Through all the line-up changes, off-stage drama and on-again/off-again personalities that make up The Smashing Pumpkins, it’s truly amazing that their music has always been so tightly connected to the original energy and creativity that marked their first three studio albums.
I’m guessing that your current assumptions and attitudes towards Björk are binary – you probably either love her or hate her. I haven’t spoken to many music lovers that say “Yeah, she’s good”; they are either passionately for her eccentricities or can’t stand them. I’m in the former camp.
If you enjoy banging your head to huge riffs, discovering supremely tight and imaginative metal or simply want some music that engages your brain and heart on a different level than pop, look no further other than to check out the rest of The Sword’s discography.
Dark Shades of Blue
Justin Townes Earle
The Saint of Lost Causes
Bring It On
The Black Keys
Finally we turn to the music on Achtung Baby and get drop-kicked into the distorted vocals, huge bass-line and tightened snare drum that, along with swirling ambient keyboards and the Edge’s inimitable/idiosyncratic/obsessive-compulsive guitar playing make up the elements of this offering. The addition of Steve Lilywhite to the production team also tightened things up a bit and gave the band more room for harder edges and sound on some tracks. With Lanois and Eno playing on various songs, the sound is also expanded and sophisticated beyond that which the four-piece band could muster on their own.