FEATURE:
A Buyer’s Guide
Part Eighty-Seven: The Smashing Pumpkins
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IN this A Buyer’s Guide…
PHOTO CREDIT: Paul Natkin/Getty Images
I am recommending the essential albums from a band who formed in Chicago in 1988. The Smashing Pumpkins released their eleventh studio album, CYR, in 2020. I am sure that we have not heard the last album from the group. Before coming to the albums you need to own, here is some biography concerning the incredible The Smashing Pumpkins:
“Although they emerged alongside grunge acts like Nirvana and Pearl Jam, the Smashing Pumpkins were the group least influenced by traditional underground rock. Headed by principal songwriter and frontman Billy Corgan, their sound was an amalgam of progressive rock, heavy metal, goth, psychedelia, and dream pop, a layered, powerful style driven by swirling, distorted guitars that churned beneath Corgan's angst-ridden lyrics. One of the most visible alternative rock bands of the early '90s, the Smashing Pumpkins achieved mainstream success over the decade with classic releases Siamese Dream and Mellon Collie and the Infinite Sadness, then entered an uneven and often tumultuous chapter that carried them into the 2000s. After a misunderstood foray into electronic rock on Adore, Corgan issued a final pair of efforts before putting the group to sleep for an extended early-2000s hiatus that ended with 2007's Zeitgeist. Along with an ever-changing lineup, he continued to churn out albums under the Pumpkins moniker before reconvening with most of the original lineup for a 2018 reunion tour and albums such as 2020's synth-heavy Cyr.
The son of a jazz guitarist, William Patrick Corgan grew up in a Chicago suburb, leaving home at the age of 19 to move to Florida with his fledgling goth metal band, the Marked. After the band failed down South he returned to Chicago around 1988, where he began working at a used-record store. At the shop he met James Iha (guitar), a graphic arts student at Loyola University, and the two began collaborating, performing, and recording songs with a drum machine. Corgan met D'Arcy Wretzky at a club show; after arguing about the merits of the Dan Reed Network, the two became friends and she joined the group as a bassist. Soon, the bandmembers, who named themselves the Smashing Pumpkins, had gained a dedicated local following, which included the head of a local club who booked them to open for Jane's Addiction. Before the pivotal concert, the band hired Jimmy Chamberlin, a former jazz musician, as their full-time drummer.
In 1990, the Smashing Pumpkins released their debut single, "I Am One," on the local Chicago label Limited Potential. The single quickly sold out, and in December the band released "Tristessa" on Sub Pop. By this point, the Smashing Pumpkins had become the subject of a hot bidding war, and the group latched onto a clever way to move to a major label without losing indie credibility. They signed to Virgin Records, yet it was decided that the group's debut would be released on the Virgin subsidiary Caroline, and then the band would move to the majors. The strategy worked; Gish, a majestic mix of Black Sabbath and dream pop produced by Butch Vig, became a huge college and modern rock hit upon its spring 1991 release. The Pumpkins embarked on an extensive supporting tour for Gish, which lasted over a year and included opening slots for Red Hot Chili Peppers and Pearl Jam. During the Gish tour, tensions between bandmembers began to escalate, as former couple Iha and Wretzky went through a messy breakup, Chamberlin became addicted to drugs and alcohol, and Corgan entered a heavy depression. These tensions weren't resolved by the time the group entered the studio with Vig to record their second album.
Toward the beginning of the sessions, the Pumpkins were given significant exposure through the inclusion of "Drown" on the Singles soundtrack in the summer of 1992. As the sessions progressed, Corgan relieved himself of his depression by working heavily -- not only did he write a surplus of songs, he played nearly all of the guitars and bass on each recording, which meant that its release was delayed several times. The resulting album, Siamese Dream, was an immaculate production and was embraced by critics upon its July 1993 release. It was their first blockbuster, debuting at number ten on the charts and establishing the Smashing Pumpkins as stars. "Cherub Rock," the first single, was a modern rock hit, yet it was "Today" and the acoustic "Disarm" that sent the album into the stratosphere. The Smashing Pumpkins became the headliners of Lollapalooza 1994, and following the tour's completion, the band went back into the studio to record a new album that Corgan had already claimed would be a double-disc set. To tide fans over until then, the Pumpkins released the B-sides and rarities album Pisces Iscariot in October 1994.
