Monuments to an Elegy is the upcoming ninth studio album by the alternative rock band The Smashing Pumpkins, due for release on December 9, 2014. Band leader Billy Corgan has noted that “similar to the band’s previous release, Oceania” – the album will be part of the ongoing project, Teargarden by Kaleidyscope. Dec 20, 2015 smashing pumpkins (2) soundgarden (2) stereo box set (1) steven wilson (1) stone temple pilots (1) sui generis (1) tame impala (1) the beatles (1) the doors (1) The ganjas (1) the killers (2) the libertines (1) the strokes (2) tool (5) vagabundos del dharma (1) victor jara (3) weichafe (7).
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• • • • • To understand Adore, one has to revisit 1995’s. The double album and follow-up to 1993’s critical and commercial diamond, Siamese Dream, would go on to draw comparisons to Pink Floyd’s The Wall, produce five chart-scaling singles, nab seven Grammy Award nominations (winning one), and be certified 10x Platinum in the United States.
Suffice it to say, the Chicago troupe didn’t enjoy success; they were smothered by it. So, three years later and following a year-long, sold-out tour, returned home destroyed rather than saved. While on tour, Chamberlin was shown the exit and taken to rehab after he and touring keyboardist Jonathan Melvoin overdosed on heroin together in New York City (the latter succumbing to the drug). Corgan, however, was dealt the worst blows: Not only did he lose Chamberlin, but his marriage was ending just as his mother died of cancer.
“At that time, there was just so much negativity, I just couldn’t handle it,” Corgan. “I just was not equipped to deal with it. To put this in context, 18 months earlier, I could do no wrong! We were selling out arenas, we were on television, the cover of Rolling Stone. And the next thing you know, 18 months later, you’re persona non grata. It’s not just persona non grata to the world, when you’re persona non grata with the record label, that’s a cold wind that blows up your back.”.
(Read: ) And so, Adore comes to represent what follows at the end of the rainbow, when the path to glory turns to rocky ground and meanders back into the creepy thick. Looking back, it’s easy to see how the Pumpkins stumbled into this murky pocket after enjoying the spotlight for so long, but at the time, it was all too humbling for an artist like Corgan. But true artists revel in the valleys and fear the peaks, and that’s exactly what Corgan did. Torrent Mahler Complete Edition Of Simcity 3000 more. To borrow a handful of words from Friday Night Lights‘ Coach Taylor: “Every man at some point in his life is gonna lose a battle. He’s gonna fight and he’s gonna lose.
But what makes him a man is that in the midst of that battle he does not lose himself.” Rather, the band’s mastermind found himself again. Come May 1998, Corgan and co. Remerged from the darkness as industrial goths with a twisted new single in “Ava Adore” and an accompanying video that worked more as a mission statement than any sort of promotional item. Directed by Dom and Nic, who had just paired David Bowie and Trent Reznor together a year prior for “I’m Afraid of Americans”, the one-take video proved fashionable enough for accolades at that year’s VH1 Fashion Awards and iconic enough to frame the Pumpkins in a new light — or, rather the dark. But really, “Ava Adore”, with its sexy electronic loops and stomping percussion, simply evolved the DNA that made Mellon Collie‘s “1979” their greatest hit. Hell, their second single, “Perfect”, became the song’s spiritual successor, so much so that its music video is, in fact, a sequel to the events that transpired in the iconic video for the 1996 hit. (Read: ) Following “Ava Adore” and “Perfect”, however, the general public started to turn away from the Pumpkins, and that’s what makes the album even more tragic.
Despite, written by Greg Kot no less, Adore failed to make any sort of commercial dent. In hindsight, the dramatic ballad “Crestfallen” might not have been the best choice as a third single, given that eventual fourth single “To Sheila”, the energetically drowsy “Appels + Oranjes”, or even the graceful “Shame” were just sitting there waiting. Nonetheless, it was a lost cause.
The album had no “Zero”, there wasn’t going to be another “Bullet with Butterfly Wings”, and whatever nostalgic magic “1979” held over their generation had simply washed down the drain. As Kot wrote in the aforementioned review, “[ Adore] isn’t just a transitional record; it’s a complete break with the past.” Sixteen years later, those words ring true.
Having now heard Machina/The Machines of God, Machina II/The Friends & Enemies of Modern Music, and even Corgan’s disastrous solo album, TheFutureEmbrace, it’s obvious this “complete break” was always Corgan’s intention. In fact, if you go way, way back to the ’80s, it’s the same sound that gave the guy his start, whether it was with his Florida outfit, The Marked, or the original demos he tracked early on with guitarist James Iha, material he described in 1994’s Vieuphoria as “gloomy little pop records.” That description could apply to all of Adore, an album constructed from the architectural blueprints of past goth pop masterpieces, what with its intimate, heart-on-its-sleeve poetry (“For Martha”, “Blank Page”); ambient, tortured wailing (“Behold!
The Night Mare”, “Crestfallen”); and self-destructed rage (“Ava Adore”, “Daphne Descends”). Licking his wounds, Corgan did what everyone else does in the pits: He returned to the past, while keeping an eye on the future.
