The extraordinary Smashing Pumpkins aim to be quiet and loud in the same song, sometimes at the same time, and always tethered to a writhing metal groove. This is far flung from the Touch & Go-biased Chicago scene (where they are based), and closer to the new Camden bands, particularly God Machine - if not a trifle more polished.

“Darcey, our female bassist, brings out her male character when she plays. There’s no middle ground. And James, on guitar, lets out all the female in him,” says mainman Billy.

For all he knows, the C86 era represents a London tourist bus route, yet he quotes My Bloody Valentine as one of his major influences. Thanks to his guitarist father, a rather obscure character by all accounts, he also grew up listening to the likes of Led Zeppelin, Black Sabbath and Judas Priest, as well as T. Rex and The Stooges. It certainly shows.

‘Five years ago, people were influenced by rock’n’roll peer pressure, but, essentially because of Rap and Hip Hop, everybody is now willing to challenge ideas, and cross musical reference points,’ says Billy. ‘The punk ethic of turning up and screaming nasty things is dwindling, but our music is still too loud, too progressive for the plaid shirt Husker Du crowd.’

Not surprisingly, they initially felt better working up their confidence away from home. After one particular stormer of a gig on the East Coast, Sub Pop approached them and thus released their near-immaculate ‘Tristessa’ single. An album, due in the summer, will make a shift to label (‘SupPop aren’t hyper enough’). Emotional metal is in.