'Oceania': 19 de junio (portadas y tracklist confirmados)

[Judas 0]

Cómo la ha liado tito Billy , hasta Julian Ruiz se ha rendido en Plásticos y decibelios: http://www.plasticosydecibelios.com/smashing-pumpkinsoceania-sensacional-album/

Leerlo que no tiene desperdicio, aunque decir que es mejor que el Mellon Collie me parece un poco escesivo....

¿Recopilamos críticas a Oceania en otro hilo? ¿O directamente aquí? Podía quedarnos un archivo calabacero majo majo... Si nadie se anima lo hago esta tarde :b

EDIT: no he podido resistirme, estoy haciendo ya el hilo xD

[molul]

Os dejo por aquí parte de la entrevista que decía Juanchu: http://hipstersunited.wordpress.com/2012/06/13/corgan-calls-iha-one-of-the-worst-human-beings-ive-ever-met/

No os perdáis el titular XDD

EDIT: Weno, como es cortito lo pego aquí:

Alerta, SPOILER! de asunto desconocido:

Billy Corgan: Success held that band together longer than it should have been held together. It was dysfunctional. There were a lot of years there where I regretted the way it all went down, and now I think it was meant to die when it died how it died. We stole from the Promethean fire to fuel whatever our weird psychic death trip was and then we paid for it. Or got too close to the sun and crashed. It was just meant to be that way. And you can draw parallels from that with Jimmy’s situation [when he left the band in 2009] because maybe that was just a continuance of something that hadn’t been resolved back then.

NME/Emily Mackay: He said in his statement on leaving that he “couldn’t just cash the cheque”…

Corgan: See now, here is a perfect opportunity to bury Jimmy as a fucking liar. But I won’t. That’s a lie. That statement’s just a flat-out lie.

NME: Was it that you wanted to take the band in a commercial direction, and he didn’t?

Corgan: Ha ha! No, it’s the exact opposite. I wish I could explain it, but I don’t trust the world to understand the complexity of it. I think it’s telling that the first thing Jimmy did when he left the band was make a statement about money because that had a lot to do with it. But if you look at what I’ve done since he left, where have I made money?

Later:

NME: Do you still feel any rancour towards the other band members about the way it ended?

Corgan: Uhhh… I’m OK with Jimmy. We don’t have a relationship at the moment, but I mean, I have no ill will. I want to see him do well. James Iha I think is just a piece of shit. I think he’s one of the worst human beings I’ve ever met in my life. And D’Arcy, she’s sort of, in her own way, sort of an innocent.

NME: Those photos that were released when she was arrested for missing a court date last year suggested she wasn’t really in a good place.

Corgan: Yeah, it’s terrible. But she’s not a bad person. And I don’t hold any ill will towards her, even though I’ve had to deal with fucking lawsuits and stuff like that. If there’s any culprit in this it’s Iha. But, y’know, he was there at the right time of my life, we did do good things together, I think he is a good musician when he gives a fuck, which most of the time he doesn’t. And that’s about it.

[Jetfil]

Joder como está el tito. Estas cosas le pierden, recuerdo que hace pocos años dijo justo lo contrario, que Iha es buena gente no como los ex-Zwan, que eran lo peor en mayúsculas.

 Creo que con este discazo no le hacen ningún bien estas declaraciones

[molul]

Ni éstas sobre Radiohead y Dave Grohl: http://www.plasticosydecibelios.com/billy-corgan-dice-meara-radiohead/

:S

[Dagger]

Ni éstas sobre Radiohead y Dave Grohl: http://www.plasticosydecibelios.com/billy-corgan-dice-meara-radiohead/

:S

Qué foto más HORRIBLE de Thom Yorke. xDDD
Lo de Radiohead lo había leído, no lo de Dave Grohl (no parece que sea nada). En fin, básicamente Billy se meaba en la sobrevaloración de Radiohead. Intentando hacer promoción.

[Judas 0]

Ni éstas sobre Radiohead y Dave Grohl: http://www.plasticosydecibelios.com/billy-corgan-dice-meara-radiohead/

:S

Mmm, a día de hoy me parece genial que les mee en la boca, si quiere; me bajé de ese tren en el Hail to the Thief xD Y la parte en la que le hace la pelota a Blackmore, genial. Quitando eso, sigue siendo un bocazas un poco esquizofrénico, pero ya le conocemos, ¿no? Es un poco como cuando abría la boca Liam Gallagher: le ríes las gracias (o no) y le compras (o bajas) el disco, que al final lo que importa es la música...