Working with producers Flood and Alan Moulder, the Smashing Pumpkins recorded as a full band for their third album, the double-disc set Mellon Collie and the Infinite Sadness, which became an even bigger hit than Siamese Dream, debuting at number one on the charts. On the strength of the singles "Bullet with Butterfly Wings," "1979," "Zero," and "Tonight, Tonight," it sold over four million copies in the U.S., eventually being certified platinum over eight times. The Pumpkins had graduated to stadium shows for the Mellon Collie tour, and the band was at the peak of its popularity when things began to spiral. On July 12, prior to two shows at Madison Square Garden, the group's touring keyboardist, Jonathan Melvoin, died from a heroin overdose; he was with Chamberlin, who survived his own overdose. In the wake of the tragedy, the remaining Pumpkins fired Chamberlin and spent two months on hiatus as they recovered and searched for a new drummer. Early in August, they announced that Filter member Matt Walker would be their touring drummer and Dennis Flemion, a member of the Frogs, would be their touring keyboardist for the remainder of the year. They returned to the stage at the end of August and spent the next five months on tour.
In spring, the Smashing Pumpkins recorded two songs for the soundtracks for Batman & Robin (the Grammy-winning "The End Is the Beginning Is the End") and Lost Highway ("Eye"). The latter track hinted at the direction of their next album, which took a surprise turn into subdued electronics. Shrouded by the death of Corgan's mother and a divorce, Adore followed a few months later. Despite topping international charts and peaking at number two on the Billboard 200, the effort's sales and reviews were disappointing, with many critics confused by their new direction. The band embarked on a tour, contributing 100-percent of the earnings to charity, and returned to the studio.
Prior to the release of their fifth album, Chamberlin returned to the group and Wretzky made her exit, replaced by Hole bassist Melissa Auf der Maur. Bringing the band back to its early rock roots, MACHINA: The Machines of God landed in early 2000. Peaking at number three, MACHINA included the singles "Stand Inside Your Love" and "The Everlasting Gaze." In the midst of album promotion, Corgan announced his intention to dissolve the band that year with a farewell tour. Fans received one last treat when Corgan and company finished tracks that were left over from the MACHINA sessions. Surprisingly, Virgin Records balked at the idea of releasing the 25-track set so close to the release of their previous album, so the band put the entire album (going by the official title of Machina II: The Friends and Enemies of Modern Music) on the Internet for fans to download for free. On December 2, 2000, the Pumpkins played a mammoth show at Chicago's Metro (also the venue at which the group played its first show back in 1988). Booked as a final farewell, it would actually just be their first official hiatus, the start of an uneven period for Corgan when the Pumpkins would become known as much for lineup and status changes as the music itself.
During the break, former members of the band didn't wait long before carrying on with other projects. Corgan spent the summer of 2001 playing guitar with New Order on select concert dates, and later in the year unveiled his new band, Zwan, which included Chamberlin on drums (as well as former Chavez guitarist Matt Sweeney and bassist David "Skullfisher" Pajo). He also released a book of poetry. The other two former Pumpkins, Iha and Auf der Maur, began putting together an alt-rock supergroup dubbed the Virgins. Iha also began playing with A Perfect Circle. A pair of postmortem Pumpkins collections were also issued as a double-disc/DVD, both called Greatest Hits (aka Rotten Apples). Corgan released his first solo album, The Future Embrace, in 2005, and on the day it came out, he took out a full-page ad in The Chicago Tribune to announce that the Smashing Pumpkins were reuniting just five years after splitting. However, he hadn't informed any of his past bandmates, and only Chamberlin joined for the ride. The resulting album, Zeitgeist (Reprise Records), was issued in 2007. Although it peaked at number two, the effort continued the band's late-era decline in sales and critical acclaim. The new lineup -- which added guitarist Jeff Schroeder, bassist Ginger Reyes, and keyboardist Lisa Harriton -- embarked on a successful international tour, despite lukewarm reception to Zeitgeist.
Corgan and Chamberlin released an EP, American Gothic, at the start of 2008, before Corgan shook things up once again by announcing that the group would no longer record albums and would instead only issue singles. Chamberlin parted ways with the band once again in March 2009 and Corgan was joined by Schroeder, bassist Nicole Fiorentino, and drummer Mike Byrne. Once the dust settled, Corgan followed through on his promise to issue only short-form releases, putting out the track "A Song for a Son" in December of 2009. Scattered songs from the band's Teargarden by Kaleidyscope concept were released over the next two years as free downloads, with physical collections of the tracks released in 2010 by way of the EP box sets Songs for a Sailor and The Solstice Bare.
