Review Summary: The Pumpkins are slowly falling apart, but they're making some outstanding music in the process.
1995 to 1996 was truly a whirlwind period for The Smashing Pumpkins. Not only had they released their landmark double album
Mellon Collie and The Infinite Sadness, but they had also embarked on a hugely successful 13 month long tour in support of it. However while everything seemed fine on the surface, there were huge internal problems. Billy was beginning to burn out musically (partly due to the limitations he felt thanks to the success of their guitar driven sound and the fear of trying something new), he eventually lost his mother to cancer and he was forced to oust long time drummer Jimmy Chamberlin from the band after he and touring keyboardist Jonathan Melovin overdosed on heroin- Jonathan succumbing to the drug. These events culminated in a collective desire for the Pumpkins to experiment and attempt something they had never done before- a mainly acoustic album with flourishes of electronica.
We are introduced to the world of
Adore with “To Sheila”, a heart wrenching song about loss and learning to leave go of the ones you love. The change in sound is apparent instantly, with only an acoustic guitar accompanying Billy’s unmistakable vocals and poetic lyrics. Despite this, the barren soundscapes do not carry into “Ava Adore”, a conspicuously gothic piece held together by a drum machine. To have this as the first single may have been an error on the band’s part, as it is the only one of its kind on the album (perhaps it was so poorly received originally because people felt like they had been duped). That’s not to say it’s a bad song, quite the contrary actually, it’s just that it isn’t a very accurate representation of
Adore as a whole. The song concludes with a short glam-rock solo before “Perfect” begins, sounding like it wouldn’t have been out of place on the second disk of
Mellon Collie.
However, “Daphne Descends” arrives and we are forced to wave goodbye to any trace of the old Pumpkins. The galloping electronic beat and sombre guitar tell us we're in new and frankly uncomfortable territory. The song reaches a stunning climax with Billy and D'arcy cooing "you love him" in perfect synchronisation but at alternate pitches. It's one of the many hauntingly beautiful moments Adore possesses. At this point you can't help but wonder "perhaps this is just a sonic detour, an experiment" but then you're greeted with the double whammy of “Once Upon A Time” and “Tear”, and it becomes very clear that the honest, confessional songwriting is here to stay. “Tear” is particularly memorable, telling the story of a lover leaving the protagonist and the deep sorrow that often comes with this. The violins and desolate drums accompany the lyrics perfectly to create a lush and powerful piece of music. The title "Tear" is very interesting in itself as it could be interpreted in two different ways. Maybe it's simply about the tears shed after a loss, or perhaps it's the feeling of being torn up that a loss brings.
One of
Adore's biggest surprises is “Apples + Oranjes”, a truly electronic song (as opposed to the more acoustic/electronic style that the majority of the album follows). It divided fans at the time and it still does to this very day, but the cryptic lyrics and dreamy bass line make it a winner and a standout. When Billy first revealed that Adore would be an electronica album, this is probably what most people envisioned. A common complaint is that the lyrics of the Pumpkins have always seemed to be teenage diary fodder, but one listen to “Pug” and you'll soon realise that not only is Billy on top form as a lyricist- he has actually improved too. The majority of the songs on
Adore are accompanied by a drum machine (probably a stylistic choice rather than a result of Jimmy leaving- Billy could've hired a studio drummer if he wanted), but “Annie-Dog” is one exception and it's instantly noticeable. You'd think that such a distinct shift would make it feel out of place in the context of the album but the minimalist piano and existential lyrics keep it from feeling jarring. It goes on just long enough for it not to become repetitive and it then ends in a rather abrupt manner.
“For Martha” is, without a doubt, the crowning achievement on an album already filled to the brim with near-masterpieces. The beautiful piano is sure to give chills and the dejected nature of the lyrics only adds to this. Like all good ballads should, it ends with a soaring and upbeat guitar solo, the only real one of its kind on the album.
When all is said and done, it would seem that
Adore is the black sheep of The Smashing Pumpkins’ 90’s output because it is simply so different to the rest of their back catalogue. For a band that had built their fanbase off shoegaze tinged alternative rock anthems to suddenly release a gothic acoustic/electronic album was a massive risk and unfortunately it just didn’t pay off in the eyes of the fans at the time. Thankfully
Adore has received a warmer reception with hindsight and for good reason- the 16 songs contained on the album are some of the best Billy and co ever made. It may leave you warn out by the end due to its oppressive tone and sheer length, but the ride is certainly worth it.
Besides, even black sheep deserve a bit of love every now and then.
