News tagged "smashing pumpkins" on mun2

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wed 6/10/2009

The Smashing Pumpkins have reportedly hired 19-year-old Mike Byrne to become the band's drummer. Byrne was approximately one year old when the Pumpkins released their debut album.

Smashing Pumpkins, Marta Sánchez, Collie Buddz, Interpol and Justice.

the music press

tue 7/10/2007

A collage of Smashing Pumpkins, Marta Sánchez, Collie Buddz, Interpol and Justice.

Nineties alternative rock icons Smashing Pumpkins are back – minus original bassist D'Arcy and guitarist James Iha. PopMatters says Zeitgeist “sounds like the prototypical Smashing Pumpkins album, a Smashing Pumpkins album that is designed to be a Smashing Pumpkins album, genetically engineered to sound exactly as one would expect the Smashing Pumpkins to sound.” The Brits at the The Guardian newspaper are equally unimpressed: "[Billy Corgan’s] whine hasn’t mellowed with age, and there are some truly horrible guitar effects.”
Marta Sánchez, Spain's answer to Madonna, returns with Miss Sánchez. The blog Don't Stop The Pop is smitten with her current single, Superstar, and rebuffs any Madonna comparisons thusly: “[Madonna] samples ABBA and destroys the classic Swedish anthem … and [Martha Sánchez] improves on the original by Depeche Mode.”
Bermudan-American rapper Collie Buddz is heating up dance floors with Mamacita. The BBC describes his self-titled debut as “Jamaican style music with smooth commercial hip hop production, and a clear eye on the lucrative U.S. market.” For RWD Magazine, Buddz has “a wicked voice, killer riddims and a mad-sick flow,” underscoring that his debut “proves he’s more than a pale face with a bad one-tune.” That's some deep reggae sh*t right there.
Interpol's third album and major label debut, Our Love To Admire, gets an A- from Entertainment Weekly: “[T]he outcome is akin to an artistic explosion” which may lead to “an even higher set of expectations.” Prefix Magazine says the new album only deserves a 6.5 out of 10: “Interpol still has the best tailors in town and the tunes to match. But the time may have come for a make-over – on both counts.”
† (Cross), the debut by French electronica duo Justice, is “a harsh and mostly instrumental set that nonetheless plays like the ideal crossover electronic-pop record,” yawn the hipsters at Pitchforkmedia. Influential electronic music magazine URB laments: “the two post-Daft Punk Parisians are not saviors of the filtered disco/electro-house scene.”