(Read: ) What makes the reissue so fascinating, then, is seeing how that madness all came together. Similar reissues for Gish, Siamese Dream, and Mellon Collie have all proven quite exceptional, but Adore‘s return haunts with intrigue and vitality. It’s not just a hodgepodge of forgotten material; it’s a story finally ready to be shared.
And it’s told through 107 tracks broken down into six different albums. There’s the remastered LP, its mono counterpart, and then four discs that collect Corgan’s demos (“In a State of Passage”), the outtakes (“Chalices, Palaces, and Deep Pools”), even more outtakes (“Malice, Callous, and Fools”), and select live cuts (“Kissed Alive Too”). It’s no doubt an arduous task, especially when another version of “For Martha” pops up, but it’s essential to anyone looking to unravel the Pumpkins lore. A few highlights include the Rick Rubin-produced “Let Me Give the World to You”, an early acoustic rendition of “Appels & Oranjes” titled “What If?”, a banjo-led rendition of “To Sheila”, and a soft demo titled “Valentine”. Actually, it’s the non-electronic material recorded at Corgan’s Sadlands home studio that offer the set’s most intimate experiences. On another demo titled “Sparrow”, Corgan gets so close to the mic that it feels as if he’s humming the words right beside you.
These demos are hardly rough, either, strong enough to be carved out for a lost acoustic album. Consider them, instead, loose artifacts of Corgan’s mindset at the time, a doorway into his barest emotions before they were fully realized and awash in synthesizers.
However, one moment that’s worth skipping to is Sean “Puffy” Combs’ inspired remix of “Ava Adore”, a cinematic reimagining that tailors Corgan with Sting-approved tapestries — simply put, it’s interesting. (Watch: ) But “interesting” is so closely intertwined with hindsight, a finicky attribute of any reissue.
After all, on a long enough timeline, everyone comes around to ingenuity, and that’s what these packages intend to propose. While Adore isn’t exactly genius, it’s certainly of the same fabric: a tortured portrait of tortured artists that will always remain tortured. The difference between this collection and, say, the future reissue of the really polarizing Machina albums is that the Pumpkins were still inches away from the ledge, pushing back against whatever force was attempting to hurl them off. This struggle offered one last glimpse of the Midwestern boy everyone hated to love, as opposed to the man everyone would love to hate. For a few hours, it’s nice to feel the bitter love again. Essential Tracks: “Let Me Give the World to You (Rick Rubin)”, “To Sheila (Early Banjo Version)”, “What If? (Streeterville Demo)”, and “Valentine (Sadlands Demo)”.
The Smashing Pumpkins – Monuments To An Elegy (2014)
Monuments to an Elegy is the upcoming ninth studio album by the alternative rock band The Smashing Pumpkins, due for release on December 9, 2014. Band leader Billy Corgan has noted that “similar to the band’s previous release, Oceania” – the album will be part of the ongoing project, Teargarden by Kaleidyscope.
The Smashing Pumpkins treat evolution itself as an art form. Billy Corgan and Co. continually challenge themselves and the general listening public at large, yielding music that’s as intricate as it is irresistible every time they enter the studio. Simultaneously, each subsequent offering stands alone.
Oceania proved to be another marked progression after Zeitgeist, while the “holy trinity” of Gish, Siamese Dream, and Mellon Collie and the Infinite Sadness each moved alternative rock forward, while never sticking to the same plot. It’s as if Corgan continually writes a new chapter to his legacy within the overall framework without needing to explicitly hug onto said framework. Yes, he’s one of the generation’s greatest songwriters and guitar players, but his real brilliance lies in that ability to seamlessly (and fearlessly) evolve.
That brings us to Monuments to an Elegy. Once again, it’s loaded with surprises, while still preserving the sound countless fans have come to adore—pun intended. The shimmering intro of “Tiberius” gives way to a wall of distortion and Corgan’s heartfelt lyrics. The seesawing rhythms stand out as some of Tommy Lee’s most powerful drumming especially when paired alongside the cinematically thick guitars.
“Being Beige” drops from dreamy into elegantly heavy as Corgan admits, “World’s on fire”, while “Anaise!” adopts a funk groove that instantly captivates. “One and All” combines that impenetrable guitar tandem of Corgan and Jeff Schroeder with vivid lyrics. It’s intense and also intensely infectious. “Run2Me” could very well be the group’s most danceable love song ever. However, album standout “Anti-Hero” tempers a snapping palm-muted guitar with a big hook. It’s tightly woven and so artfully crafted that’s it remains downright undeniable.
You’ll hit replay on Monuments To An Elegy the moment it finishes. This belongs in the pantheon alongside Corgan’s greatest work and history’s best alternative rock albums. Smashing Pumpkins evolve once more, and the results couldn’t be more magical.
— Review by Rick Florino
Tracklist:
01 – Tiberius 02 – Being Beige 03 – Anaise! 04 – One and All 05 – Run2me 06 – Drum + Fife 07 – Monuments 08 – Dorian 09 – Anti-Hero
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