[Legolas-I]

Os dejo por aquí parte de la entrevista que decía Juanchu: http://hipstersunited.wordpress.com/2012/06/13/corgan-calls-iha-one-of-the-worst-human-beings-ive-ever-met/

No os perdáis el titular XDD

EDIT: Weno, como es cortito lo pego aquí:

Alerta, SPOILER! de asunto desconocido:

Billy Corgan: Success held that band together longer than it should have been held together. It was dysfunctional. There were a lot of years there where I regretted the way it all went down, and now I think it was meant to die when it died how it died. We stole from the Promethean fire to fuel whatever our weird psychic death trip was and then we paid for it. Or got too close to the sun and crashed. It was just meant to be that way. And you can draw parallels from that with Jimmy’s situation [when he left the band in 2009] because maybe that was just a continuance of something that hadn’t been resolved back then.

NME/Emily Mackay: He said in his statement on leaving that he “couldn’t just cash the cheque”…

Corgan: See now, here is a perfect opportunity to bury Jimmy as a fucking liar. But I won’t. That’s a lie. That statement’s just a flat-out lie.

NME: Was it that you wanted to take the band in a commercial direction, and he didn’t?

Corgan: Ha ha! No, it’s the exact opposite. I wish I could explain it, but I don’t trust the world to understand the complexity of it. I think it’s telling that the first thing Jimmy did when he left the band was make a statement about money because that had a lot to do with it. But if you look at what I’ve done since he left, where have I made money?

Later:

NME: Do you still feel any rancour towards the other band members about the way it ended?

Corgan: Uhhh… I’m OK with Jimmy. We don’t have a relationship at the moment, but I mean, I have no ill will. I want to see him do well. James Iha I think is just a piece of shit. I think he’s one of the worst human beings I’ve ever met in my life. And D’Arcy, she’s sort of, in her own way, sort of an innocent.

NME: Those photos that were released when she was arrested for missing a court date last year suggested she wasn’t really in a good place.

Corgan: Yeah, it’s terrible. But she’s not a bad person. And I don’t hold any ill will towards her, even though I’ve had to deal with fucking lawsuits and stuff like that. If there’s any culprit in this it’s Iha. But, y’know, he was there at the right time of my life, we did do good things together, I think he is a good musician when he gives a fuck, which most of the time he doesn’t. And that’s about it.

Amplío, porque con esa línea queda todo un poco cojo

NME/Emily Mackay: He said in his statement on leaving that he “couldn’t just cash the cheque”…

Corgan: See now, here is a perfect opportunity to bury Jimmy as a fucking liar. But I won’t. That’s a lie. That statement’s just a flat-out lie.

NME: Was it that you wanted to take the band in a commercial direction, and he didn’t?

Corgan: Ha ha! No, it’s the exact opposite. I wish I could explain it, but I don’t trust the world to understand the complexity of it. I think it’s telling that the first thing Jimmy did when he left the band was make a statement about money because that had a lot to do with it. But if you look at what I’ve done since he left, where have I made money?

La verdad es que no parece que Billy haya ido a por la pasta, sinceramente xDD

Y por lo de Radiohead, es que es muy fácil sacar titulares.... los deja a huevo el bueno de Billy x'D Desde mi punto de vista lo que quiere decir es que "vale, este tío ha sacado cosas decentes, pero no por ello quiere decir que sea el rey del mambo" Lo dice incluso de él mismo, poniéndose por debajo de Ritchie Blackmore (guitarrista de Deep Purple). Has tenido éxito, sí... Pero eso no quiere decir que seas por ello mejor a los demás. El titular como he dicho es fácil de sacar con esas decalraciones, pero creo que tiene mucho más trasfondo que "mearse en Radiohead"

[Dagger]

Mmm, a día de hoy me parece genial que les mee en la boca, si quiere; me bajé de ese tren en el Hail to the Thief xD

Pues en el proceso te has perdido una absoluta maravilla que se llama In Rainbows. :_D

Edit.- Aquí os dejo en texto lo que comenta Billy de cada tema, para que tengamos la referencia y se pueda citar:

Alerta, SPOILER! de asunto desconocido:

1.“It was one of those riffs that we had laying around for a while. Actually, I think it went back to when I started working with Mike Byrne in 2009. The original riff was called ‘Nero Riff-O.’ So it sat around for a long time, and I was finally able to turn it into a song.
“It's a little bit of what I used to do, even in terms of process. The way I wrote when I first got into rock was, I’d write these crazy riffs and time signatures, and then I’d sit there and think, OK, what the hell am I going to sing over this? It was a way of working backwards.
“With a song like this, I know we were using a combination of a Marshall Super Tremolo amp with four rhythm guitars, and the other guitars went through a Reeves Custom Jimmy head, which is the re-creation of Jimmy Page’s Led Zeppelin I amp. It’s incredible.”


