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Old 10-21-2017, 10:23 AM   #1
T&T
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Default Oligaga Pitchfork Review

curiously absent.




lets hear your theories netphoria!

 
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Old 10-21-2017, 11:06 AM   #2
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Theory 1: You searched for "Oligaga".

 
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Old 10-21-2017, 11:26 AM   #3
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LETS NOT VALIDATE HIS CHILDISH VOODOO WORDS.


i searched for "corgan".


and
FUCK YOU patj825 YOU FUCKING NAZI. GO TO HELL, NO ONE WANTS YOU HERE IN AMERICA OR ANYWHERE ELSE IN THE WORLD. JUST DIE

 
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Old 10-21-2017, 11:29 AM   #4
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1. not important enough to review

2. quickly forgettable

 
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Old 10-27-2017, 06:42 PM   #5
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"It’s a credit to Corgan’s light touch and his unforced melodic instincts that the album works as well as it does, given how fundamentally ill-conceived it is. Rubin’s back-to-basics approach functions by grounding artists who have somehow strayed from their essence, doing away with any superfluous trappings to remind the world of their indelible talent. That focus can be a revelation for an iconic presence like Cash or Neil Diamond, but Corgan’s presence has never been his draw. Smashing Pumpkins’ hook was the spectacle—the guitars, the fury, the sensory wonder—not the adenoidal outcast at the center of it all. Records like Mellon Collie showed that if you bake a sour apple with enough sugar, cinnamon, and butter, you can create something truly succulent. Rubin, bizarrely, seems to believe fans only want the apple, not the crumble."

That's a really good analysis, and a bit devastating.

 
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Old 10-27-2017, 06:46 PM   #6
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A pun like “Cain isn’t able to build a superstar,” from the album’s opening Bowie tribute, “Zowie,” might have slid mercifully under the radar surrounded by the kerosene-lit Stratocasters of yore. Here it just makes you wonder how many groaners lay hidden on his old records.

roasted toasted and burnt to a crisp

 
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Old 10-27-2017, 08:18 PM   #7
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holy fuck. i like the album, but those are brilliant/brutal quotes

 
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Old 10-27-2017, 09:26 PM   #8
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And there goes the gentle and calm Billy who wanted to reunite with the classic lineup. Thanks Pitchfork!

 
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Old 10-27-2017, 09:56 PM   #9
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I searched for Corgan and it came up.

Here you go

 
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Old 10-27-2017, 10:13 PM   #10
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Quote:
Originally Posted by tweedyburd View Post
"It’s a credit to Corgan’s light touch and his unforced melodic instincts that the album works as well as it does, given how fundamentally ill-conceived it is. Rubin’s back-to-basics approach functions by grounding artists who have somehow strayed from their essence, doing away with any superfluous trappings to remind the world of their indelible talent. That focus can be a revelation for an iconic presence like Cash or Neil Diamond, but Corgan’s presence has never been his draw. Smashing Pumpkins’ hook was the spectacle—the guitars, the fury, the sensory wonder—not the adenoidal outcast at the center of it all. Records like Mellon Collie showed that if you bake a sour apple with enough sugar, cinnamon, and butter, you can create something truly succulent. Rubin, bizarrely, seems to believe fans only want the apple, not the crumble."

That's a really good analysis, and a bit devastating.
i don't personally agree. SP fans like raw demos. so to say it's not Corgan's presence that allure fans, seems ridiculous. Rubin seems to appreciate raw Corgan as well and he insisted on letting that kind of album come out.

 
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Old 10-27-2017, 10:20 PM   #11
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i'm not sure what the pumpkins hook is. there are like 12 hooks. the songwriting, the vibe, the drumming, the guitars...you can't sum up the pumpkins just in 'the spectacle'

 
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Old 10-28-2017, 12:00 AM   #12
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pitchfork is much, much better than it used to be
but they still have a knack for completely missing the point of entire catalogs of work outside their "cozy circle" of Neutral Milk Hotel, Decemberists, and other such music for reading literature to

 
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Old 10-28-2017, 03:54 AM   #13
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https://pitchfork.com/reviews/albums...organ-ogilala/

William Patrick Corgan
Ogilala

by Evan Rytlewski

OCTOBER 26 2017

5.7 / 10

In his latest reinvention, the Smashing Pumpkins frontman hires Rick Rubin to deliver a prestige comeback album in the producer’s usual stripped-down and soul-baring mode—but Corgan is no Johnny Cash.

