The Smashing Pumpkins have been a mainstay in rock music for over three decades. Originally featuring Billy Corgan, James Iha, D’arcy Wretzky, and Jimmy Chamberlin, the Chicago band defined the 1990s with their grunge sound, infused with psychedelia, goth, metal, and even synth pop. While their journey has included both remarkable highs and disappointing lows since their initial breakup in the early 2000s, they’ve never shied away from pushing boundaries. The ever-evolving lineup, with Corgan as the sole constant member, has produced a vast but uneven discography. Their latest release, ‘Aghori Mhori Mei’, marks their 13th album and begs the question: where does it rank amidst their iconic classics like ‘Siamese Dream’ and ‘Mellon Collie and the Infinite Sadness’?
Let’s face it, ‘Zeitgeist’ (2007) is a miss. While it boasts a few decent tracks like ‘Doomsday Clock’ and ‘Tarantula’, the album feels uninspired. After the band’s disbandment in 2001, Corgan’s solo project with Zwan resulted in an excellent album. The reunion with drummer Jimmy Chamberlin, however, produced a lackluster effort. ‘Zeitgeist’ is the one Smashing Pumpkins album you can confidently skip.
Billy Corgan has always been ambitious, dreaming up concept albums and intricate narratives. ‘Teargarden by Kaleidoscope’ and the ‘Shiny and Oh So Bright’ series, both unfinished, were ambitious undertakings. However, last year’s ‘ATUM: A Rock Opera in Three Acts’ is a 33-track concept album that, despite its completion, is a slog. While fully embracing the synth pop sound of their recent era, the album is theatrical but underwhelming, getting lost in its own mythologizing.
The band’s foray into synth experimentation in recent years, a commendable attempt to evolve their goth sound, resulted in ‘Cyr’ (2020). While less gloomy and more optimistic, this 72-minute effort, attempting to emulate Joy Division with a New Order twist, is a mixed bag. Only a few tracks, like ‘Cyr4’, ‘Wyttch’, and ‘Wrath’, stand out, and most Pumpkin fans wouldn’t consider it a top choice.
Things take a turn for the better with ‘Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun.’ (2018). The return of original member James Iha after the original breakup gave the album a spark. With eight songs that work well together, it’s a more concise effort than some of their previous works. While occasionally portentous, tracks like ‘Knights of Malta’ slow things down, but the singles ‘Solara’ and ‘Silvery Sometimes (Ghosts)’ recapture some of their earlier magic. While not a complete return to form, it’s a step in the right direction.
‘Monuments to an Elegy’ (2014), though often criticized, is a concise and upbeat album. With Tommy Lee of Motley Crue joining the band, it’s a more enjoyable listen when taken outside the sprawling and confusing ‘Teargarden by Kaleidoscope’ project it was initially intended for. Tracks like ‘One And All (We Are)’ and ‘Drum + Fife’ stand out, and this album may be reevaluated in the future as an unfairly overlooked effort.
Another ‘Teargarden by Kaleidoscope’ album, ‘Oceania’ (2012), is a pleasant listen, especially after the underwhelming ‘Zeitgeist’. It’s the only album featuring bassist Nicole Fiorentino and drummer Mike Byrne, and their chemistry with Corgan created a dreamy sound. With sonic cohesion across its 13 tracks, it’s a notable departure from the Generation X sounds of the 90s. Highlights include ‘Quasar’, ‘The Celestials’, ‘Violet Rays’, and ‘Pinwheels’, proving that the latter-day Pumpkins weren’t to be dismissed. This album deserves more love in their discography.
‘Pisces Iscariot’ (1994) is a collection of B-sides, rarities, and outtakes that isn’t typically included in their main catalog. However, for fans, it’s a must-have, much like Nirvana’s ‘Incesticide’. Tracks like Corgan’s cover of Fleetwood Mac’s ‘Landslide’, ‘Soothe’, and the 11-minute ‘Starla’ are must-hears. It’s not an essential record, but it’s definitely better than it has any right to be.
