Siamese Dream [PA] - Smashing Pumpkins (The)

...of twins; twins of the Siamese variety.

Released in 1993, Siamese Dream was the Pumkins' first assertive stride toward mega stardom. From the outset it's clear this album is going to be some journey. Cherub Rock bubbles away for the first few bars, with each instrument melding with the last and building the sense of anticipation. Things become clearer after a fierce burst of electric guitar, reined in by a Chamberlain drum roll, and ...
...to ponder the awesome opening, Siamese Dream allows the listener breathing space with 'Disarm', a single release, which begins with a simple acoustic and some orchestral accompaniment. This builds throughout each phase of its three minutes, with Corgan displaying some vocal versatility as he breathlessly delivers some heartfelt lyrics from his childhood: -

"Disarm you with a smile,
and cut you like you want me to,
... more

The Smashing Pumpkins' self induced demise at the turn of the century has left a void in the growth of my music collection that simply can't be filled. Although Pumpkins' frontman and driving force Billy Corgan continues to produce quality material with Zwan (aided by fellow ex Pumpkin and percussion phenomenon Jimmy Chamberlain), his music has mellowed considerably following a decade of angst and emotion fuelled brilliance.

Ask any casual fan which album they identify with the SP's and most will respond with Mellon Collie & the Infinite Sadness; a grandiose, twin disc epic that still rests easily in the 'classic' bracket. However, those in the know worship a different set of twins; twins of the Siamese variety.

Released in 1993, Siamese Dream was the Pumkins' first assertive stride toward mega stardom. From the outset it's clear this album is going to be some journey. Cherub Rock bubbles away for the first few bars, with each instrument melding with the last and building the sense of anticipation. Things become clearer after a fierce burst of electric guitar, reined in by a Chamberlain drum roll, and the song settles into a satisfying rhythm. Corgan wails out the chorus in his inimitable, ligament straining style: -

"Who wants, honey?"

The customary Corgan guitar solo ascends and plunges through various levels of distortion, before falling away into the background, allowing this opening track to build towards its conclusion.

The first contrast of styles emerges via track three and 'Today'. It's goosebump time here as two lone, playful electrics entwine before giving way to an avalanche of sound. It's not chunky, coarse riffing; more organised and melodic. The rest of Today is a paradox of calm, meandering verses descending into dark and growling choruses. This contradiction is reinforced by Corgan, who during the optimistic and chirpy verses sarcastically proclaims that: -

"Today is the greatest, day I've ever known"

The listener could be forgiven for initially mistaking this as a sincere and hopeful song, yet the lyrics progressively become more despondent and angst-ridden. It's one of my favourites on the album due to its clever construction and melodies.

As an offer of time to ponder the awesome opening, Siamese Dream allows the listener breathing space with 'Disarm', a single release, which begins with a simple acoustic and some orchestral accompaniment. This builds throughout each phase of its three minutes, with Corgan displaying some vocal versatility as he breathlessly delivers some heartfelt lyrics from his childhood: -

"Disarm you with a smile,
and cut you like you want me to,
cut that little child"

This is Corgans great strength; a searing, intelligent honesty which his voice so readily compliments. Disarm remains simple, following a fairly routine structure (for the Pumpkins), however the orchestral input becomes increasingly grand and complex. I believe Corgan penned all the classical arrangements for each track, which makes this all the more impressive.

Soma is the second 'epic' for the listener; I remember skipping this track on numerous occasions, as its beginnings are deceptively slow. However, let Soma crawl for four minutes, and you are rewarded with an cataclysmic electric solo, which travels along the entire length of Corgans guitar and back before crashing down to earth, howling away behind Corgans lyrics; it's immense, no other word for it.

If you're not hopelessly infatuated with Siamese Dream by this stage, then you will be in five minutes time. Geek USA is quite simply a phenomenon of rock music. It shifts eagerly through the gears, lurching from organised, fast paced riffing and rat-a-tat-tat percussion from Chamberlain to a virtual standstill midway through. Like reaching a balance of upwards momentum and gravity, Geek USA allows us to take in the view, before Corgan displays why he is one of the best exponents of the five stringed instrument alive. Think of a superlative some way better than perfect and you're only half way there. It's a ferocious, outrageous supernova of a finale that only a genius could produce, that I am having great trouble describing.

After nearly a dozen songs being partially restrained, drummer Chamberlain is unleashed during Silverf**k. His percussion pulsates throughout its initial sequence, and either side of the lull which forms the meat of this nine-minute sandwich. It's not the most complex of Siamese Dreams' accomplishments but is clearly deigned for the volume setting on your CD player. Bass and percussion come to the fore for long periods, and the tempo is such that you hardly notice the nine minutes slipping by.

After treating us to such an aural masterpiece, you could excuse the Pumpkins for wasting the final throes of this album on self indulgence and experimentation. Yet Corgan shows great restraint, ensuring that Siamese Dream tapers away into the distance in a satisfying and memorable way.

Sweet Sweet is only just over a minute in length, but is no less charming for its brevity. Comprised of just two short verses and a one line chorus, Corgans voice glides over some simple, airy guitar strumming. After such a frenzy of distorted sounds, devastating solos and angry, acerbic lyrics, this settles the senses for the final track, Luna.

Simply put, if albums were cakes, Luna is the prettiest icing I've ever come across. So often the territory of Casio keyboard nonsense, this finale remains faithful to quality and places emphasis on lyrics, orchestra and minimal amounts of guitar. It's a serene break up song which Corgan handles with an impressive amount of feeling. The final chorus bursts into life with a number of classical instruments with an oriental sounding input, as Corgan climbs the vocal scales with ease.

Siamese Dream is an absolute masterpiece. It's vastly intelligent, has layer upon layer of sounds and styles, and is exhaustively produced without blunting that raw edge that permeates all early Pumpkins work. Every track is superb, with, dare I say, 'fillers' which would grace many other albums out there. Moreover, the placement and pacing is absolute perfection, with superbly judged and well employed peaks and troughs.

While many may point to Corgans' somewhat abrasive vocals, somehow they just 'work'. It's his emotion and sincerity, resonating and frothing around each and every track that elevates this above even the most accomplished albums in recent memory.

If you're even remotely concerned that Siamese Dream could be slightly heavy for your tastes, have faith. Corgan somehow scoops you up, launches you into a frenzied musical stratosphere without jarring, irritating or offending, before gently replacing you on terra firma, reassuringly ruffling your hair at the end of it all. It's one of those special CD's that after listening leaves you feeling drained yet exhilarated, like returning from an epic journey.

Some records attach themselves to a certain fixed point in your life. Like it or not, Siamese Dream follows you relentlessly, and could hold relevance to anyone, at any time. That's the mark of greatness. It's so crushingly great, it makes CD's you ordinarily love sound awful, like comparing a meal at sunset on a beach in the Maldives, to scoffing a cheese sandwich at Clackett Lane services.

If I had a sixth star, I'd readily award it. Only oxygen is more vital to your existence.

 

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