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| per chi è appena tornato dalle eventuali vacanze (buone vacanze a tutti!), su HU c'è un bel riassunto del lavoro delle ultime settimane CITAZIONE Billy Corgan and Jeff Schroeder began recording “basic guitar tracks” on June 22.
The next few days were spent testing various equipment, with recording of the final (LOUD) rhythm guitar tracks beginning on June 25 with “Inkless.” That work was completed by June 27, with Corgan describing it as “massive, beautiful, and oh so pretty.”
On June 28, the band completed basic guitar for “Panopticon,” which Corgan called “a good challenge,” but the final result was “EPIC.“
On June 29, the band worked on the song known as either “Quasar” or “Stella Polaris.”
On July 3, Corgan was recording Mellotron for the title track “Oceania.”
On July 12, the band worked on guitars for “Chimera.”
On July 20, the band worked on a song called “The Celestials,” which may be the song formerly known as “Special K” and/or “Helios.” Corgan began recording lead vocals on July 27, starting with “Pale Horse,” and noting that guitar solos and other “bells, whistles” remained to be tracked.
On July 28, he sang “Glissandra.” Meanwhile, Nicole Fiorentino prepared to fly back to Chicago to begin recording her backing vocals.
On July 30, Corgan indicated that he was recording guitar overdubs and vocals for “The Celestials,” but suggested that there remained work to do on “Glissandra.”
On August 3, Corgan cut a vocal for “Inkless.”
The number of tracks on the album seems to be thirteen. Pare poi che Billy abbia serie intenzioni di far uscire in Vinile e digitale lossless e ad alta definizione (96k/24 bit) su hu riportano anche queste riflessioni sul fatto che secondo lui in europa teargarden non ha avuto successo per problemi di distribuzione/comunicazione (non gli sfiora neanche l'idea che faccia schifo), e quindi credo di interpretare le sue parole come l'intenzione di fare un release fisico a tutti gli effetti + digitale (gratuito?) per Oceania.. CITAZIONE We have some interesting opportunities. There’s still interest to put the record out commercially. So we’re trying to figure out a way by which people can still hear the music and at the same time do a commercial release, because not doing any kind of commercial release is, particularly in Europe…a lot of the European fans don’t know anything about Teargarden. We’ve gotten enough press and media attention about what I’ve done and I continue to do in America, but, in Europe, unless I go over there and do some big press tour, I mean, the album’s basically been ignored. So at some point, if you don’t work within certain systems, you just don’t exist. This is going to be our first tour of Europe in three years, so we’re looking to try to find some balance where people still have access to music, and at the same time put it in hands in a way that will get people to listen, because we’re just not getting the level of listening that we would have hoped for at this point. |
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