JAMES IHA NEWS 2016.
2016.9.1 … James Iha: From Smashing Pumpkins to TV & Film Scoring
Those of us who grew up in the early ‘90s know Mr. James Iha as the stylish and talented guitarist from Chicago born alternative rock band The Smashing Pumpkins.
The growling fuzz of his guitar sound in Siamese Dream helped establish the zeitgeist of that decade.
Now, Iha’s recent work on Hulu’s original show Deadbeat and James Franco’s remake of the ‘90s TV movie classic Mother, May I Sleep With Danger?
gives us a peek into a different facet of his musical gifts.
Iha, who also scored the Japanese comedy Linda, Linda, Linda (2005) and the family dramedy Because of Winn Dixie (2005), spoke with us about his creative approach to film and TV scoring.
S&P: Could you describe the evolution of your guitar tone in Siamese Dream to the Deadbeat main title?
James Iha: There’s a huge difference, in every kind of way, between being a guy in a band when you write songs and are jamming with a band versus creating music for picture.
I think in a band you’re always playing for what it sounds like in a practice room or what it sounds like live.
When you go into a record you’re creating a sonic palate for what the album is like. ?
I think for something like Deadbeat, it could be a ukulele, it could just be drums on the backbeat or an acoustic guitar, it’s just so different.
For a show like Deadbeat that has wall to wall music, there are things that you have but then there are things that happen in every episode.
You could have mariachi music or Indian music, it could be anything how do I convey what’s going on inside this rabbi’s mind? It could be any kind of music.
It’s much broader and wider when you’re creating for picture, I think.
S&P: Is there any musical color you’d like to bring back from the early ‘90s that is considered “outdated” by current music production standards?
JI: One decade’s sound is totally different from another’s. I think America was still much more into rock bands in the ‘90s. Rock bands could still be in the top 10.
I think now the top 10 is mostly pop and hip hop, so it’s just completely different with those kinds of genres.
There are still rock bands, but they play differently and their dynamics and songwriting are different.
I think rock bands now incorporate a lot more technology, and that maybe the rock bands in the ‘90s were simpler, you know: guitar, bass, and drums.
S&P: The Smashing Pumpkins’ Mellon Collie and the Infinite Sadness album feels so theatrical.
The “Tonight, Tonight” music video felt like an amazing short film, and the song and the video seemed so synced emotionally.
How much inspiration did you draw from that album when working on recent projects?
JI: I think for any musician or composer it’s a lifetime of knowledge that shapes and moves what you do, what your instincts are, and what you gravitate towards.
Playing with the Smashing Pumpkins influenced what I do today but sometimes it’s obvious and sometimes it’s not so much.?
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S&P: How did you approach the soundtrack for Mother, May I Sleep with Danger?
JI: There are three facets to the score for Mother, May I. There’s a guitar driven theme, with distortion.
It’s aggressive and there are a lot of heavy drums, so you could reference that to my Pumpkins years or my Perfect Circle years.
But even then, it’s tailored to fit the picture. I’m not thinking of a band or what other people are playing.
I’m just watching the picture and what’s going on, and thinking of how well it matches up with it.
There are also sounds that are a lot lighter and softer some electronic glitchy beats and ethereal vocals and synthesizer pads that’s another kind of theme.
Then there’s another theme where I use a violin made by a man named Jonathan Wilson.
It’s a violin that’s like a guitar six strings, tuned like a guitar but you play in with a bow.
So I was able to do some string work using that.
I created a theme using that instrument and using a dulcimer, to make a sort of raw, violin sound with folk instruments, in a kind of a scary horror music way.
S&P: What did you like best about scoring Mother, May I Sleep with Danger?
JI: I like the movie in general.
It’s a fun script, it looks great, the actors are great, the directing and editing are great.
So it was easy to make music to it.
I just had a fun time doing it overall. It wasn’t like a scene would come up and I’d sit there like, “Oh god, what should I do for this?”
It was a fun movie to make music for so the score came to me pretty quickly.
I was really happy with the opening theme that was used at the beginning and at various transitions throughout the movie.
It seemed to create a heightened sense of evil and energy. It was definitely my favorite and also featured otherworldly types of voices chanting.