Billy Corgan has good reason to doubt his impulses. “I’ve been wrong about every record I’ve made since Mellon Collie,” the famously ornery musician recently told Spin, and while he qualified that statement with his usual defensiveness, the assertion holds. From his instant punchline of a supergroup, Zwan, to his listless synth-pop album TheFutureEmbrace and, most unforgivably, Zeitgeist, the shrill, quasi-metal Smashing Pumpkinsreunion record that chased fans away from the perfectly decent ones that followed, Corgan has either misread the public or misplayed his hand at every turn.
Some artists delight in sabotaging their careers. Although Corgan has at times tried to pass himself off as one of them, he’s not. He’s one of the most transparently approval-craving artists of his era, and lately he hasn’t found much of it. So for his latest solo album, he’s done what so many artists before him have done after admitting they’re in a slump: turn to Rick Rubin, who gives him the same stripped-down makeover the producer has made his signature since pioneering this model of prestige comeback album with Johnny Cash’s American Recordings. Ogilala, Corgan’s first album as William Patrick Corgan—a billing meant to signal candor and reinvention—is so no-frills, so predictably Rick Rubin, that it’s easy to overlook what a radical concession it must have been for one of alt-rock’s most notorious control freaks to outsource its vision to somebody else.
It’s a credit to Corgan’s light touch and his unforced melodic instincts that the album works as well as it does, given how fundamentally ill-conceived it is. Rubin’s back-to-basics approach functions by grounding artists who have somehow strayed from their essence, doing away with any superfluous trappings to remind the world of their indelible talent. That focus can be a revelation for an iconic presence like Cash or Neil Diamond, but Corgan’s presence has never been his draw. Smashing Pumpkins’ hook was the spectacle—the guitars, the fury, the sensory wonder—not the adenoidal outcast at the center of it all. Records like Mellon Collie showed that if you bake a sour apple with enough sugar, cinnamon, and butter, you can create something truly succulent. Rubin, bizarrely, seems to believe fans only want the apple, not the crumble.
And so Ogilala holes up listeners for 40 drumless minutes in close proximity to a voice that even diehards can only tolerate so much of. “Take me as I am,” Corgan sings over strummed guitars and faint washes of synths on “The Spaniards,” one of the record’s many confessional songs that doesn’t actually confess anything. His lyrics are rarely flattered by the scrutiny Rubin’s bare-bones presentation invites. A pun like “Cain isn’t able to build a superstar,” from the album’s opening Bowie tribute, “Zowie,” might have slid mercifully under the radar surrounded by the kerosene-lit Stratocasters of yore. Here it just makes you wonder how many groaners lay hidden on his old records.
The album really should be more interesting than this, because Billy Corgan, for better or worse, is more interesting than this. He’s probably the only person on earth who has owned both a professional wrestling league and a tea shop. And, just days after releasing Ogilala, he casually dropped this nugget on Howard Stern’s show: He swears he witnessed a shapeshifter in his store. “It’s up there with one of the most intense things I’ve ever been through,” he said. Why isn’t that on the album? Some of Corgan’s conspiracy theories, as voiced on “Infowars,” are appalling, but if ever there were a healthy outlet for that kind of runaway imagination, it’s music. Ogilala begs for a little of that weirdness.
Instead Corgan settles for an album that’s tastefully cordial but about as suspenseful as a round of bumper bowling. There are a few moments when everything clicks, when the passive pleasantness gives way to active pleasure, most of them involving a smartly deployed string quartet. Two string tracks at the album’s halfway point, “The Long Goodbye” and “Half-Life of an Autodidact,” hint at the quixotic, Automatic for the People-shaded mood piece Ogilala could have been. Of course, unlike Ogilala, Automatic for the People was an actual gamble. R.E.M. had to piece together that vision themselves; there was no precedent for a Southern alternative band recruiting Led Zeppelin’s bassist to score a symphonic grunge opus. There’s nothing but precedent, though, for a musician of a certain age tossing the keys to Rick Rubin and hoping for the best.

 
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Old 10-28-2017, 04:13 AM   #14
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Quote:
Originally Posted by myosis View Post
Rubin seems to appreciate raw Corgan as well and he insisted on letting that kind of album come out.
Rubin appreciates things raw in general... it has nothing to do with him specifically appreciating "raw Corgan" as you say.

Rubin is known for dry, reverbless productions and minimal arrangements (see his work with Johnny Cash, among others).

ObladiOblada is a Rubin-by-numbers production.