2.“It’s similar to Quasar in that we had the opening riff and didn’t know what to do with it. It sat for a while, but everybody felt strongly about it. It had a, dare I say, ‘modern-feeling’ to it, but still in the style of guitar that I like to play.
“Ultimately, I just sat down and wrote the song on the piano. Sometimes, when you’ve got a riffy song, it helps to just play the chords with no rhythm, and then you hear the ‘song’ in it. It’s those very Paul McCartney/Wings-type chords – Broadway-type chords.
“What I’m most proud of from a songwriting standpoint is how it goes from D major to A minor. It goes from a very ‘majorly’ feel into something sorrowful, almost a Spanish feel. I don’t know how the heck I did that, but it’s one of my favorite things in the song, how you can keep the key but change the emotion.”

3.“It’s funny: I was talking to Bjorn [Thorsrud], the co-producer, after I had my favorite part of the song – it was all arranged – and I asked him, ‘What did you think of that? I really like it.’ He just said, ‘Ah, it’s a bit of a downer, isn’t it?’
“I have all of these vintage keyboards that we just crank out when I need something, so I don’t really know what’s on here. It’s some super, highly obscure ‘70s keyboard.
“The arrangement is kind of like classic MTV, circa 1994. You start with the acoustic and then the band kicks in grunge. I was kind of laughing about it at the time.”

4.“This is interesting because it was written as a straight acoustic song. I had it all mapped out – words, everything – on acoustic, and then I got into the studio and it was like, ‘This is a really good song – now what?’
“Actually, now that I think about it, before I even had the song, I had the ascending figure. So for a couple months, I would play the demo of that figure and say, ‘OK, I’ve got to write a song around it.’ I broke it down to the chords, no rhythm, and then wrote the song melodically around that and reverse-engineered it back into the riffs.
“This song, in particular, really shows what the band is bringing to the table. There’s a certain vibe and ambience that’s very much them. There’s a lot of parts to it. We’re rehearsing it right now for the tour, and we’re like, ‘What the fuck is going on?’ [laughs]
“The arpeggios are actually a Moog 55 keyboard. That’s the thing about the old Moogs – they’re very musical. If you listen to the Moog 55 on Abbey Road, it almost sounds like classical music.”


5.“Originally, it was written as a ballad. We actually played it live as a ballad, and it went over great. People loved the song. When they found out we were recording it, they wrote on my Twitter, ‘Don’t fuck it up!’
“But we just felt there wasn’t as much potential in it as a ballad. It had what we call a ‘shoegazer’ vibe, like the band Ride or something.
“Again, this is a song where the uniqueness of the band’s contributions stand out. Jeff plays some really cool, floaty, almost Echo & The Bunnymen-type lines. Nicole is super-active melodically, playing a nice counterpoint to the vocal. And Mike is a fantastic groove drummer.
“There’s a few nods to Yes in the song. [laughs] Anytime you can give a nod to Yes, that’s good enough for me. What a great band! I’m a huge fan. I think they’ve done incredible work.
“My guitar solo is triple-tracked. On stuff like Pinwheels, there’s lead guitar work by Jeff and he’s double-tracked. To me, if you’re going to double or triple-track a guitar, it’s got to be the same person, unless you’re Judas Priest or Iron Maiden. There’s a certain sound they get because they’ve played together, so their doubling works, even if it’s not a perfect double. But there’s an effect you get if it’s the same person – it gets really loud in the track.”


6.“We tried it as an acoustic song, but it sounded like a nice but unremarkable kind of K-Rock ballad. So we started throwing stuff at the wall to find some energy.
“I really liked the track, but I think at one point it was very keyboard-heavy, and it was only going so far in my mind, so I went to Nicole and said, ‘You’ve really got to pull a rabbit out of the hat. You’ve got to make something happen.’ She sat down, and in two hours' time she wrote the bass part. That, to me, was the turning point.
“In terms of unexplored territory for me as a writer, someone like Nicole can bring this different melodicism and approach where you can play something simple, and you don’t have to rely on strings or guitars to get it past. You’ve got another voiced instrument. If you played her lines on a piano, they’d be very beautiful, but there’s something about a stringed instrument – an expressiveness.
“That’s why it’s such a good band record, because it’s not just me creating the majority of the picture. It’s a wider set of influences, a wider palette.”