S&P: How do you create those first cues that set the tone of a project?
JI: I have conversations with the director, the editor,and the music supervisor,and then just watch the film and see what strikes me.
I get a lot of ideas about instruments and sounds but I’m always open and tuned into what the director envisioned.
I’ve been lucky to work with a lot of music driven directors and it helps to have someone with a strong musical taste.
S&P: Do you prefer to score any particular genres of film or TV?
JI: I’ve done indie drama, stoner comedy, and horror. It’s been pretty wide ranging but they’ve all been really enjoyable and artistically satisfying.
I’m just interested in working with good directors and good projects. The music seems to come easily from that.
S&P: How does your band experience influence your scoring and, in your experience, how does the music industry relate to film and TV?
JI: My band experience is of course part of who I am, but scoring is a different experience and a different way of thinking about music.
You’re making music to fit the picture, not a song or typical song format.
You’re also listening to what the director or producer’s vision for it is, so it’s a collaborative experience.
The music and film industries are very different things, but still similar.
Whoever’s on the team in a film or a TV show that’s the band so everyone gets a say.
It’s collaborative in that way. The main difference is in a band, you work with people for years creating a sound.
When creating for TV or film, you’re thrown into their universe. You have to make your sound work in their world.
I have my own style and sound, but it’s their movie and they have ideas already about what the sound could be.
News source:SOUND & PICTURE
2016.6.18 … James Iha on Scoring James Franco’s ‘Mother, May I Sleep with Danger?’
In honor of the 20th anniversary of the cult classic, Mother, May I Sleep With Danger?, Lifetime and Sony Pictures Television teamed up with James Franco to remake the classic TV movie, as a lesbian vampire love story.
With a script by Franco, this updated tale follows theater major Leah (Leila George), who brings home the special someone in her life to meet her mom (Tori Spelling), but her mom’s suspicions about Pearl (Emily Meade) lead her to make a startling discovery that puts Leah in serious danger.
Collider recently had the opportunity to speak with the film’s music composer, James Iha, best known for his work with The Smashing Pumpkins and A Perfect Circle.
During the exclusive phone interview, he talked about how he got involved with Mother, May I Sleep with Danger?, collaborating with James Franco and the producers, checking out the original film on YouTube, what he responded to with this reimagining, finding the moody sound that complimented the heightened emotions of the story, how he originally got into composing for film and TV, and being happy doing a variety of different things.
Collider: Mother, May I Sleep with Danger? is certainly a fun, wild ride.
JAMES IHA: I like the movie. I think it’s really fun and crazy.
Because of James Franco, it steps beyond what is normally associated with Lifetime movies.
It’s a fun and crazy movie, and I had fun doing the music. It was easy to do the music because of the picture.
How did you come to be doing the score for this? Was it just a project that came your way, or did you know James Franco?
IHA: I have an agent and they put me up for this.
They thought I’d be good for this kind of thing. So, I talked with James before I did it, and he gave me a few references and told me about the vibe of what was going on and said to run with it.
Had you been familiar with the original film, at all, or did you not worry about that, since the two films are so different?
IHA: I did YouTube it when I first heard about it, and I watched five minutes of it. But from the script that I was given for the 2016, I realized that it probably was not going to relate, at all, so I stopped watching it. And then, I tried to look at it again and it had disappeared from YouTube.
The music in the film is very atmospheric. Was that a sound you wanted to add to it, or did they ask you for something that was very moody?
IHA: Some of it came from James, some of it came from direction from the producers and the editor, and some of it is me. Some of it is just the way it was shot and the way it came across to me.
Did you only have the script to go off of, or did you get to watch the film, as you were doing the music?
IHA: I had the picture for most of it. With some shows, you can [do it without watching it]. But for this, there were a lot of things that had with the picture. And it helps with tempo. Even if it’s atmospheric, there are some things that hit that are percussive or tempo driven that you have to have the picture to accurately convey and push the mood of what’s going on.
The original film was about an abusive relationship, and this is really about more of a dangerous relationship than an abusive one. Were there things that you specifically responded to, as far as the storyline and mood of the film?
IHA: I think it definitely is a companion to the film.
All of the music works on its own, but it doesn’t really make as much sense without the picture.