 
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Old 10-28-2017, 05:46 AM   #15
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Quote:
Originally Posted by Jelly Blossom View Post
ObladiOblada is a Rubin-by-numbers production.


"Although a firm believer in Rubin’s abilities as a producer, an early draft of the mostly acoustic album came back with layered electronics which Corgan disliked."

http://www.gigwise.com/news/110822/b...ivate-gig-talk

 
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Old 10-28-2017, 07:04 AM   #16
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interesting review. i mean, i totally reject each and every point it tries to make, as it's basically a spite-filled hate brochure on Corgan that tries to torch him for releasing an acoustic record without drums and white hot guitarzz on it, but i do find the boldness of it refreshing. it seems like people rarely ever write really mean reviews anymore for some reason, it's all tepid 7-8 out of 10 reviews, you know. this guy might not "get" the intent and idea behind the record at all, but at least he's got some real, raw, bubbling hate in his heart.

 
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Old 10-28-2017, 09:57 AM   #17
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OGILALA has now the same level as MONUMENT on METACRITIC, 70/100:
http://www.metacritic.com/music/ogil...patrick-corgan

The meanest from RECORD COLLECTOR, 40/100:
http://recordcollectormag.com/reviews/ogilala


WILLIAM PATRICK CORGAN - OGILALA

Reviewed by JR Moores

OCTOBER 13 2017


Just William

My theory is that shortly after completing Smashing Pumpkins’ magnum opus Mellon Collie & The Infinite Sadness, Billy Corgan was killed in a freak yachting accident only to be replaced by a serviceable doppelgänger sourced from the same factory of musical replicants as “Paul McCartney”. This would explain the diminishing returns of subsequent albums and the noticeable Wings-ishness of Corgan’s post-Pumpkins supergroup Zwan, not to mention his late forays into pro-wrestling business ventures and dipshit conspiracy theories.
Distancing himself further from his deceased human template without giving the whole game away, Billy’s duplicate now wishes to be known as William Patrick and has hooked up with career revivalist extraordinaire Rick Rubin for a, you guessed it, acoustic album. With a couple of exceptions, ballads weren’t exactly the forte of even the real, original Corgan, whose distinctively nasal voice was best suited to snarling over deafeningly amplified guitars. Most of Billy 2.0’s low-key lullabies are pleasant enough. Indeed, you could place any one of them in the middle of a big rock record as an eyebrow-raising, spine-tingling palate cleanser. Enduring them all in one sitting is, unfortunately, less fun than consuming 11 consecutive courses of the same pumpkin-flavoured sorbet.

Last edited by Corgan's Bluff : 10-28-2017 at 10:02 AM.

 
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Old 10-28-2017, 12:30 PM   #18
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Quote:
Originally Posted by amoergosum View Post
"Although a firm believer in Rubin’s abilities as a producer, an early draft of the mostly acoustic album came back with layered electronics which Corgan disliked."

http://www.gigwise.com/news/110822/b...ivate-gig-talk
Still doesn't change the fact that it's a Rubin-by-numbers album.

Perhaps that's what Billy expected from Rubin, so he made sure that's what he got.

 
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Old 10-28-2017, 03:00 PM   #19
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That review couldn't be much more retarded. Hating on Zeitgeist? Why no balls to hate on Adore because it wasn't Mellon Collie? Oh, because even though it was hated at the time, looking back it's understood that Billy was right, and it's a great album. So is Zeitgeist, by the way.

And "cain isn't able to build a superstar" is the only questionable lyric on the whole album, so of course retards are attracted to it like a moth because this isn't the first time I've seen it mentioned. So the whole album must suck I guess, because "cain isn't able". Right, you useless fuck. I've literally forgotten every word in your review. But no, it's Billy Corgan who sucks at writing. I mean Rick Rubin produced his album, what a loser! Pitchfork review guy is right, always check who produced an album before deciding if you like the music. You wouldn't want to look stupid once you find out Rick Rubin produced it. That's just common knowledge.

Seriously, is Ogilala much different from Adore? They used a damn drum machine on the album. It's much more comparable than Zeitgeist, but Pitchfork review guy wouldn't want to look stupid by shitting on Adore. Pussy.

 
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Old 10-28-2017, 04:00 PM   #20
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Exactly.

 
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Old 10-28-2017, 04:02 PM   #21
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Only retards still use the word "retard".

 
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Old 10-28-2017, 05:43 PM   #22
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I remember when Pitchfork hired Brent DiCreszcino or whatever his name was and he gave Tool's Lateralus like a 1.9 and The Fragile something like a 2.