‘Gish’ (1991), their debut album, introduced them to the crowded grunge scene of the time, featuring bands like Nirvana, Soundgarden, Pearl Jam, and Jane’s Addiction. While it didn’t make major waves at the time, due in part to its release shortly before Nirvana’s ‘Nevermind’, tracks like ‘Rhinoceros’, ‘Siva’, and ‘I Am One’ showcased their potential. Its ranking lower on this list is due to the greater staying power of their subsequent albums.
And then, there’s ‘Machina/The Machines of God’ (2000). The classic Smashing Pumpkins quartet was back together briefly, with drummer Jimmy Chamberlin having been absent for 1998’s ‘Adore’. This duo of albums marked the end of an era for the original lineup. After the more experimental ‘Adore’, they cranked it up with grandiose melodies, heavy riffs, masterful drumming, and career-defining songs. Though not perfect, the few missteps don’t detract from this dynamic set. Tracks like ‘The Everlasting Gaze’, ‘Stand Inside Your Love’, and ‘Wound’ stand as a fitting swan song for the original band. It’s a powerful statement, a reminder of the band’s strength and their ability to deliver a compelling sonic experience.
‘Adore’ (1998) is shrouded in tragedy and upheaval. After a 1996 concert, Jimmy Chamberlin and touring keyboardist Jonathan Melvoin overdosed, leading to Melvoin’s death. Chamberlin was subsequently fired from the band. The remaining three members recorded a moody album filled with synths, pianos, and songs about loss. Tracks like the gothic ‘Ava Adore’, the tender ‘Perfect’, the dark ‘Pug’, and the heartbreaking ‘For Martha’ have stood the test of time. Though considered too radical a departure for fans of their earlier sound, ‘Adore’ has garnered a cult following since its release. It’s a testament to the band’s ability to explore different sonic landscapes, pushing boundaries and challenging their listeners.
‘Mellon Collie and the Infinite Sadness’ (1995) is bombastic and theatrical, widely considered one of their best, if not their most celebrated album. Following the alt-rock masterpiece ‘Siamese Dream’, Corgan aimed to surpass Pink Floyd’s ‘The Wall’ with a grandiose 28-track double album. ‘Mellon Collie…’ successfully pushed grunge and alt-rock to new levels. With a wide range of styles and moods, from the lush ‘Tonight, Tonight’ to the ferocious ‘Zero’ and ‘Bullet With Butterfly Wings’, the introspective ‘Thirty-Three’, the soothing ‘Farewell and Goodnight’, and the iconic ‘1979’, the album is a captivating journey. The talent matched the ambition, making ‘Mellon Collie…’ a 90s rock staple and one of the band’s greatest achievements.
And then there’s ‘Siamese Dream’ (1993), the album that tops this list. ‘Gish’ may have been solid, but the leap between their debut and sophomore effort was staggering. However, ‘Siamese Dream’ was far from smooth sailing. The band was in turmoil: Jimmy Chamberlin was struggling with heroin addiction, D’arcy Wretzky and James Iha had broken up, and Corgan was depressed, yearning for the commercial success of Nirvana. Despite this heavy burden, ‘Siamese Dream’ became a voice for a disillusioned generation, becoming one of the defining albums of the 1990s. From the snarling opener ‘Cherub Rock’ to the heart-wrenching ‘Today’ and the hit single ‘Disarm’, The Smashing Pumpkins tapped into the anxiety of the time, making it resonate on a personal and universal level. It’s a perfect album, undoubtedly the record they will be remembered for.
And finally, the newest release, ‘Aghori Mhori Mei’, arrives. It couldn’t be more different from last year’s ‘ATUM’. ‘Aghori Mhori Mei’ feels like a band ditching self-parody and firing on all cylinders. It’s a guitar-driven record, full of passion, that feels like vintage Pumpkins. From the ominous ‘Edin’ to the orchestral ‘Murnau’, through the prog-like ‘Pentagrams’ and the soaring ‘Who Goes There’, the hooks and choruses land with the kind of impact that makes you want to recommend this album to everyone. Recency bias aside, they took their sweet time, but they’re fully back.
‘Aghori Mhori Mei’ proves that The Smashing Pumpkins, despite their ups and downs, remain a force to be reckoned with. They are a band that continues to evolve and experiment, while still retaining the essence of their iconic sound. As they continue to push boundaries and explore new territories, it’s exciting to see what they will create next.
