BleedingTheOrchid

[BleedingTheOrchid]

um… orchid? next time just post the link
because the link was on the pumpkins home page and all…
so yeh (i think you were just trying to get your post counts up )
but yeah, a really good interview i thought [/quote:3vmgzy0k]
naahh i didn’t realise that, i found it on a myspace blog and i wasnt sure how long that was available… but i can post like silly, you have always more post counts and i complained already in the tech section here that we should be able to post longer texts also

[BleedingTheOrchid]

(part 6)

“Pomp And Circumstances”

“Billy had a sketch of that one that was just him at the organ at first. And I think I was the first cheerleader for that song. I thought the melody and the use of space was so compelling. Even though I play busily myself, I’m a sucker for a lot of space in songs.” Jimmy Chamberlin

“I played it for Jimmy and he’s usually my BS meter, and he loved it. Then I played it for an ex-girlfriend, and she started crying, and it didn’t even have lyrics yet. So then we talked about getting an orchestra, but instead we got an old Emulator–the Art of Noise keyboard–and built the track around that.” Billy Corgan

(sorry, it wouldn’t allow me to post all this in 1 screen. but this is it, for those that reached as far as here )

[BleedingTheOrchid]

(part 5)

“United States”

“It started off as this weird little shuffle thing. We were arguing back and forth in November of ‘05 whether we should have a shuffle on the record. Billy wanted a shuffle. So it became a search for a new way to do a shuffle. We were also listening to Fela, all these 14-minute Nigerian jams and watching documentaries about him. So we went down this road of seeing how power can come from repetition.” Jimmy Chamberlin

“In Pumpkins logic, if you’re going to make people wait for six minutes for the payoff, the money shot better be good. Ultimately, this became the musical statement of the album. The drum take is one of Jimmy’s crowning achievements. It’s worth the price of admission. Lyrically, the song reflects the decision I made when we were in Scottsdale to stop watching all network or cable news. I noticed the effect that had on me–I stopped being afraid. In general, I’m not afraid of getting on the stage in front of 60,000 people, so why should I be afraid of a plane crashing into my house? I was trying to wrap my head around the way we’re being force-fed a level of paranoia. It’s a personal reflection on what it all means. The ‘revolution’ in the lyrics isn’t the revolution of picking up a gun. That’s never worked, and it never will work. Jesus was right.” Billy Corgan

“Neverlost”

“We were about to break for Christmas at the end of ‘05, and it was sort of the last day at school, musically. We were about to pack up and I said, ‘Let’s try to write one more song,’ and Jimmy said ‘Okay.’ So that song comes from that little bit of extra effort. I’ve heard Dylan talk about writing songs like being a gamble and a hot streak. Once you’re on the roll, you have to keep going.” Billy Corgan

“We always say it’s the extra ten percent that makes a hundred percent difference in what we do. And that song is one of my favorites.” Jimmy Chamberlin

“Bring The Light”

“This was one of the songs we had earmarked for Roy Thomas Baker to produce. As we later told Roy, we had heard all these stories about him being completely insane which turned out not to be true. He’s one of the most hard-working, aware and brilliant people we’ve ever worked with and we couldn’t wait to hear what he did with that song.” Billy Corgan

“For me that track is all about Roy–the way he produced, that drum sound. Roy doesn’t produce songs; he produces moments. We were constantly trying our best to put a smile on Roy’s face.” Jimmy Chamberlin

“(Come On), Let’s Go!”

“That was one of the original riffs that I brought from Chicago when we went to Scottsdale. The problem with a song like that is you’ve got this great riff and then that’s all you’ve got. The riff comes in two minutes. Then you take weeks out of your life being a slave to that riff. We really have a love-hate relationship with the riff songs.” Billy Corgan

“The real problem is after that great riff, you need another great riff.” Jimmy Chamberlin

“For God And Country”

“In the beginning, before it went disco, that one was very Morricone and kinda bad.” Jimmy Chamberlin

“I started the song on an acoustic guitar, and I just loved something about hearing the words ‘God and Country’ coming out of my mouth because I’m just not that patriotic. It was like our ‘Battle Hymn of the Republic.’ So I have this cheap synthesizer that is our go-to instrument when we don’t know what to do, and I started playing the chords and pushing different buttons and ultimately settled on a dance rhythm. What makes the song even more bizarre is that you have a sort of political message to a disco beat–thanks to Roy who mixed it like an old Donna Summer dance track. I told him the bass was just too loud and he gave me a face like I was taking away his toy. Of course, Roy was right.” Billy Corgan