I was also glad it wasn’t tongue-in-cheek because of it being a remake.
I felt like I was trying to be as dramatic as what was going on in the new version as possible, and there wasn’t any camp. I didn’t write or direct it, but it just came across that way, from the beginning.
There’s definitely a leap of faith that you have to make, but overall, it was earnest, scary and a little bit evil.
Composing within a band must have specific parameters because you have to think about the band’s sound and what does or doesn’t fit in with that. Do you feel a sense of freedom when you’re composing for film and TV that you don’t feel when you’re in a band, or is it just a different set of parameters because you’re keeping within the story and characters and you’re answering to filmmakers?
IHA: It’s both, depending on the project and depending on how much leeway the director or the music supervisor gives you.
I felt I had pretty good direction from James, the producers and the editor.
I had a pretty good vibe on what to go for. It is liberating just to try different things. But at the same time, it’s a job and you serve whatever is on screen.
You’re not making music for the sake of making music.
You’re trying to push whatever feeling is on screen, or whatever the subtext is, if you’re going against what’s on screen.
How did you originally get into composing music for film and TV? Was it something you had thought about doing for awhile, or was it something where the opportunity came up and you thought you’d give it a try?
IHA: When I lived in New York, there wasn’t as much TV or film around.
I got asked to do a couple of indie films, just based on me being from The Smashing Pumpkins and A Perfect Circle.
I did a couple of indie movies from Japan and one from Canada, and I thought it was an exciting, fun thing to do. I had a great time doing it, it was just that, in New York, there really wasn’t as much. My studio in New York closed, so I moved out to L.A. and just started looking into composing as another thing to do, as a musician.
I like it a lot. It’s fun and it’s a different way of thinking about music.
Many actors don’t like to watch their projects because they get uncomfortable seeing themselves acting, but do you enjoy watching the final product with your music?
IHA: I think it would be a lot more strange, being an actor. With the music, if it works, it’s definitely a fun and cool experience.
I think it will have to be awhile from now before I can watch it objectively, just because I watched it so many times while I was composing it, but it was great.
How different is the experience of composing for a movie like this, in comparison to composing for a season of a show, like you did for Deadbeat?
IHA: There’s just a lot more music that you have to turn out on a TV show, and the deadline is a lot more frantic. And it’s a sustained frantic, hectic schedule for three or four months. It was definitely a good experience doing that. I liked it. But, it’s different with a film. There obviously was a deadline for this, but it wasn’t as hectic as a TV show.
Have you thought about the kind of projects you’d like to continue to do? Have you thought about possibly doing a theme song for a TV show, or whether you’d like to continue to focus on film?
IHA: I’m just into it. I haven’t done that much so far. I’ve done four films and a couple TV shows, and it’s been great.
I’m having fun with it.
It’s great working with directors and with somebody else’s vision.
I’d like to keep doing film and TV, and I definitely can appreciate a good theme song. If it’s memorable, that’s a great thing.
You’ve been in a band, you’ve done solo albums, you’ve worked in a studio, you’ve gone on tour, you’ve done our own thing where you’re completely responsible for the outcome, and you’ve worked as a musician for hire.
Do you prefer any aspect of the creative process over another, or does dipping your toe in all of it make you feel more fulfilled, as an artist?
IHA: I’m happy doing different things. Being in a band is great, but being in a band can be difficult sometimes.
The music industry is not what it used to be. Being in a good band is great, and I’ve been lucky to be in great bands.
I’ve done solo stuff, and that’s been great.
I also produce rock bands and I do co-writes, where I write with different singers in bands and songwriters.
Composing is just another exciting thing. It’s as exciting as being in a band. It’s kind of like joining a new band for three months.
I like all of it. I feel lucky to be able to do all of those different things.
News source:COLLIDER
2016.6.13 … The Smashing Pumpkins’ James Iha shares two new songs “Leah and Pearl” and “The Photo Lab”
“Mother, May I Sleep With Danger?” debuts on Saturday, June 18th at 8 PM.
News source:CoS
2016.6.16 … James Iha Talks Composing James Franco’s Mother, May I Sleep With Danger? & More
After being in the Smashing Pumpkins for so long how did you originally get into film/TV scoring?