7.“I think I got in this mood, maybe it was from reading the Keith Richards book, but I wanted to play in the open G tuning, which is a country kind of tuning. I wrote the core of the song, and then we messed around with the basic parts for a long time.
“Everybody agreed that it was a really good song, but no one liked its direction. That’s another thing I compliment my bandmates on. They had no problem in saying, ‘Love the song, but we need a better version.’ That’s music to my ears. I’m all for that. I need that kind of feedback.
“We jerked around for a long time. At one point, I think I was playing a B3, and it had an early Led Zeppelin vibe like Thank You. But it just wasn’t getting the job done; we didn’t feel strongly about it. It wasn’t until we produced it, almost like a prog track, that it started to take on a life of its own.
“That’s all Jeff’s guitar stuff at the end. What I love about Jeff as a musician is, he’s always learning, he’s always pushing himself. Technically, he’s far superior to me, but where I’ve been able to help him is, not to just say, ‘Study this guy,’ but to explain to him why I think a particular guitarist would help him. And he came back and said, ‘I’m really understanding why you asked me to listen to this guy.’
“Every guitar player struggles with this. ‘Oh, I can play super-fast’ – and I’m as guilty as anybody. But then we all sing along to the Brian May solo. There’s something about melodicism that Jeff is starting to tap into in his own playing, and it’s been a huge contribution. He plays completely different from me, but that’s what I want. He’s really coming into his own. He’s finding his voice.”

8.“For the longest time, we just had the opening figure and some other parts. The way that it’s broken into three sections wasn’t the original intention. It was meant to be a long song, but we were like, ‘This is going nowhere.’ So the arrangement that is there came together the day we recorded it. I just winged it. We felt strongly about it, and that was it.
“If you take those changes, Section Two and Section Three, and played them over the opening beat, they would feel kind of unremarkable. It was something about placing them in a different context a la Yes, with a little nod at the end to Vangelis [laughs], and it just seemed to work. We didn’t sit around and intellectualize it. There it is – it works.
“What’s really interesting is, when we went to play the song live – you think, OK, it’s this one thing that’s on the record – it became a total show piece.
“The soloing... I think that’s a Strat. I know I hooked up two phaser pedals back-to-back, and they were exploding on each other. As long as I kept playing, it worked, but if I stopped it made this horrible death noise.”


9.“Pretty much from beginning, this was one of those ones where you have a good riff, and you say, ‘I’m going to write a song around it.’ The original demo, which was very stiff and choppy [sings] – ‘Da-da-da-da-dum’ – with a drum machine or something, but you actually say, ‘I really like that feeling.’ So then it becomes ‘Can we convert that to the band?’ Right away, the band said it was a really great song.
“A lot of times when you have that kind of riff, you don’t want to get too tricky. It creates a hypnotic effect. You don’t want to change keys too much, so I leaned back on some of those artists who used space well. In old Pumpkins ideology, if you started with that riff, the song would get bigger and louder. In this ideology, it actually gets smaller, and that’s how you get the dynamic back up.”

10. “We were recording drums for something else, and there was a problem with the snare drum. I had 10 minutes where I was just standing there with a guitar around my neck, so I started playing a riff. Mike just went, ‘Oh, man, I love that riff!’ I was like, ‘Really?’ So to be a show-off, I quickly arranged it into a song. Mike was all for it, and within a week we were recording it.
“A few people have asked me what it’s like having a 20-something in the band. Does it have an influence? In this case, I would say absolutely, because it’s a song I might not have done without Mike's encouragement.
“That being said, once you go into that riffy, exploding tower, then it’s all into the bag of tricks to make it work, because without that it sounds pretty basic. You know, we’re laughing while we learn these songs because we’ve got so many fucking overdubs! [laughs] And everything’s harmonized. It’s not enough to just have the one, you’ve gotta have four.”