In 2012, Corgan decided to take a break from the single-centric concept and released Oceania, the Smashing Pumpkins' official eighth studio album. A live companion, Oceania: Live in NYC, was released the following year. In 2014, Corgan announced that he would be releasing two albums the following year under a new deal with BMG, which would tie up the Teargarden concept; these would be titled Monuments to an Elegy and Day for Night. By this point, Fiorentino and Byrne had left the band, and drums on Monuments to an Elegy were played by Tommy Lee of Mötley Crüe. Monuments was released on December 9, 2014 and debuted in the Top 40 of the Billboard 200, making it their lowest-charting effort since their debut. Chamberlin returned to the band for a 2015 tour, although the promised Day for Night failed to materialize on schedule.
In early 2016, Iha reunited with Corgan and Chamberlin for a performance in Los Angeles, their first show together in almost two decades. Subsequent live shows followed, leading to an eventual reunion of the original lineup (sans Wretzky) for a 2018 tour. The Shiny and Oh So Bright Tour featured the three founding members and bassist Jack Bates (son of Peter Hook). To coincide with the summertime trek, the Pumpkins released "Solara," the first single from their reunion album Shiny and Oh So Bright, Vol. 1/LP: No Past. No Future. No Sun. Produced by Rick Rubin, Shiny and Oh So Bright appeared in November 2018. Iha and Chamberlin were also on board for the group's 11th studio album, 2020's Cyr. Produced by Corgan in Chicago, the double LP also featured contributions by longtime guitarist Schroeder and included the songs "Cyr" and "The Colour of Love." The album was released in November of 2020 in conjunction with a five-part animated sci-fi series, In Ashes”.
To mark and spotlight the influence of The Smashing Pumpkins, I have recommended the four albums of theirs to buy, the underrated gem, the latest studio album. I have also highlighted a The Smashing Pumpkins book that is worth investigating. Here are The Smashing Pumpkins albums that you…
NEED to get.
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The Four Essential Albums
Gish
Release Date: 28th May, 1991
Labels: Caroline/Hut
Producers: Butch Vig/Billy Corgan
Standout Tracks: I Am One/Rhinoceros/Bury Me
Buy: https://www.discogs.com/sell/release/1953228?ev=rb
Stream: https://open.spotify.com/album/14gI3ml0wxlgVrX1ve8zyJ?si=0eKKMAD4Tv2jIh7FlLUZtA
Review:
“Arriving several months before Nirvana's Nevermind, the Smashing Pumpkins' debut album, Gish, which was also produced by Butch Vig, was the first shot of the alternative revolution that transformed the rock & roll landscape of the '90s. While Nirvana was a punk band, the Smashing Pumpkins and guitarist/vocalist Billy Corgan are arena rockers, co-opting their metallic riffs and epic art rock song structures with self-absorbed lyrical confessions. Though Corgan's lyrics fall apart upon close analysis, there's no denying his gift for arrangements. Like Brian May and Jimmy Page, he knows how to layer guitars for maximum effect, whether it's on the pounding, sub-Sabbath rush of "I Am One" or the shimmering, psychedelic dream pop surfaces of "Rhinoceros." Such musical moments like these, as well as the rushing "Siva" and the folky "Daydream," which features D'Arcy on lead vocals, demonstrate the Smashing Pumpkins' potential, but the rest of Gish falls prey to undistinguished songwriting and showy instrumentation” – AllMusic
Choice Cut: Siva
Siamese Dream
Release Date: 27th July, 1993
Label: Virgin
Producers: Butch Vig/Billy Corgan
Standout Tracks: Cherub Rock/Disarm/Soma
Buy: https://www.discogs.com/sell/list?master_id=48681&ev=mb
Stream: https://open.spotify.com/album/2Qs2SpclDToB087fLolhCN?si=xe14Y7CsSP2jzQoqn82imA
Review:
“Pity the Smashing Pumpkins: If anyone will be burdened with the dreaded mantle of ”next Nirvana,” it’ll be this Chicago band. Together since 1988, the Pumpkins released their first album, Gish, three years later. With its crunch of guitars and the ennui-drenched singing of singer-songwriter-guitarist Billy Corgan, the album became a college-radio staple. Now, like Nirvana, the Pumpkins have crossed over to the big leagues. Their major-label debut, Siamese Dream (Virgin), was, like Gish, coproduced by Butch Vig — the same studio wiz whose name adorns the credits of, yes, Nirvana’s Nevermind.