I was in the Smashing Pumpkins for 12 years and actually recently did some shows with them. Then I was with a band called A Perfect Circle, and I had a recording studio in New York. I did about three indie films, and then moved to LA two or three years ago. Obviously, LA being the land of TV and film, I started hearing about shows and films being made out here, so I started pursuing it. It’s been a different way of doing and thinking about music, it’s been really cool.
What was your biggest challenge with creating the “Mother, May I Sleep With Danger?” score?
The music came to me pretty easily. I got a lot of good direction from James [Franco] and the people working on the production. It seemed to go really smooth and I liked the movie a lot. It was a little crazy and evil, so it made for a good time.
What genre would you like to score that you haven’t gotten a chance to yet?
I’ve done about four movies and a couple of TV shows. One of them was Hulu’s “Deadbeat”. I did the first season. I like all different kinds of movies and TV genres. I’m pretty open, I’m sure there are some genres that are more in my wheelhouse than others, but so far so good. Everything I’ve done I’m really happy with. It’s been great working with different directors, styles and aesthetics. It’s really rewarding music to do.
Your go to instrument is the guitar. Is the “Mother, May I Sleep With Danger?” score heavy with guitar?
There is one theme that’s pretty guitar driven. It’s a heavy, evil sounding tribal theme with chanting vocals that is at the opening of the movie and reoccurs in transitions that feature the vampires. There was also another theme that was more programmed and used a lot of glitchy beats, atmospheric keyboards, and ethereal vocals. This was used in the quieter scenes. The beats and vocals helped give these romantic scenes an edge. Then, there was another theme where I used violins. I used a GuitViol (a six string “violin” tuned like a guitar that is bowed) made by Jonathan Wilson for the fight and chase scenes and tried to keep it to 1-2 violins for a raw, scary sound.
Besides guitar, what is another instrument you really enjoy playing?
It really depends on what’s available. It can be anything. Obviously, with computers and plug-ins, you can play anything you want within reason. I try to use real instruments a lot for most of my projects, but can also use virtual instruments, as well. But it mainly just depends on the movie or the TV show.
Did Franco and the other producers have a distinct sound they wanted for this film or did they give you a little more creative freedom with coming up with the tone and themes?
It was a combination of both. James [Franco] had a reference for a softer side of the score that is organic, but also uses a drum machine and glitchy beats. It’s a little more romantic, but romantic with an edge. There was a theme that happened two or three times in the film where it’s kind of like a haunting quiet sound that has keyboards and some ethereal background vocals, and that was a Franco reference. Other themes, like the opening theme that was guitar driven, I did on my own.
There’s definitely a specific style you’ve created with both Smashing Pumpkins and A Perfect Circle but can you see that reflecting into what you’re putting behind TV and Film?
Those bands and my musical education are definitely part of who I am, but I don’t really write songs with those bands in mind. It’s not really a place where I start in any kind of score work. The bands I play with and my musical education is always rooted in that, but when you start scoring it doesn’t really have or isn’t easily identifiable as, “Oh, that’s very Smashing Pumpkins sounding.” It’s part of me, but I never really used that in my work in an obvious way unless it comes up in scoring.
Are there any kinds of projects you would love to see come your way?
There’s a lot of TV and film that I really like and that I am working towards. But you know, I am a fan of a lot of things like Jim Jarmusch movies and Wes Anderson movies, but it’s not like I am actively pounding down their door.
Listen to a track from the score here…
News source:FlickeringMYTH.com
2016.6.9 …James Iha Scores Creepy Theme Song for New James Franco Movie.
James Iha, former guitarist for Smashing Pumpkins, has released the haunting new theme song for James Franco’s upcoming thriller Mother, May I Sleep With Danger? The track is straight up scary: Even Iha himself seems to enter a bit of a trance as he lays down the guitar tracks for the song.
His repetitive riff builds and builds to nothing as a woman softly (and creepily) whispers out “Come to me / Come to me” over and over.
Iha, who is scoring the film, told SPIN over email he really enjoyed making the music for the remake of the ’96 film, starring Franco and Tori Spelling.
“The movie is crazy and evil and James [Franco] and the production had a lot of great input about the music. My main goal was to heighten the evil and drama wherever there was music.”
