[You guys worked with Alan Moulder and Flood on Melancholy And The Infinite Sadness, two great producers, two different producers. But the record is totally cohesive, how was that achieved?]
Corgan: Oh, yeah. Flood’s incredible. Flood is a tremendous producer. Flood is very masterful with the sonics, but where he really shines is he’s a great idea person. And I don’t mean like he tells you, “Oh, put this chorus here.” It’s more like he can see an ambiance of the song that you don’t necessarily see and he would really fight with us – not negative a fight, just he would really kind of push us to say there’s another vibe here that you can get to. And I think you can see that when he’s worked with U2 as well. He kind of pushed them to get to a little bit of a tougher vibe. I think a perfect example on Melancholy is a song called By Starlight, where the original version, the band sort of – rehearsal version was very ’70s. It sounded like a sort of a sad song from the ’70s. And he really pushed us to make it darker and prettier and more atmospheric and more kind of Depeche Mode and nighttime-ish. And when I look back now I really appreciate it. The song was the same. He didn’t change anything about the song. He really pushed us to a higher level with the way that we thought about our music and I think if you look at the changes in our music since Melancholy, he had a profound effect on the way that we think about music.
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