Not surprisingly, Siamese Dream has all the alternative-rock trademarks we’ve come to know, love, and occasionally fall asleep to — but with a twist. Like many of his peers, Corgan has a wispy voice that’s rough around the edges, and he writes songs with enigmatic lyrics — ”The killer in me is the killer in you,” ”Cool enough to not quite see it/dumb enough to always feel it,” and ”I miss everything I’ll never be.” Then the band buries them beneath a big, fuzzy feedback-driven roar. And quite a roar it is: The guitars resemble vacuum cleaners plugged into megawatt amps.
What matters, though, is what the Pumpkins do with those clichés. Like Nevermind, Siamese Dream represents the great lost link between alternative, pop, and metal. In a song like ”Today” — where Corgan actually sounds somewhat happy — the music drifts from a dreamy, acoustic-guitar folkiness to a full-bore electric bludgeoning, and the shift is so effortless and artful you barely notice it. The album is crammed with that sort of subtle attention to detail — wistful love songs with spooky, unearthly string sections, touches of dreamy psychedelia that don’t sound at all dated, and songs like ”Cherub Rock” that have the collar-grabbing power of (last Nirvana reference, we promise) ”Smells Like Teen Spirit.” In aiming for more than just another alternative guitar record, Smashing Pumpkins may have stumbled upon a whole new stance: slackers with a vision. B” – Entertainment Weekly
Choice Cut: Today
Mellon Collie and the Infinite Sadness
Release Date: 24th October, 1995
Label: Virgin
Producers: Alan Moulder/Billy Corgan/Flood
Standout Tracks: Tonight, Tonight/Zero/Muzzle
Buy: https://www.discogs.com/sell/list?master_id=48721&ev=mb
Stream: https://open.spotify.com/album/55RhFRyQFihIyGf61MgcfV?si=gJWMvDRxQyas-AzGfWSm2Q
Review:
“This is perhaps the only Smashing Pumpkins record where they acted like an actual band rather than Corgan and his resentful charges. It's hard to pinpoint where the influence of James Iha or D'Arcy came into play (not so with the phenomenal drumming of Jimmy Chamberlin), but with the oversight of producers Flood and Alan Moulder, Mellon Collie was developed through protracted jam sessions and personal interplay. Siamese Dream, for all of its symphonic grandeur, was a fairly standard rock album and a solitary one-- nearly all of the guitar and bass parts were rumored to have been performed by Corgan himself. Meanwhile, Mellon Collie indulges in styles more associated with hermetic artists-- ornate chamber-pop ("Cupid De Locke"), mumbly acoustic confessionals ("Stumbleine"), and synthesized nocturnes (mostly everything after "X.Y.U."). And it does so while feeling like the work of four people in a room.
Mellon Collie's remarkable breadth is the best indication of Corgan's ability to let loose. You could pick five songs at random and still end up with a diverse batch of singles that would make a case for Smashing Pumpkins being the most stylistically malleable multi-platinum act of the 90s. Maybe it wouldn't sell as many copies, but picture an alternate universe where heavy rotation met the joyous, mechanized grind of "Love", "In the Arms of Sleep"'s unabashed antiquated romanticism, the Prince-like electro-ballad "Beautiful", "Muzzle"'s stadium-status affirmations, or the throttling metal of "Bodies".