It may not be the track to play on a late night walk home, but watch James Iha lay down the guitar track for the theme song, and listen to the finished song below.
vimeo link:In the Studio With James Iha
News source:SPIN
2016.6.1 … 「Mother, May I Sleep with Danger?」
James Iha is the co founder and hard-driving guitarist of alternative rock band The Smashing Pumpkins, and he enjoyed the big rock star life before he left the group to pursue his own endeavors. Lately he’s been sequestered in his studio alone, creating the score for the latest Lifetime Channel movie. Who would’ve guessed?
But this isn’t your mother’s Lifetime movie of the week. Well, it is… sort of. Mother, May I Sleep with Danger? is a revamp of an 80s Tori Spelling cheese fest your mom probably did see when it aired back in the day. The original spilled the story of a mother who discovers her daughter (Spelling) is dating a murderer (Ivan Sergei). Now. in 2016, Spelling takes the role of the mother, who, after the shock of her daughter (Leila George) coming out as a lesbian, discovers the girlfriend (Emily Meade) is a blood-guzzling vampire. So you see, Mother, May I Sleep With Danger? has been revamped with the emphasis on “vamp.”
James Franco acts in the redux and serves as executive producer, and Melanie Aitkenhead directs from a script written by Amber Coney. The DP is Christina Voros. They decided not to go the traditional TVmovie route with the remake, so Iha was brought on board to do his thing.
We caught up with James Iha a few days ago and asked him about the unlikely project. He explained his involvement, “Well, I didn’t really think of the network necessarily when I took the composer job. I liked the movie and I liked the idea of the movie and [as an afterthought] I think it’s kind of cool that it’s a Lifetime movie as well.”
Talk about counter programming! “It’s a little edgy for Lifetime, I guess,” he said. “I haven’t watched Lifetime before” Oh, really? It wasn’t in The Smashing Pumpkins rider that the channel be playing on all TVs in dressing rooms and hotels? “but I guess I’m aware of what their regular programming is like. But I thought it was a cool idea and I like the movie and the concept and I like the idea of what the music could be.”
I wondered if he’d ever seen the first Mother, May I Sleep With Danger?. You know, for research purposes. “I did. I watched like five minutes of it,” said Iha.
Seems that Iha is definitely putting his own spin on things here, though he did check out a few classic vampire movies with great scores, like Interview with the Vampire. But a lot of those are period pieces, with orchestral and choir music, so he didn’t reference those. This new movie is, well, new, so there’s not even a nod to the totally 80s synthesizer sound. “It’s not that kind of vibe. It’s not an 80’s dance soundtrack.” He said those touchstone film scores are “great, [but] I think the way this came across to me, it was younger, raw, more rock and more electronic.”
As for Iha’s own twist, he says he used lots of different instruments and sounds available to him in his private recording studio. “There are three types of music I made in it, and there’s sort of like a guitar driven, ominous kind of score. I try to use a lot of real instruments, drums, guitars… I have this instrument like a violin that’s played like a guitar a GuitarViol it has the same notes as a guitar, same amount of strings as a guitar. It’s made by this guy, Jonathan Wilson. I used a combination of synths, electric guitars, this violin, a dulcimer, and again, drums. This was to create a heavy, ominous guitar driven score. And then, there’s also lighter moments where I created a lot of like glitchy electronic beats, chaotic electronic beats, and put softer Moog kind of sounding songs or paths. And then throw in the classic element, too.”
Franco, who is a very handson producer and filmmaker, trusted Iha to create his own aural feel for Mother, May I Sleep with Danger?, but he did pop in a bit in the beginning. “I talked to James at the beginning of it, and he had a couple of ideas as far as that sound I was talking about: that modern electronic feel, but not crazy heavy. There are some slightly romantic, ethereal kind of cues. That was one of his suggestions, to go for something like that. Also, the editor, Sheridan Williams, had a voice about what she thought about what kind of music worked. So it was very collaborative in a good way.”
I figured he must have seen the movie about a billion times now, going over and over it to get the music hitting all the right emotional beats. He describes the plot like this: “When I tell my friends, if they ask me what I’m working on, I tell them; and they’re like, ‘What?’ They ask, ‘Is it a horror movie, or is it campy?’ So I say it’s not really campy. It’s played more or less sincere, but you know there are some elements in there that are just not like a regular horror movie. It’s not like a Saw movie. But it’s an earnest young vampire movie. With lesbian vampires.”