11.“Honestly, this is another song that happened when we were sitting around in the studio, waiting for something to get fixed. I started playing the riff, and we were all thinking, Oh, that’s good. I went home and wrote the melody and some of the lyrical content.
“The next day, I played it for Nicole on acoustic guitar, and she almost started crying. She said, ‘God, that’s so beautiful.’ And I was like, ‘OK – that works for me!’ [laughs] Heartache never gets old.
“Within a few days we were tracking it. Somewhere along the way, I bought one of those old guitar synths – I think it’s the first Roland one. It’s the one where you don’t need the special pickup; you just plug straight in. It tracks semi-poorly, but that’s part of the sound.
“Also, I’m using this Boss pedal where it’s kind of like a whammy bar. So that’s me going ‘errr-weeeer-weeeeer’ with the pedal. It’s one of my favorite sounds on the record. The whole band loves shoegazer music, particularly from the late ‘80s and early ‘90s, the UK stuff. Ride, Slow Dive, Swervedriver – we’ve toured with some of those bands. So it’s trying to find a combination of an underneath club feel and shoegazer on top.”

12.“Of all the songs, I really debated not putting this on the record because it’s so the old Smashing Pumpkins mentality. But I just love the song. I love it! And in a weird way, being conscious about the journey of the album, there’s something kind of nice about going through that long journey and having it resolve – in a way, with the last rock song on the album – with this Siamese Dream-ish feel.
“That being said, there’s other stuff in there that doesn’t sound like any Pumpkins stuff. But that first feel, that ‘neeeeeeehhh!’ – all that – I went back and forth on it. I have to say, I really like it. It’s one of those guilty pleasures. I definitely see myself crankin’ it up in the car.
“The solo… I remember we were mapping the guitars out, and I decided to just leave all this space for some reason. People would say, ‘What’s that for?’ and I’d be like, ‘Oh, I’m going to put the solo in there.’ It’s pretty unusual, the drop. You hear it on Queen records because of the nature in the way they worked, but it’s pretty unusual in most modern music to hear no rhythm guitar at all. But I love it because you can really hear the texture of the sound and take the journey of the crazy bends.”


13.“It dates back to the original Teargarden sessions, a demo I did with [The Electric Prunes’] Mark Tulin. I think Mike was around, too – he had just started. Originally, it was just like a country song – very twangy, like early ‘70s Byrds.
“After Mark died in the early part of last year, I found myself going back through the tapes of all the stuff we did, kind of mining for forgotten riffs and also taking this weird walk down memory lane of how he’d impacted my life. I came across the song, and I thought, ‘I’ve just got to do something.’ I specifically remember Mark, when I came up with the idea for the song, he was like, ‘I love these chords! It’s so cool, the way you put the chords together.’ He would always say, ‘How do you come up with this shit?’ [laughs]
“I’m a real fan of when chord revolutions don’t resolve. Cherub Rock’s like that, too. You never feel that sense of ‘dahhhh!’ until the end of the song. It creates an anticipatory effect.
“To write an entire song around one chord sequence, essentially – there’s one minor bridge in there – nine-tenths of the song is that same sequence over and over again. It’s kind of got a hymn aspect to it. I really like it in that sense because it reminds me of Mark and how he’s affected my journey. It’s a kind of a sad ending to the record – I didn’t intend that, but it’s just the way it worked out.
“We just played it in rehearsal the other day for the first time, and it was one of those things where you hold your breath. We’re going to do the whole album live in sequence, and you think, OK, is this thing going to work? Is this really going to close? And the first time... it worked. It felt good.”

[TheEverlastingWound]

Aqui está la revista NME integra donde entrevistan a "Belly", veremos a ver que cuenta esta vez.Yo me la acabo de bajar ahora mismo, por lo que no puedo avanzar nada.

http://www.filefactory.com/dlf/f/30lbobchdoqt/b/5/h/b7eae673dd0a4fe7bfa51b2d04f7503055bc1a54/j/0/i/aa2bce592d9e95a0e58e02220100defee39be276/a/b3892aac4aea36e4492346df6e95910198628042/n/why_why_why.pdf

PD:A estas alturas todavía no sé poner el link de forma reducida xD.

[Zwanatic]

Pff, que pringao el Bolly, no me jodas. Acaso confía tan poco en su disco que tiene que largar todas esas mierdas por la boca para conseguir que le presten atención?? Es bastante patética su actitud. Lo que importa es la música, está claro, pero estas cosas no le hacen ningún bien

[Zwanling]

A mi como Radiohead me caen como el ojete el supuesto insulto no me molesta, por que la leche, llamas presuntuoso, toma ya que pedazo de insulto, a Radiohead y ya te están tirando mierda, Reznor en su día dijo que le parecía que Billy no ha aportado nada a la música y nadie le tiro tomates por ello, y eso si que es bastante mas cabrón.