The ubiquity of the five songs that did become singles overshadows just how idiosyncratic and distinct they were in the scope of 1995. Has there been anything like "Tonight, Tonight" since? Orchestral strings typically signify weepy balladry or compositional pretension in rock music, not wonderful, lovestruck propulsion. While "Tonight, Tonight" is now inseparable from its Le Voyage dans la lune-inspired video, that the music existed without its guidance only stresses the Pumpkins' sonic creativity. "Thirty-Three" was the final and least heralded of the singles-- where on alt-rock radio was there room for a slowpoke, time-signature shifting country song with phased slide guitars and shuffling drum machines?” – Pitchfork
Choice Cut: Bullet with Butterfly Wings
Oceania
Release Date: 19th June, 2012
Label: Martha’s Music
Producers: Billy Corgan/Bjorn Thorsrud
Standout Tracks: Quasar/Panopticon/Oceania
Buy: https://www.discogs.com/sell/list?master_id=445105&ev=mb
Stream: https://open.spotify.com/album/3QqIpBZ7rQ9cBUwy6p0rIn?si=bckqtsenSKW-vh-Pmtv0aA
Review:
“What’s in a name? Depends who you ask. Since Corgan revived the Smashing Pumpkins in 2006 a lot of words have gone back and forth between fans over whether or not this qualifies as the real SP. It’s certainly been no secret that even with James Iha, Darcy Wretsky and Jimmy Chamberlain filling the roles in the ‘classic’ line-up SP has been Corgan’s baby. Even going back as far as 1993’s Siamese Dream, there were stories of Corgan taking control of all musical matters (whether it be through necessity or otherwise) and even reports of him pushing band members out of chairs in order to record parts. You could argue that the aforementioned three were hired hands, much like the situation SP find themselves in today. Is it any coincidence that this album shares a name with Orwell’s totalitarian nation-state from Nineteen Eighty-Four? Probably, but it’s a fun theory to espouse upon anyway.
Since 2006, we’ve had the much-maligned and patchy Zeitgeist as well as the sprawling and just a tad confused Teargarden By Kaleidyscope series. Corgan’s usual prolific output was there, but the quality was lacking. It gave rise to the notions put forth by naysayers that Corgan had lost it, ruining his legacy in the process.
Really, it’s a shame that Oceania is not the first comeback record, because it’s a fine collection of music that both anchors itself in that classic Pumpkins sound whilst managing to deploy a number of new tricks. Opener “Quasar” is a rambunctious, wailing beast of a song with a number of different speeds and moods. Following immediately after is “Panopticon”, a song in a similar vein to its predecessor; waves of guitar backed by Mike Byrne’s tight drumming and Corgan’s trademark (for better or worse) voice singing about suns and moons and Lord knows what else.
What sets Oceania apart from its reformation predecessors is its strong production. Whereas Zeitgeist was a brash and messy guitar-driven record that stalled as a result of questionable mixing, the new record is a cleaner, more clinical effort. Each musician is given the necessary time and space to utilise and make known their talents, in turn contributing to a more complete and beneficial set of song structures. For instance, Nicole Fiorentino’s bass playing comes to the fore on tracks like “The Celestials” and “Pale Horse”, flitting between a reedier, harmonious sound to a deep, rounded rumble at will. The guitar playing follows a similar course, and we are given a demonstration of just how versatile both Corgan and fellow guitarist Jeff Schroeder are. From the classic rock-style harmonising of “The Chimera”, the adventurous solos on “Inkless” and to the myriad methods of playing on the album’s eponymous centrepiece track, the record is a boon those who enjoy well-crafted guitar work. Mike Byrne is an excellent successor to the throne once so ably occupied by Chamberlain. Provided that Byrne, at only 22 years of age, stays in the group, then he can only get even better from here on out.
