![]() ![]() "It could have been more of an acoustic record," Iha says of Adore. “It’s difficult when you’re theĪrtist, the producer, the sound person. Totally influenced because I wasn’t there.”įelt very much on his own,” adds Flood. “When I listen to that record, I hear decisions that I Predictable ticks marched along in place of glittering cymbalĬhamberlin. Shuffle and swing turned into quantized grooves and fills. The record.” “To Sheila” pumped blood through its mechanized heart, “AvaĪdore” flashed her crooked teeth, but the bite wasn’t as strong.Ĭhamberlin’s raw power was replaced by reverberating, distorted 808 Nomination for Best Alternative Music Album, Corgan insists “nobody got Participation, and contrary to favorable reviews and another Grammy Months later I’m playing ‘The Everlasting Gaze.’”Īttributed Adore’s stylistic shift directly to Chamberlin’s lack of Personality things like ‘F**k the electric guitar!’ And of course 12 I was in my Adore personality saying Adore Proclaim rock to be dead,” Corgan laughs, “which was probably the Garb that accented his 6-foot 4-inch frame. His shaved head with lighting and make-up and donning long, flowing Goth-tech spirit, Corgan assumed a Max Schreck-like persona, emphasizing The band worked at Sunset Sound until reoccurring technicalĭifficulties with the Neve console forced them to complete the projectĪt the Village Recorder in Santa Monica. Sessions and oneinch tape created a textured canvas that provedĭifficult to homogenize, and the tension between band members was But the songs didn’t come intoįull focus until Corgan reconnected with Flood, whose experience withīands like Depeche Mode and Nine Inch Nails made him the perfectĬandidate to help actualize Adore’s hybrid vision. Programming and sound design with the aid of his Nord Modular, Oberheim Reached out to Nitzer Ebb’s Bon Harris, who contributed additional Learned a tremendous amount, but I couldn’t tell you what the hell I Was no system, and there was no go-to piece of gear. “It was a total crap shoot,” says Corgan, who soon relocated to L.A. The final Adore album was a patchwork that drew from these sessions as well as the failed Chicago Brad Wood Sessions, the live CRC sessions and even some home recordings at Sadlands. After months of aimless recording, Flood was brought in to sift through the 40-odd songs and assess what needed to be done to make an album out of the mountain of recordings. The second session for Adore, after relocating to Studio 2 at Sunset Sound. Produced by Billy Corgan Engineered by Neil Perry Mixed by Flood Nov 1997-Mar 1998 - Sunset Sound, California
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