Skip to main content

The Aeroplane Flies High

Despite my suspicions about the resuscitation of the Smashing Pumpkins brand name, I must say seeing the reconfigured line-up last night was a good time. As a matter of fact, it was a really good time. And probably better than previous tours with previous line-ups. Yes, I'm probably out of line for thinking that, but let me explain.

Maybe I'm not recalling the right performances, but I don't think I'd ever seen the Pumpkins perform where it didn't feel awkward. Be it tension between band members or the playing was sloppy, but something felt off. What I saw last night was a well-oiled show with a sense of spontaneity. This was a $70 ticket show for me and I didn't feel gypped. Aside from the not-so-appealing-to-me tunes from Zeitgeist, I enjoyed the mix of singles, album tracks and "Drown." Yes, "Drown."

New members Ginger Reyes, Jeff Schroeder and Lisa Harriton fit well with Jimmy and Billy, coming across as valued members more than hired guns. Harriton and Reyes' harmonies on "Tarantula" were a very welcome surprise, as was Schroeder's ability to shred with the best of Billy's shredding. It all got me thinking this new line-up was meant to carry the Pumpkins legacy forward without ugly drama rather than piss all over their legacy with a cash-grab album and tour.

That said, I think I understood that I'm not one of those dedicated fans that refers to the band as "Pumpkins." The type that obsesses over everything they've done. In no fault to those people, I just can't consider myself one of them. I still like a lot of the band's material, but the days of me watching Viuephoria over and over again have long since passed.

Comments

FrequencyDown said…
I've been hearing good things about these live shows.
However, I just can't escape my Vieuphoria days.
Plus, I don't like the way they play Silverfuck live now.

But yeah, I shall always love them. Too bad it's a bitch trying to see them up here.

Popular posts from this blog

Go Where You Wanna Go

It's been a year since I moved away from Lakewood, and even though I could relocate to a new place as a newly-single guy, I've chosen to stay where I am. I enjoy living in North Dallas/Richardson given its central location, being not too far away from places I have enjoyed going to in my fourteen-plus years living in Dallas County. Living in Lakewood for nine years was critical for me, but I am glad I don't have homeless people going through my garbage, my street getting shut down like it's Mardi Gras on Halloween night, and I don't have to answer to the not-so-friendly landlords who bought my old place. I have a new housemate moving in at the end of the month and I have many reasons to be excited as he's been a friend for many years. Couple that with a humongous  new record store opening in nearby Farmers Branch , shows to see, and a quick trip to Los Angeles for something very cool (for which I reveal at a later date) and I'm happy to say fall is sha

The Complete Idiot's Guide to Catherine Wheel

Originally posted: Tuesday, August 29th, 2006 Despite managing to release five proper albums, Catherine Wheel was one of those bands that always seemed to slip past the mainstream rock crowd. Yes, they got some nice airplay in their day, but people seem to have forgotten about them. You may hear “Black Metallic” or “Waydown” on a “classic alternative” show on Sirius or XM or maybe even on terrestrial radio, but that’s about it. For me, they were one of most consistent rock bands of the ’90s, meandering through shoegazer, hard rock, space rock and pop rock, all while eluding mainstream pigeonholing. Led by the smooth, warm pipes of vocalist/guitarist Rob Dickinson (cousin of Iron Maiden’s Bruce Dickinson), Catherine Wheel featured Brian Futter on lead guitar, Dave Hawes on bass and Neil Sims on drums. They weren’t a pretty-boy guitar band, but they weren’t a scuzzy bunch of ragamuffins either. Though the band hailed from England, Catherine Wheel found itself more welcome on American air

Best of 2021

  Last year, my attention span was not wide enough to listen to a lot of LPs from start to finish. Too much went on in 2020 to focus on 10-15 albums, so I went with only a couple to spotlight. Well, 2021 was a little better, as I have a list of top four records, and a lot of individual tracks.  (I made a lengthy Spotify playlist ) So, without further ado, here’s my list of favorites of the year: Albums Deafheaven, Infinite Granite (listen) Hands down, my favorite album of the year. I was not sure where Deafheaven would go after another record that brought My Bloody Valentine and death metal fans together, but they beautifully rebooted their sound on Infinite Granite. The divisive goblin vocals are vastly pared-down here, as are the blast beats. Sounding more inspired by Slowdive, the band has discovered a new sonic palette that I hope they explore more of in the future. It’s a welcome revelation. I still love their older material, but this has renewed my love of what these guys do.  J