[BleedingTheOrchid]

(part 4)

ZEITGEIST: TRACK BY TRACK

“Doomsday Clock”

“I had this mellow guitar riff that was very simple–almost a ballad– and we kept messing around with it. And one day, we thought, ‘What if we played it really loud.’ And that was it. Suddenly it transformed into this beastly thing.” Billy Corgan

“We’ve learned a lot of lessons over the years about not taking songs at face value when they emerge. I think that’s something Flood taught us along the way. ‘Doomsday Clock’ started off almost a folk calypso number and it turned into this . . . Apocalypso. We’re believers that a good song is a good song whether it’s played on an electric guitar or a zither.” Jimmy Chamberlin

“7 Shades Of Black”

“That song’s very much in our old kind of Pumpkins wheelhouse. It was kind of like getting reacquainted with an old friend at a high school reunion.” Jimmy Chamberlin

“This song reminds me of when they would bring back Vincent Price in the Eighties to do Vincent Price again. I feel like I brought out the mid-Nineties guy to have a stroll through his narcissistic, nihilistic landscape.” Billy Corgan

“Bleeding The Orchid”

“I realized listening to ‘Orchid’ that it’s a distant commentary on what happened to the bands of the Nineties. The song even has a bit of an homage to Alice in Chains in the harmonies. Alice in Chains is one band that I appreciate so much more now than when we were all in the same competitive streak. I also thought a lot about Kurt Cobain and what we’d all been through as a collective unit and the battle-scarred feeling of that. I wondered about what our contribution was as a generation. I’m close to Courtney Love. I know the negative ramifications of that time. I see what she goes through, and the ramifications on Francis Bean. Everybody can talk about the Kurt on a t-shirt, but they’re still real people . So in a way, that song is a cost assessment.” Billy Corgan

“We’re great believers in continuing the search musically until the last possible minute looking for something better than what you have, and that song is one that benefited.” Jimmy Chamberlin

“That’s The Way (my Love is)”

“That’s a sexy song made by two men living in a house alone together for four or five months in Scottsdale. There needed to be some sexiness somewhere.” Jimmy Chamberlin

“That song was another one that I brought to Arizona with me. And right away it sounded like ‘95 Pumpkins, like it could have been right off of the Mellon Collie record. I feel sorry for Jimmy because he has to hear me complain about such things. And we went back to what Flood taught us and tried the song some other ways. One day we just changed the beat, and it just made the song.” Billy Corgan

“Tarantula”

“Billy bought this guitar from this guy from Paris (James Trussart) who makes steel guitars and he brought a couple examples of his work to our rehearsal space. Billy grabbed one and plugged in into his amp and immediately started playing the riff from ‘Tarantula’ and the song was written pretty much on the spot.” Jimmy Chamberlin

“That’s our nod to the Scorpions, and UFO–a loving nod to the hard rock bands of that era.” Billy Corgan

“Starz”

“I originally wanted this song to sound sort of as if it were from that weird period from 1972-1974 when bands started going metal like Judas Priest but a lot of it still sounded poppy like the Sweet. I wanted ‘Starz’ to sound like that, but of course then Roy blew it up into some other thing. Yes, I am aware that there was a band Starz back then. Now I’m going to have to buy their stuff.” Billy Corgan

“That’s Roy being Roy–as only he can.” Jimmy Chamberlin

[BleedingTheOrchid]

(part 3)

After the long haul of recording Zeitgeist, Corgan seems very at peace with the decision to proceed. “There have been different roads you could take. There’s the much-vaunted reunion road where people do not speak, but because there’s money to be made, they play but hate each other. We were very open to the idea of our former bandmates playing, but only under the circumstance of love of music, and love of playing new music. If those criteria weren’t present, then they weren’t going to be involved. Moving forward it really has to be about what the music asks of us.”

For Corgan and Chamberlin, working as a duo on Zeitgeist has only brought more depth to a musical partnership–one that was tested by Chamberlin’s past personal problems and his subsequent firing from the band in 1996. “It taught us a lot of deep, hard lessons about life and about what matters,” Chamberlin says now. “Through our so-called estrangement I never felt a total disconnect with Billy. For us to have gone through what we’ve gone through–me personally and him personally…My publicized life aside, there were things we went through that people don’t know about–Billy’s mother’s passing, my mother and father’s passing, it’s all really brought us together.”