Corgan and his group should be praised. Instead of relying upon the old classics, touring the same old stuff, he and SP have forged ahead to create a record that could well be the catalyst of a stellar second era for one of rock’s more interesting groups” – Sputnikmusic
Choice Cut: The Celestials
The Underrated Gem
Monuments to an Elegy
Release Date: 9th December, 2014
Label: Martha’s Music
Producers: Billy Corgan/Howard Willing/Jeff Schroeder
Standout Tracks: Being Beige/Run2me/Drum + Fife
Buy: https://www.discogs.com/sell/list?master_id=766846&ev=mb
Stream: https://open.spotify.com/album/06Z1pfDp7Ujg6MkK7dKbnh?si=hyaascQeR-yFEwRPZfjDPQ
Review:
“The much-trumpeted Smashing Pumpkins “reunion” never happened. Guitarist James Iha and bassist D’Arcy Wretzky quickly announced that they would not be involved, while the 2009 departure of drummer Jimmy Chamberlin left Billy Corgan as the only remaining original member. This hasn’t stopped him picking up from where they left off in the 90s. Like 2012’s Oceania, Monuments to An Elegy returns to the trademark Pumpkins sound. Lashings of alt-rock guitars and subtle classic rock references abound, although there are lovely tinkly keyboards on Tiberius and Being Beige chugs along on a drum machine. The standout Dorian turns up the synthesisers with a melody distantly related to the classic 1979. If the songs don’t all match the Pumpkins’ early glories, Corgan is still carrying what he once called “the infinite sadness”, investing uplifting sounds with an undercurrent of melancholy. As he puts it in the particularly affecting Drum + Fife: “I will bang this drum ’til my dying day” – The Guardian
Choice Cut: One and All (We Are)
The Latest Album
CYR
Release Date: 27th November, 2020
Label: Sumerian
Producer: Billy Corgan
Standout Tracks: Confessions of a Dopamine Addict/Cyr/Birch Grove
Buy: https://www.discogs.com/sell/list?master_id=1845929&ev=mb
Stream: https://open.spotify.com/album/6jyVmM4JOjBSzJqSa4fRaI?si=IR89eiaCQkqG7gxqP2cD4w
Review:
“The Pumpkins’ new album, CYR, is no exception. By turns arched, ambitious, intriguing and expressive this sprawling 20 song set recalls the band’s earlier epics with melodies that boast the same elevated intensity that’s driven their signature sound from early on. This time around, fellow founding members Jimmy Chamberlin and James Iha are back on board, given an assist from guitarist Jeff Schroeder, whose late arrival to the line-up dates back to 2016. The absence of bassist D’arcy Wretzy is notable of course, but hardly surprising considering her fractious relationship she’s maintained with Corgan throughout the group’s career. Nevertheless, it hardly seems to matter. CYR is a solid effort all the way through, one that finds quality equal to its quantity.
That said, no Smashing Pumpkins album would be complete without an ample blend of pomp and pretense, and here, those qualities flourish in abundance. That’s evident in Corgan’s dissertation on the theme itself, as included in a press release accompanying the album’s release.
“CYR represents, at least symbolically, the makings of a dissociative life, which best as we can tell IS modern life: as presented through a variety of sources; past, present, and future. Where even our own story as a band is often represented as something more grotesque and glorious than we actually experienced it. Which, it should be noted, is fine. Because we’ve never fought the dream as a collective, or it’s prickly twin (hence the snazzy title of one of our earliest records). So in CYR you get 20 pieces of fractured ideology, neither here nor there but that’s sort of the point. To ape that which in the post-technology age is not so easily defined and pinned down, but can be shown in a lithe, restless melody.”
Ummmmm,… alrighty then. Is that all clear? If not, no worries. We’re a bit baffled ourselves. Fortunately, the concept doesn’t distract from the substance of the songs, all of which are effortlessly exhilarating and vary only in terms of their kinetic crush. The sonic sweep range from the seismic surge of the album opener “The Colour of Love,” the propulsive and pulsating “Birch Grove” and the pounding, percussive title track, to the passionate plea of “Ramona,” the unlikely love song “Purple Blood” and the percolating pace of “Telegenix” and “Rath.” It’s high drama at its most effusive, told through from the perspective of an individual seemingly in search of his soul.
Somehow though, it still manages to work, and indeed, on a song such as “Wyttch,” which sounds like something spawned from a fusion of Led Zeppelin and Black Sabbath, or a daring diatribe like “Anno Sattana” one has to wonder if perhaps Corgan isn’t simply playing to the diehards and simply seeing how far his dark demeanor will take them. Still, who’s gonna complain? The music is consistently compelling, unceasingly effusive and decidedly driven, the essence of a genuine Corgan catharsis.
In addition, brace yourself for what’s to come. The band promises a wealth of releases in 2021, including a 33-track sequel to the Mellon Collie and the Infinite Sadness album and a forthcoming opus titled Machina, which is beingbilled as “the third in a trilogy of expansive and conceptual works.”
Given that Corgan is prone towards creativity, the Pumpkins’ profile appears certain to remain as elevated as ever” – American Songwriter
Choice Cut: The Colour of Love
The Smashing Pumpkins Book
Smashing Pumpkins: Mellon Collie and the Infinite Sadness
Author: The Smashing Pumpkins
Publication Date: 31st December, 1996
Publisher: Music Sales Ltd.