As Greg Kot of Guitar World once quipped, “the [Smashing] Pumpkins remain an island unto themselves.” That was in 2001, when the band had spent a decade carving out an impressive art-rock niche, and long after a shortsighted music press had once smacked them with unenviable and laughably off-base label of “the next Nirvana.” But even to this day, the two bands are often clumped together as vanguards of the scathing, grungy brand of alternative rock that defined the early ’90s.
And yet, on the 20th anniversary of the release of the Pumpkins’ seminal sophomore album, Siamese Dream, there’s little doubt that the group is much more than some also-ran grunge outfit chasing Kurt Cobain’s shadow. Indeed, with eight studio albums and dozens of EPs, compilations, and soundtrack contributions, Billy Corgan and company have proved to be expert evocateurs, stitching together their melodic pastiche from a diverse litany of musical, literary, and visual sources. Armed with a mosaic sound that includes hat-tips to glam rock, art nouveau, psychedelia, goth, vaudeville, new wave, and Victorian romanticism, the Pumpkins have transcended any one moment or movement, instead reveling in the entire tessellation of 20th-century art.
A remastered edition of the Smashing Pumpkins’ 1996 box set The Aeroplane Flies High will be released on Tuesday, while a new live release, Oceania: Live in NYC, filmed at Brooklyn’s Barclays Center last December, drops on September 3rd.
“Stand Inside Your Love”
During the final days of the original Pumpkin lineup, Corgan expressed interest in writing the perfect pop song, something that would earn the band that first, as-of-yet elusive #1 pop hit. Considering such cynical motives, it’s a testament to his talent that they were able to churn out as sincere a gem as “Stand Inside Your Love,” from 2000’s Machina: The Machines of God. Though the song never met its creators’ lofty goals, it soars all the same, boasting an older, wiser Corgan as he leads a forlorn array of howling guitars and twinkling synths to euphoric heights.
“Set the Ray to Jerry”
As complex as the band’s arrangements and conceits often are, the Pumpkins frequently hit paydirt when relying on Corgan’s ear for crafting simple melodies. “Set the Ray to Jerry” is that principle in practice, as a two-note guitar riff and constantly rumbling snares come together with Corgan’s plain, passionate declaratives (“I want you” and “I need you”) to form a lucid, seductive nighttime jam.
Corgan’s mother inspired plenty of animus throughout the Pumpkins’ catalogue, but none quite as conflicted and harrowing as the kind that fills the song sharing her name. Inspired by her passing, “For Martha” is an eight-minute dirge of gothic piano that bursts into a wave of crying, razor-edged guitars at its halfway point. At the height of it all, Corgan finally delivers his raw, teary-eyed eulogy: “Long horses we are born/Creatures more than torn/Mourning our way home.”
The riffs on “Tristessa” are some of the most efficient the Pumpkins have ever crafted. With four simple notes, Corgan and fellow guitarist James Iha lay down a bouncing, whiplash guitar hook that’s strong enough to carry the song through its shattering conclusion, proving along the way that the band had two other weapons in their arsenal besides panache: power and rhythm.
Serving as a kind of thematic unifier for David Lynch’s Lost Highway soundtrack, “Eye” was Pumpkins fans’ first taste of the band’s post-alternative offerings, where the remnants of their baroque, neo-Victorian rock tastes met Corgan’s new obsession with Pro Tools. While that formula would meet with mixed success on the subsequent Adore, “Eye” remains a sublime slice of electro-goth, pairing Corgan’s understated performance with a litany of chilling instrumentation—not to mention the wonderful angularity of that crisp drumline.