“I’ve been continually humbled by the relationship,” Corgan adds. “You have this thing you do together that remotely sounds like what people identify as sounding like the Smashing Pumpkins. When you think of all the energy that’s been created off that gift between us, that’s a staggering thing. We could sit here and wax rhapsodic about why that is, but the truth is we have no clue why when we play together something seems to happen. And it doesn’t mean we can’t have great moments with other people, but we consistently seem to go to some other place together.”

For now, both men express excitement to get to visit–and even reside–in that other place–that Pumpkins place–again. “It’s an absolute joy,” says Corgan. “In all candor, there are some songs I haven’t played in 13 years and I’m the kind of person who can’t lie about it. If I hated playing those songs, I would tell you. I’m loving being in a great place to represent this music. We want to play this music, and we appreciate that you want to hear it. And even if you don’t we can respect that. We’ve come out of the fire of it all, and we’re tough enough to go from here.”

“It’s amazing,” adds Chamberlin. “What’s amazing is the pure physicality, the primal instinct behind what we did back then–how our conviction was so much stronger than our intuition. It gives me a deep appreciation of myself as a young man and Billy as a young man—and for how unashamedly we pursued our craft and continue to do so.” “It’s surprisingly fun,” Corgan says with a visible smile. “That’s not a word you normally associate with us, but it’s fun.”

[BleedingTheOrchid]

(part 2)

Despite overtures to the other longstanding members of the Smashing Pumpkins–D’Arcy Wretzky and James Iha–it soon became clear that Corgan and Chamberlin would have to go it alone together. In an attempt to get away and focus on this considerable challenge, the pair took up residence in Scottsdale to get down to work in November of 2005.

According to Chamberlin, “We immediately realized that Pumpkins wasn’t something you just pick up and start recording again. We came to a lot of conclusions in the first three weeks of playing together including the fact that the sum total of Pumpkins is the result of lots and lots of work. We set about re-identifying what was great about the band, re-languaging some of the music of the past, inventing new ways to play new Pumpkins that still sounded like the Pumpkins, but didn’t sound like old Pumpkins. It was very difficult at first. There was a lot of time when we were scratching our head, looking at each other, going ‘Can we even do this?’”

The answer, ultimately, was that indeed they could. “At some point about a month and a half in, we started turning a corner and the songs really started reflecting how we were feeling as opposed to trying to go back and recapture some kind of fire, we were rekindling a new fire, “ Chamberlin explains. “When that started happening it became a very joyous experience. We had a vision and we had a way to achieve the vision–and then we were off to the races.”

Chamberlin and Corgan were joined for some days at the races by the two men who helped them produce the album. “We worked with Roy Thomas Baker of Queen, Cars and Foreigner fame and Terry Date of Pantera and Rob Zombie and other sundry metal,” says Corgan. “Roy is somebody whose name we had bandied about before but we thought he might be out of touch, so it never came to fruition. We’d always heard these crazy rumors that he’s out of his mind. Roy came to Scottsdale and he was great so we ended up working with him. It was the right time. Then we were working with another famed rock producer who ended up being a total flame-out. He didn’t even last 48 hours in our little intense world. So we called Terry and he ended up helping. But ironically, even though Roy and Terry were involved, we ended up producing ourselves mostly because of our twin mentality.”

“We took the long road and not everybody understands the long road nowadays,” Corgan continues. “And with only the two of us, tracking took a lot longer. Roy was really the only person who really auteured the record in a way, almost just by his mere presence and that’s because he’s not intimidated by anything–he’s seen it all, done it all. You say something about throwing a piano off a building to Roy, and he says ‘Oh, I’ve tried that. Once. And the sad part is that it didn’t sound that good’. That’s Roy. It’s mind-boggling what it takes to get him off.”

Another significant contributor to Zeitgeist was artist Shepard Fairey–best known for his Andre The Giant street art–whose striking album cover suggests some of the simultaneously uplifting and sinking feelings of the modern world. “Like a great artist can do, Shepard had summed up very simply a lot of complex themes. He also used the type font from our very first single, and I asked him about it and he had no idea. He was just on point.”

