The Smashing Pumpkins – ‘Siamese Dream’
Despite the intense, well-publicised pain that went into making the second album by The Smashing Pumpkins, 1993’s Siamese Dream, it is one of the most potent albums in alternative rock. Refining the band’s formula and augmenting the expansive sound established on their 1991 debut, Gish, across 13 tracks, it blends the quartet’s metal leanings with psychedelia, shoegaze and, of course, the grunge zeitgeist.
This stylistic variety – in addition to being recorded on analogue tape and frontman Billy Corgan’s broader desire for constant exhibits in both ears – creates a multifaceted sonic palette unlike anything found in the canon of guitar music. Given the strength of the songwriting, performances and production, this record will go down as Billy Corgan and the Chicago band’s crowning achievement.
In the future, the band members might well continue to reflect on the recording of Siamese Dream as a period of great tribulation. Ironically, the cracks have become unavoidable in the face of the album’s success. Corgan has now assumed his role as the unopposed executive, which comes with its own knot of issues, and other personal matters, such as the romantic breakup of bassist D’arcy Wretzky and guitarist James Iha and drummer Jimmy Chamberlin’s heroin addiction, have also made their mark. Ultimately though, this body of work is a fine example of the artistic substance that can be achieved when an artist continues to pursue the end goal despite the pull of the extraneous variables.
Refusing to let the record label rush them and cut corners, working back-breaking hours, Corgan and producer Butch Vig steered the ship against all the odds. Remarkably, this album pushes the confines of alternative rock to the limits. Despite the seminal importance of Nirvana’s era-defining 1991 effort, Nevermind, Siamese Dream will be the one LP from this era that stands the test of time artistically.
Things commence as they mean to go on. Out of nowhere, Jimmy Chamberlin’s snare’s commanding, almost militaristic rolls grab the attention. As nothing else is happening in the mix, it pulls you in like some mysterious force in deep space. The rhythm then gives way to the clean strikes of Billy Corgan’s Stratocaster, which adds another element to the growing curiosity.
‘Where is this possibly going?’ You ask yourself as the ears eagerly await what’s in store. The then drums re-enter, as does the bass, moving things along before the band stamping on their fuzz pedals, and a wall of sound bursts. Complete with one of the group’s finest riffs to date and a stronger, more confident vocal performance from Corgan than what’s found on The Smashing Pumpkins’ earlier material, it’s clear from about 20 seconds in that Siamese Dream is a different beast to what we’re used to. Just wait for that guitar solo. Searing.
This track is an astute mixture of the band’s heavy background and harmonic proclivities, and it perfectly sets the scene for what’s to come. There’s no wonder it was chosen as the lead single.
Following this is the rumbling dynamism of ‘Quiet’, which veers off towards the more unrelenting side of The Smashing Pumpkins’ sound, complete with a killer central riff – a simple but effective use of descending bar chords that propels the rhythm straight into the prefrontal cortex. Expertly toeing the line between temperateness and freakout, this number also features Billy Corgan cooking on serious heat during the guitar solo, another effects-laden flourish that resoundingly demonstrates why he is so lauded on the instrument.
Metallic textures also periodically float in and out, adding another intriguing dimension to this moment, exhibiting why The Smashing Pumpkins are much more than simply a grunge band. In fact, there’s a high degree of creativity coursing throughout all of this record, with the almost three-dimensional sound design of tracks like ‘Quiet’ reflecting how at this point, the group are their own being altogether, best described by their name, a tremendous feat.
The third track is ‘Today’, another single, and a moment that, upon the first listen, confirms the gravity of The Smashing Pumpkins hitting their stride on Siamese Dream. A layered masterwork, it kicks off with the delicate, almost lullaby-like riff played high up the neck before the quartet unites for another fuzzy blast, and it then segues into an anthem of monumental proportions. “Today is the greatest day I’ve ever known”, Corgan sings as he kicks off the catchiest track on the album. An utter sonic delight, whether it be the riff, the carnal bridge where the frontman sings “I wanna turn you on”, or the euphoric climax, ‘Today’ has it all.
Keeping the quality level at maximum, next up is ‘Hummer’, one of the songs where we hear the skill of Wretzky as a bassist clearest. Her muscular but pulsating work on the four-string acts as a ballast to one of the most oscillating twists found on Siamese Dream. It’s a masterclass in operating the instrument in the field of alternative rock.
Featuring another fuzz-soaked guitar line, shifting dynamics, and a compelling interplay between heavy and ethereal, this kind of construction can only occur when a band has been together for a while and has an extensive understanding of each other’s strengths. Corgan and Iha’s guitars dovetail, Wretzky provides them with a stable but kinetic performance on top of which to shine, and Chamberlin’s jazz background instils this one with the subtle vibrance that keeps you on your toes.
Elsewhere, the likes of ‘Disarm’, ‘Mayonnaise’ and ‘Rocket’ are all highlights, as the band takes the listener on a wonderous sonic odyssey, a cut above most guitar music of their era. As for songs such as ‘Soma’ and ‘Luna’, well, they do the talking for themselves; it would be rude to spoil such surprises.
All in all, Siamese Dream is a total masterpiece. It points to the future direction of the band and that of alternative rock. Here, The Smashing Pumpkins distil themselves and push the boundaries of modern rock music to new heights, showing that real innovation comes when sticking to your guns and ignoring the outside noise.