Radiohead tiene a la critica comiendoles de la mano, y a mi me cabrea, si fuese un artista es que me tocaría los huevos de mala manera, son buenos, Billy nunca dice lo contrario, pero son el jodido grupo mas pretencioso que te puedes echar a la cara, aunque en gran medida esta imagen viene de la critica y los fans.

Alerta, SPOILER! de asunto desconocido:

Y joder, que bien se lleva con James el tío.

Comentarios como el de Zwanatic confirman lo que digo: A Radiohead no se les puede ni tocar, y menos llamarles algo tan durisimo como presuntuosos... dios mio, que cabrón Billy, que pedazo de insulto.

[Zwanatic]

Comentarios como el de Zwanatic confirman lo que digo: A Radiohead no se les puede ni tocar, y menos llamarles algo tan durisimo como presuntuosos... dios mio, que cabrón Billy, que pedazo de insulto.

Joder Zwanling, creía que despues de tantos años en el foro  estaba más que claro que NO me gusta Radiohead (ni el ok computer).

Me da igual a quien sean las críticas. Se ve que solo son para llamar la atención, eso es lo que m parece patético

[Legolas-I]

Aqui está la revista NME integra donde entrevistan a "Belly", veremos a ver que cuenta esta vez.Yo me la acabo de bajar ahora mismo, por lo que no puedo avanzar nada.

http://www.filefactory.com/dlf/f/30lbobchdoqt/b/5/h/b7eae673dd0a4fe7bfa51b2d04f7503055bc1a54/j/0/i/aa2bce592d9e95a0e58e02220100defee39be276/a/b3892aac4aea36e4492346df6e95910198628042/n/why_why_why.pdf

PD:A estas alturas todavía no sé poner el link de forma reducida xD.

OT:
[ url = (url en sí, sin los parentésis) ] lo que quieras poner [ /url ] (sin los espacios en las etiquetas, of course. Puedes ponerlos en al descripción del linkazo, eso sí)

[molul]

A Radiohead no se les puede ni tocar, y menos llamarles algo tan durisimo como presuntuosos... dios mio, que cabrón Billy, que pedazo de insulto.

No, hombre. A Radiohead, como a cualquier otro grupo, se les puede tocar. Pero también cualquiera puede responder a los "tocamientos", digo yo (si no, el intocable sería el "tocador") XD. Si hubiera sabido en su día de esa declaración de Reznor, habría dicho "Menudo capullo el Trent éste". Vale que Billy no ha dicho algo en plan "asshole", pero el calificativo de "pretenciosos", aún sin apelar a la madre de nadie, me parece un chorradón, y más teniendo en cuenta el material que Billy ha sacado del Zeitgeist p'acá. Yo a Radiojete los veo como unos pedazo de colgaos, no unos pomposos (y siempre admiraré que hagan cosas como anunciar su nuevo disco el día del lanzamiento en lugar de estar cada dos por tres en el twitter diciendo "he hecho una canción para el nuevo disco que suena como el SD"). En la época de MCIS también llamaban pretenciosos a los Pumpkins, por sacar un doble CD con el concepto de "banda sonora de un día y una noche". Y quedarse en eso, sin darse cuenta del discazo que era, me parece una pena.

Igual me llueven piedras por esto, pero también podrían haber tachado de pomposos a Pink Floyd, por el rollo de los discos conceptuales (por ejemplo a mí el 70% del "The wall" me parece una paja mental total). Para mí, Radiohead y Smashing han hecho aportaciones muy similares a la música en términos de calidad y evolución (y siendo objetivo, veo más capacidad y voluntad de avance al tío Yorke que a Billy).

[Zwanling]

Pues yo me apunto al carro de Billy, será por que comentarios como el de Molul me llaman a ello, "objetivamente" no voy a opinar ya que no puedo darte datos objetivos de algo como la carrera de un artista a nivel artístico, pero disco a disco:

Gish me parece absolutamente mejor que Pablo Honey, se lo mea.
Siamese Dream se viola a the bends... ambos mis discos favoritos de cada grupo.
Melon vs Ok Computer... Melon de largo.
Kid A vs Adore, bastante mas arriesgado Adore, la fama de valientes se la lleva radiohead.
Amnesiac vs Machina, Radiohead repite formula, Billy no... voluntad y capacidad de avance...
Hail to the thief vs Zeitgeist... esta comparación ya es de chiste
Esa maravilla llamada In Rainbows vs Ocenania... que seguro que por muy bueno que sea nunca va a ser llamado "esa maravilla"

Será que soy muy fan de los pumpkins, pero es que los pongo frente a frente y Radiohead se queda en poca cosa.