Corgan and Chamberlin are now on point to bring the band to life on the road. Their May 22 Paris show will be the first Smashing Pumpkins show since December 2, 2000. “We put a band together that’s really amazing,” Chamberlin says. “We went through a lot of growing pains finding musicians and people who had the same kind of musicianship. I did a lot of the auditions myself while Billy was doing the overdubs on the album, and what I gravitated to was even more spirit than talent. When I found the right two people, it was very obvious.”

[BleedingTheOrchid]

Read this manilla, maybe it changes your mind a bit? i think it’s a nice interview anyway, with some deeper thoughts of the guys. (part 1)

Zeitgeist–the sixth Smashing Pumpkins album and first since 2000–doesn’t just capture the spirit of our times, as the title might suggest. Even more impressively, Zeitgeist is a heartfelt, ambitious and deeply felt piece of work that vividly recaptures the spirit of this great and influential rock band. The release of Zeitgeist represents a powerful rebirth and reaffirmation of the Smashing Pumpkins by two of its key members, main singer-songwriter and guitarist Billy Corgan and drummer Jimmy Chamberlin.
This second coming of the Pumpkins is also one of those rare examples of actual truth in 21st Century Advertising. Two years ago– on the release date of his first solo album–Corgan made headlines around the alternative rock universe by taking out ads in his hometown papers the Chicago Tribune and the Chicago Sun-Times, an open letter publicly declaring his desire and intention to try “renewing and reviving” the Smashing Pumpkins. “I want my band back,” he wrote, “and my songs, and my dreams.”

More than two years later–much of it spent working closely together first in Scottsdale, Arizona and later in Los Angeles–Corgan and Chamberlin have managed to make good and then some on every line of Corgan’s declaration of non-independence. Right from the thrilling yet apocalyptic opening notes of “Doomsday Clock” to the final resounding chords of “Pomp And Circumstances,” Zeitgeist is quite clearly the sound of a rock group that has been emphatically renewed and revived and is now ready to embrace and further its musical legacy.

This return of the Smashing Pumpkins has been a meaningful if sometimes challenging easy trip from newspaper ad to musical reality. “Actually it’s been a different journey than I had anticipated,” Corgan admits. “You can intellectually figure what it’s going to be like, but until you actually have the experience you don’t know. For me, this has been an overwhelming experience.”

“I had advance knowledge of Billy’s ad, so I wasn’t shocked,” says Chamberlin. “But it was a real turning point in my life. It was an opportunity for Billy and I to re-solidify our relationship that never really went away. We were really always friends and partners through both our individual solo projects. So it really made musical sense and spiritual sense. It was a way to make a statement that we’re not going to make excuses; we’re just going to do what we do. If you like it, you like it. If not, we’re still going to do it. It was a very freeing thing to read.”

For Corgan, the decision to revive the Smashing Pumpkins one way or another was a way of reclaiming his musical birthright. “When I said ‘I want my band back,’ I realized that I’d taken the best, proudest thing that I’d ever done and chucked it out a window and tried to build a new castle to live in. And in doing so, I took away every advantage of the one that I had built. Fundamentally, I asked myself, ‘Why build a new persona when Pumpkins was meant to include all the personas?’ No matter what, I had to explain myself versus the Titanic symbol of what the band represented even if it wasn’t realistic. So I just thought I want my Superman costume outfit back, my Zero outfit or whatever, and just going back to being that person that I’m at peace with.”

As the record shows, the Smashing Pumpkins have created one of the most acclaimed bodies of work in music history. Formed in Chicago in 1988, they released Gish, their influential (and platinum) debut in 1991, which was followed by more platinum and multi-platinum albums including the nine-times platinum Mellon Collie And The Infinite Sadness and the four-times platinum Siamese Dream. The pivotal group’s many hits include “Disarm,” “Today,” “Cherub Rock,” “1979,” “Tonight, Tonight” and “Bullet With Butterfly Wings”–songs that defined the alternative music era and continue to resonate on modern rock radio, influencing a whole new generation.

[BleedingTheOrchid]

on spfreaks somewhere they say it’s estimated at 50,000 to 100,000? not that rare anyway, but look what happened to the earoplane box (250,000-500,000?), it has become a rather expensive box. might happen to this book also.