Whatever one thinks of Ogilala, Pitchfork truly is the ultimate pretentious pile of shit site for fucking neckbeards.

 
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Old 10-28-2017, 06:26 PM   #23
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Quote:
Originally Posted by MTAE View Post
That review couldn't be much more retarded. Hating on Zeitgeist? Why no balls to hate on Adore because it wasn't Mellon Collie? Oh, because even though it was hated at the time, looking back it's understood that Billy was right, and it's a great album. So is Zeitgeist, by the way.

And "cain isn't able to build a superstar" is the only questionable lyric on the whole album...
A vast majority of Billy's lyrics are questionable.

Quote:
Originally Posted by MTAE View Post
Seriously, is Ogilala much different from Adore? They used a damn drum machine on the album.
While there's plenty of filler, Adore actually has some good songs on it while BlaBlaBlaBla is all filler.

I don't get where you're going with the drum machine rant... Genesis used drum machines on all of their 80s and early 90s albums and REM used drum machines on Up, so by your logic all of those albums are similar?

 
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Old 10-28-2017, 08:57 PM   #24
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Quote:
Originally Posted by teh b0lly!!1 View Post
interesting review. i mean, i totally reject each and every point it tries to make, as it's basically a spite-filled hate brochure on Corgan that tries to torch him for releasing an acoustic record without drums and white hot guitarzz on it
Man... I'm like the biggest Pitchfork hater here, and even I have to hand it to them that that particular review is spot-on.

Ogilala isn't a good album... 5/10 is about what I'd say it is. 5.7 is generous. It's a bland run of the mill album, and there's plenty of artists who routinely churn that out... With Corgan, one kind of hopes for something a little more unique.

 
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Old 10-28-2017, 10:59 PM   #25
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Quote:
Originally Posted by Jelly Blossom View Post
Rubin appreciates things raw in general



 
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Old 10-29-2017, 12:17 AM   #26
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Quote:
Originally Posted by Corgan's Bluff View Post
OGILALA has now the same level as MONUMENT on METACRITIC, 70/100:
http://www.metacritic.com/music/ogil...patrick-corgan

The meanest from RECORD COLLECTOR, 40/100:
http://recordcollectormag.com/reviews/ogilala


WILLIAM PATRICK CORGAN - OGILALA

Reviewed by JR Moores

OCTOBER 13 2017


Just William

My theory is that shortly after completing Smashing Pumpkins’ magnum opus Mellon Collie & The Infinite Sadness, Billy Corgan was killed in a freak yachting accident only to be replaced by a serviceable doppelgänger sourced from the same factory of musical replicants as “Paul McCartney”. This would explain the diminishing returns of subsequent albums and the noticeable Wings-ishness of Corgan’s post-Pumpkins supergroup Zwan, not to mention his late forays into pro-wrestling business ventures and dipshit conspiracy theories.
Distancing himself further from his deceased human template without giving the whole game away, Billy’s duplicate now wishes to be known as William Patrick and has hooked up with career revivalist extraordinaire Rick Rubin for a, you guessed it, acoustic album. With a couple of exceptions, ballads weren’t exactly the forte of even the real, original Corgan, whose distinctively nasal voice was best suited to snarling over deafeningly amplified guitars. Most of Billy 2.0’s low-key lullabies are pleasant enough. Indeed, you could place any one of them in the middle of a big rock record as an eyebrow-raising, spine-tingling palate cleanser. Enduring them all in one sitting is, unfortunately, less fun than consuming 11 consecutive courses of the same pumpkin-flavoured sorbet.
this.

sounds pretty spot on

 
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Old 10-29-2017, 12:37 AM   #27
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Ever heard of the Chicago Songs?

Ogilala sucks because it sucks not because it's acoustic.

 
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Old 10-29-2017, 12:56 AM   #28
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Quote:
Originally Posted by tweedyburd View Post
Smashing Pumpkins’ hook was the spectacle—the guitars, the fury, the sensory wonder—not the adenoidal outcast at the center of it all.

Mostly correct, but I always figured Billy was aware of this even past 2000 which is why things were so awkward thereafter.

 
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Old 10-29-2017, 01:15 AM   #29
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The Smashing Pumpkins hook was bElli pouring his heart into the music. It didn't matter whether is was Silverfuck or Stumbeline.

 
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Old 10-29-2017, 01:39 AM   #30
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More correct

 
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