He had me at “lesbian vampires.” I guess that really all anyone needs to know. Iha jokingly agrees, “Yeah, that's it in a phrase, in a hashtag. Yes.”
Mother, May I Sleep with Danger? will premiere on Lifetime on Sunday, June 18th, at 8 pm ET/PT. The retelling stars James Franco and reunites Tori Spelling and Ivan Sergei from the original film and also features Leila George, Emily Meade, and Nick Eversman.
News source:Dread Central
2016.5.21 … ジェームス・イハ ヴァンパイア系テレビドラマのリメイク版で音楽を担当
サイトFilm Music Reporterによれば、6月18日から米ケーブル・テレビ局Lifetimeにて放送が開始される『Mother, May I Sleep with Danger?』の音楽を担当しているとのこと。
『Mother, May I Sleep with Danger?』は1996年に放送されてカルト的な人気を得た同名テレビ・ドラマのリメイクで、同性愛者のヴァンパイア・ドラマ。
リメイク版の主演は『スパイダーマン』などで知られるジェームズ・フランコ。
Original Smashing Pumpkins member James Iha has signed on to score the upcoming Lifetime original movie Mother, May I Sleep with Danger?
The film is a remake of the 1996 cult TV movie of the same title starring Tori Spelling & Ivan Sergei who also star in the new version alongside James Franco, Leila George, Emily Meade and Nick Eversman.
The movie is said to focus on a vampire-infused, same-sex love story.
Amber Coney has written the screenplay based on a story by Franco who is executive producing the Sony Pictures Television and Rabbit Bandini production with Vince Jolivette (Palo Alto, Spring Breakers, The Adderall Diaries), Diane Sokolow and Rachel Verno.
Melanie Eitkenhead is directing the drama. Mother, May I Sleep with Danger? is set to premiere on June 18, 2016 on Lifetime.
Visit the official movie website for updates.
News source:Film Music Reporter
News source:upcoming100
News source:amass.jp
News source:Mother, May I Sleep with Danger
2016.4.28 … ダーシー・レッキー、バンドへの「復帰を検討してる」と語る。
スマッシング・パンプキンズのオリジナル・メンバーだった元ベーシストのダーシー・レッキーはバンドへの「復帰を検討してる」と明かしている。
ダーシー・レッキーは、1999年にバンドをクビになって以来、フロントマンのビリー・コーガンとは話をしていないと語っている。
しかし、先日ロサンゼルスとシカゴの公演でジェームス・イハがライヴに参加したのを受けて、復帰に対してはオープンであり、これまでに4度復帰について持ちかけられていたことを明かしている。
音楽サイト「ブラストエコー」に彼女は次のように語っている。「状況がある方向に向かなければいけないでしょうね。あまりに複雑すぎるから」
また、先日ぼビリー・コーガンとイハの共演についてダーシーは「極めて健全なもの」だとし、バンドに思いがあることを認めている。
「12年間にわたって意気投合した人たちとセッションをしたけれど、そういう人たちとはいつまでも一緒に仕事ができるものよ。私にとってそういう機会はたくさんあるわけじゃないから、本当に恋しく思う」
スマッシング・パンプキンズのメンバーの中で交流があるのはジェームス・イハだけで、「時々」ではあるが連絡を取っていることも明かしている。
彼女が取材に応じたのは2009年以来初となる。また、彼女も自分自身の音楽にも取り組んでいるが、それをリリースするかは分からないとしている。
News source:NME Japan
2016.4.15 … 14日、スマッシング・パンプキンズのライヴに三度参加。
The Smashing Pumpkins Setlist:
Cardinal Rule
Stumbleine
Tonight, Tonight
The World’s Fair (Billy Corgan song)
Space Oddity (David Bowie cover)
Thirty-Three (with Liz Phair)
Jesus, I / Mary Star of the Sea (Zwan cover)
Siamese Suite:
Mayonaise (with James Iha)
Soma (with James Iha)
Rocket (with James Iha)
Spaceboy (with James Iha)
Today (with James Iha)
Whir (with James Iha)
Disarm (with James Iha)
Sorrows (In Blue) (Billy Corgan song)
Eye
Saturnine
Identify (Natalie Imbruglia cover)
1979
Stand Inside Your Love
Pinwheels
Lily (My One and Only)
Malibu (Hole cover)
The Spaniards
Encore:
Angie (The Rolling Stones cover) (with James Iha)
News source:Consequence of Sound
News source:amass
2016.4.1 … ジェームス・イハが16年ぶりにライヴに参加した3月26日LA公演のサウンドチェック映像を公開
News source:amass
2016.3.29 … ローリング・ストーンズ「Angie」のカヴァー映像
News source:amass
2016.3.28 … 3月27日もSmashing Pumpkinsに参加！
The Smashing Pumpkins at The Theatre at Ace Hotel.