[BleedingTheOrchid]

yeah treespirit, walking shade is pretty nice too! it could almost have been a pumpkins vid, don’t you think?

[BleedingTheOrchid]

nice vid! remember the fanmade vid on pumpkins homepage? hahaha!

[BleedingTheOrchid]

nice… i’m browsing that collection part more and more to be honest see this for example its beautiful

http://www.spfreaks.com/Default.aspx?pa … &item=1117

a big thumbs up for the people doing all this hard work! amazing! but the vinyl part is far from complete? is there more comin up?

[BleedingTheOrchid]

I have never been able to find any songs by The Marked. Any ideas?[/quote:22nt028e]
The best place to go is here:

http://rspaa.niluje.net/data/Demos/Pre-Pumpkins/

All known Marked songs are in there.[/quote:22nt028e]
thanks was looking for that also!

[BleedingTheOrchid]

siamese dream, and i love the energy of the young band at the pre-gish timeframes also

[BleedingTheOrchid]

This is just my opinion, but much of the vitriol being spewed is over trivial things or misinformation. It seems that the people most likely to hurl flaming arrows at Billy are those who’ve never truly understood the workings of the band; they see a quick snapshot of the band and are quick to jump on any perceived failings. Many of the critics don’t look at the whole picture or even do their homework. Case in point: the shitstorm caused by the FAKE "Letter From Billy Corgan to the City of Seattle". Some respectable news sources thought it was the real deal (and sadly, so did a small number of fans).[/quote:tvzz2mmk]
yeah read that too, unbelievable. it was taken down in no time, but caused quite some rumours, enough for the band to post some reactions. but billy is cool, he’s not distracted by it it seems

[BleedingTheOrchid]

i say it’s fun. it’s been fairly easy though. i have 13 different cd versions so far. and there are 3 more on the way.[/quote:1lv2wfww]
cool, i’m halfway that hahahaha! my budget is probably more tight

[BleedingTheOrchid]

We all thought Smashing Pumpkins existed from 1988 till 2000, and then disbanded, right? Wrong. The earliest known recording under the Pumpkins flag is from December 1987, as confirmed by Billy Corgan himself![/quote:cu9a2xym]
pretty cool news btw!

[BleedingTheOrchid]

you’re not confusing it with the live recording from the avalon show, are you?[/quote:vv7potl8]
Certainly not. This is definately the studioversion! We could say it is version 3 of I Fall, as version 1 and 2 are the Avalon (thank you!-squeek) live version and the version you just linked. This 3rd version was given to Billy Corgan and he listened and said it’s indeed a better version of the one on the Gish/Moon tape. At the same time he said to 2 persons (including the "owner" of I Fall 3) that it was recorded in December 1987. Also he asked not to leak it. Which the "owner" is respecting of course. The main news here is actually that we have to set the startdate of the Pumpkins back to at least December 1987![/quote:vv7potl8]
yeah i know those 2 versions also, whats different about this new 3rd version?

[BleedingTheOrchid]

i understand this review a bit, and i don’t… first of all i’m more into live music. studio albums are always kinda polished, redone, remixed and whatever. so the best and pure live recordings of the pumpkins (and i can name a few for who’s interested, otherwise go to archive.org (recommended!!) and find your way) i tend to listen to that more. and without questions asked i can go deep into them. but we’re talking about the album, ok ok ok. we, as the bit older fans of the pumpkins, tend to compare with gish, siamese dream, mellon collie, and others. compared to superlord who is kinda fresh and new, we don’t know better, we are just like that. not fresh anymore, prejudiced a bit, and used to high quality. we wouldn’t go for anything less, i guess. for most of us older fans siamese dream is the record to compare i guess. and then zeitgeist is not as good as siamese dream, not as new, not as shocking, not as creative, whatever. but after a few times listening to it i see other things in zeitgeist that makes it a pretty good record after all, and a record that i will play more as Adore and Machina together. it’s solid, it has a rocking flow, the drums are unbeatable, billy is pretty cool on guitar, there’s is still this pumpkins creativity in a few songs… and it’s solid from start till end, like i said. bleeding the orchid, for god and country, united states, 7 shades of black, i like them all. they are just f&@#*cking good rock tracks. they make my head swing, they make me sing along and so on. do they have this deep impact as siamese dream? no. of course not. should i expect that? no. of course not. should i judge the album by itself, even though i’m an older fan? yes i should. so when i try, i have to say, pretty good album, for old and new fans.

