They really helped me fight for the idea that the best music should be on the album. And I hope that it is.
-Paul Jacobi-