Mar 27, 2016 Los Angeles, CAIn Plainsong
Cardinal Rule
Stumbleine
Tonight, Tonight
The World's Fair
Space Oddity(David Bowie cover) (with Mike Garson)
Thirty-Three (with Liz Phair)
Jesus, I / Mary Star of the Sea
(Beginning of 'Siamese Suite')
Mayonaise (with James Iha)
Soma (with James Iha)
Rocket (with James Iha)
Spaceboy (with James Iha)
Today (with James Iha)
Whir (with James Iha)
Disarm (with James Iha)
(End of 'Siamese Suite')
Sorrows (In Blue)
Eye
Saturnine
Identify (Natalie Imbruglia cover)
1979
Stand Inside Your Love
Pinwheels
Lily (My One and Only)
Malibu (Hole cover)
The Spaniards
Encore;
Angie
News source:JAMBASE
2016.3.27 … 16年ぶりにSmashing Pumpkinsに！
イハがスマパンのライヴに参加したのは2000年12月2日のシカゴ公演以来。
ビリー・コーガンとジェームス・イハが共演するのは約16年ぶりで、解散以降、緊張関係が続いていた。しかし、ロサンゼルスで行われた公演でそうした反目は解消されたようで、ザ・ローリング・ストーンズの“Angie”のカヴァーなども披露している。
イハは現地時間3月29日にfacebookを更新し、あの夜の公演について綴っている。
「やあ、みんな、週末にエース・シアターで行われたスマッシング・パンプキンズのライヴについて、応援してくれた人やサポートのすべてに感謝してる。数少ない、とんでもない夜で、参加することができて、楽しかったよ」
イハはアンコールでも再び登場し、この日48歳を迎えたイハをバースデー・ケーキで驚かし、“Happy Birthday”を披露している。
ビリー・コーガンとジェームス・イハは、昔のデモを公開した人物に対しての法的措置で行動を共にしていた。
オリジナル・ドラマーであるジミー・チェンバレンは、昨年バンドに復帰している。
The Smashing Pumpkins Setlist;
at The Theatre at Ace Hotel, Los Angeles, CA, USA.
Cardinal Rule
Stumbleine
Tonight, Tonight
The World's Fair (Billy Corgan song)
Space Oddity (David Bowie cover)
Thirty-Three
Jesus, I / Mary Star of the Sea (Zwan cover)
Mayonaise (with James Iha) (Beginning of 'Siamese Suite')
Soma (with James Iha)
Rocket (with James Iha)
Spaceboy (with James Iha)
Today (with James Iha)
Whir (with James Iha)
Disarm (with James Iha) (End of 'Siamese Suite')
Sorrows (In Blue) (Billy Corgan song)
Eye
Saturnine
Identify (Natalie Imbruglia cover)
1979
Stand Inside Your Love
Pinwheels
Lily (My One and Only)
Malibu (Hole cover)
The Spaniards
Encore:
Angie (The Rolling Stones cover) (with James Iha)
Happy Birthday (Mildred J. Hill cover) (with James Iha) (for James Iha)
Amarinthine (with James Iha)
News source:Alternativenation
News source:Pitchfork
News source:amass
News source:NME Japan
2016.3.1 … CARRY ME TRAILER公開。
https://vimeo.com/157224187
News source:amy barrett.com
2016.1.1 … A Happy New Year!
今年も宜しくお願いします。
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