[BleedingTheOrchid]

told ya

from http://www.smashingpumpkins.com

July 18, 2007 – Pumpkins debut at #2 on Billboard Top 200!

THE SMASHING PUMPKINS’ first album of new material since 2000-ZEITGEIST (Martha’s Music/Reprise)-enters the album charts in the Top Five in the U.S. (#2), Canada (#1), New Zealand (#1), the U.K. (#4), Italy (#5) and Switzerland (#5), with more Top Ten debuts in Germany (#7), Holland (#7) and Australia (#8 ). In the U.S., ZEITGEIST, selling nearly 150,000 copies in its first week of release, is the #1 new release of the week and debuted at #1 on the digital albums chart. The album features the first single \"Tarantula,\" now positioned at #2 on the Billboard Hot Modern Rock Tracks chart and #9 on the publication’s Hot Mainstream Rock Tracks chart. Last week the band appeared twice on the Late Show with David Letterman, performing \"Tarantula\" July 9 and then closing out the week July 13 with another ZEITGEIST highlight \"That’s The Way (My Love Is).\"

[BleedingTheOrchid]

Lull and Peel sessions[/quote:1njnlz0c]
definately. and make sure you get the earphoria dvd someday. i love it! sorry its called vieuphoria, silly me

[BleedingTheOrchid]

yw. let me know what you think of it.

[BleedingTheOrchid]

and another one from amazon

Smashing Pumpkins have aged well, but have their fans?, 13 Jul 2007
By Alex (Hull, England)

I’m pleased I am not the only one who thinks too many people are living in 1993. This album isn’t Siamese Dream, and the Smashing Pumpkins will never make another album like that, even if they tried. And thank god too. Is there anything worse than a great band repeating themselves?

So…it’s 2007, and this time we’re presented with Zeitgeist. Following news of its release came a flood of cynicism. I can almost understand some of it, given the absence of certain band members, and the fact that the cover and inlay artwork – coupled with the title – seemed like a political statement (and a fairly unoriginal one at that).

(Before I continue, if you have any beef with their current line-up, let me remind you that this band has always revolved around Billy Corgan. He was always the main driving force and songwriter, and even though Jimmy Chamberlain is also present, Smashing Pumpkins will always be Billy Corgan and whoever else. You may dislike the idea, but I don’t exaggerate when I say there are many bands like this.)

I have news for you. You can take any preconceived ideas you may have had about this album, and kiss them goodbye. Not only does this album holds its own against their previous releases, but it contains tracks that will no doubt become lost Pumpkins classics. There are, as with most albums, tracks I rate less than others, but I cannot fault any of the material here. This is 100% Smashing Pumpkins. They’ve returned with a mature sound that does the name ‘Smashing Pumpkins’ proud. They have aged well, but unfortunately it seems like many of their fans haven’t.

[BleedingTheOrchid]

maybe the best way is that you download it from here

http://sqrville.org/search.php?query=th … ode=search

it was the place where i found it too long time ago, but i found it back. hope you’re happy now

[BleedingTheOrchid]

yeah might be true, but when i seperate the fans… there is the hardcore old fans that will buy even a 25 seconds burp on cd, just because it has the name pumpkins on it, there is indeed this huge group that liked a few old nineties pumpkins songs and buy zeitgeist anyway because they heard tarantula and liked it and will not be completely disappointed by it, and there is this group of new fans, younger, that will grow into hardcore (start buying the older cd’s maybe) or the new fans just liking some songs. who-ever they are, young and old, they are the fanbase. i’m sure billy knows this, he’s doing this music thing because he likes music, and though he’s not a \"pleaser\" in my opinion, i think he takes his fanbase into consideration. see how happy he is most of the times when he can play for his fans? he has a big ego for the record industry, he has a kinda big ego when it comes to his music and running a band, but can you blame him? he has a good heart for his fans! his fans like the music, some will play it forever and go to 10 concerts in a year, some will play it once and put it aside. billy probably loves them all…

[BleedingTheOrchid]

Might go out today and see if some of the better local record stores have them in as imports, and if not i’ll have to get them online[/quote:3sgcruyu]
had any luck yet reuben? is there maybe a new zealand release also? heard something about that… not sure…

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