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The release marks the first time a stable Smashing Pumpkins line-up has released two consecutive albums since Mellon Collie and the Infinite Sadness (1995), with the core line-up of Corgan, guitarists James Iha and Jeff Schroeder, and drummer Jimmy Chamberlin all contributing to the recording process. Chamberlin notes that the sound of his drums on the album were influenced by "early-seventies prog rock bands, that type of tight dry drum sound."
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So I had to get inside the choices that they made." The band members recorded parts on their typical instruments, with synthesizers being recorded by Corgan and backing vocals by Sierra Swan and touring member Katie Cole. But then I realized that when I first heard Siouxsie and the Banshees, Sisters of Mercy and Joy Division, they were making very modern music by using the technology that they had at hand. I started to feel like the Luddite who couldn’t evolve. I got Logic, I got some beats going, but I just wasn’t feeling it. Unlike the previous album, produced by Rick Rubin, Corgan self-produced Cyr, pushing himself to record and work outside his comfort zone: "I was trying to bring myself into modernity. They were the best of the best representation of that, ideologically." I told the band, ‘This is what we’re gonna do’ and everybody said, ‘OK, fine’" Chamberlin elaborated, "Once we got a beat on what the record was gonna be, we had this pile of songs and they either translated that to that architecture or they didn’t, and that’s kind of the 20 that we ended up with. So I took that on and thought, ‘OK, I’m gonna make contemporary music I don’t care what it takes’. Now the positive thing there is I frame myself as a progressive musician. Regarding the band's shift to a synth-pop sound, Corgan noted: "I got sick of making music that people kept telling me didn’t sound contemporary. The last one was kind of like, 'Let’s just jump in, record some stuff real fast, and let it be what it is,' so I’m excited about this, because we’re kind of back in the lane of taking a risk, and trying to bring something new to the table, as opposed to just aping what we’re known for." It’s got a greater conceptual base, and it’s probably a wider swath of music. This is the first album since the album that came out in 2000, Machina, where me, James and Jimmy worked on something for a very long time. In early 2020, Corgan confirmed that a new album was in the process of being recorded: "In many ways, this is the first real album where we’ve hunkered down and made a classic, 'Let’s throw it all at the wall and see what happens' type of Pumpkins record.
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Billy started sending me sketches of stuff he was thinking about, and we started talking about the drum sound." Then you just whittle them down, except the criteria for the record was pretty high. Drummer Jimmy Chamberlin notes that he and Corgan began planning the aesthetic of Cyr in early 2019, with Corgan sending him up to 35 potential song options: "It’s hard when you start with, like, 35 songs. was released, the band toured in support of it, while at the time subtly talking about their upcoming recording efforts via Billy Corgan's Instagram stories. Sweetening the punch is the inclusion of Corgan’s jaw-dropping cover of Fleetwood Mac’s “Landslide,” the underappreciated Adore singles, and the wonderfully dynamic “Drown” from the Singles soundtrack, as well as rare photos by Lisa Johnson and others.After the band's previous album, Shiny and Oh So Bright, Vol. Clearly, though, the band’s legacy has retained much of its might, and Rotten Apples plainly illustrates that. Like many great groups, the Chicago-bred act bowed out with a disappointing swan song (Machina: The Machines of God). Wisely bundled with a collection of B-sides and rarities (including “Blissed and Gone,” Billy Corgan’s somewhat melodramatic, but sweet, farewell to Pumpkins fans), this two-disc package reminds that the band probably did well to quit when it did, just as its halo was beginning to tarnish. Nearly every song that both hardcore and casual fans would expect to find is here-the dramatic “Disarm,” the feel-good “1979,” the blistering “Siva” (but, then, where’s “Rocket”?). What seems almost dead-on, though, is the anthology’s track listing. Arriving less than a year after Smashing Pumpkins played their final show and just prior to the Christmas shopping crunch, Rotten Apples feels equally premature and perfect in its timing.