Billy Corgan posted the following blog today on SmashingPumpkinsNexus.com:
Oh lawdy mama, heaven’s knocking on heaven’s door, you know, somewhere over that rainbow next to Ritchie’s house…
Woke up today, my friends, and started with dear ‘ol ANAISE. After much hem-hawing, decided to trust my gut that some sort of modulation was necessary. Not just because the chorus is too high (it is, but so are others), but because when it shifts down the statement within seems to take on a elegiac stature (the elegy the point, it seems).
So here’s a little inside baseball: in SP world we call a chord by it’s assumed name even if the guitar is tuned to a different base key. I.E. should a guitar be tuned to the Mellon Collie key of E flat, we still call an E flat major chord an E. This makes the final result on ANAISE by progression: E minor, D minor, E minor, G major, D major, E minor, D minor, E minor, A minor; despite the guitar being down a half step. Either way you can see (if you play music) that the harmonic progression is quite unusual, and might explain why there’s been so much head-scratching over it.
At the end of the day, we listened and all agreed that it’s pretty unique, both for SP history and as a composition, and in the best sense of the word it doesn’t feel strange like good rock and roll should.
ANAISE, ANAISE, ANAISE, oh how I wanted to be rid of you.
Have one demo to go vocally speaking, and then we’ll review all 9 before I depart for a continuance of Secret Mission Project (SMP). Expect some announcement over that next week.