Review Summary: Deep rooted in progressive and psychedelic tendencies that defined their earlier works, Corgan’s latest outing is unpredictable, dynamic and showcases the band’s ability to write perplexing yet powerful riff-laden music once again.
It’s been a challenging twenty-plus years to be a fan of The Smashing Pumpkins. Hellbent on staying relevant with constant reinventions, ambitious yet unfinished projects and an overt necessity to obliterate any notion that the 90’s fan base come to expect from the band; Billy Corgan’s venture into the unknown has always been a major factor of what the notion of ‘alternative’ music is and very much can be. However, since the initial breakup in 2000, the band’s sense of identity has been ponderous at best, notably the loud yet underwhelming Zeitgeist, the ill-conceived Teargarden by Kaleidoscope project and the electronic/synth opus, overwrought with mediocrity, known as Cyr.
And yet, out of nowhere, Billy drops a record with very little promotion or fanfare; the 33-track Atum promised to be a sequel to Corgan’s seminal back catalogue and to considered underwhelming is quite the understatement. Both Cyr and Atum was clouded with hefty self-celebratory hype and damaged the reputation of the band further with its bloated, derivative and meandering nature. Aghori Mhori Mei does away with this grandiose approach by presenting itself as a near-consistent body of work; it not only harkens back to the psychedelic stylings of their earlier material but adds a heavier, more progressive edge found in bands such as Porcupine Tree and, at times, Tool.
Album opener Edin is, simply put, incredible. Full to the brim with intricate time signature changes, quiet sequiturs that are reminiscent of their earlier outings and a sense of energy that feels as though this has been constructed from an actual band rather than a Corgan solo project. This feeling of unity is quite emotional at times to hear - never have the Pumpkins sounded so revitalised. Jimmy is fully audible complete with trademark fills and James’ erratic solo work, much like what one would hear on Zero, is all here.
It continues throughout the first three tracks, with that typical Pumpkins flair of alternative metal, gothic rock and progressive tendencies. A particular revelation however is that the slower tracks are still very much engaging, with Billy crooning on Pentecost ‘If your heart needs the pain, what would a heart do if not lose’. It’s beautifully composed with synth-string arrangement and the most direct Billy has been lyrically in many a year.
There is always a major topic of contention however: Billy’s vocal delivery, mixing and obscure lyricism. This has been prevalent since 2007’s Zeitgeist, with the vocal mix especially being a continued point of discussion. In a baffling form of bait and switch this is mostly rectified here. Mid-album tracks like Who Goes There is a little sharp in the mix, despite its nostalgic throwback with that familiar Pumpkins wall of sound making an appearance.
The only glaring omission that holds the album back from greatness is Billy’s vocal composition direction - there are some brilliant musical passages at stake here but due to the nature of the record’s ‘lack of single’ ethos, there doesn’t seem to be any anthemic choruses or even anything in the realms of catchiness that defined their earlier worked. Now, contextually it works for Aghori Mhori Mei - it’s a different beast entirely with nearly every song defying the typified structure for a standard rock or pop track. But it can mean that the songs are more difficult to differentiate the more you delve into the record.
Album closer Murnau however ends everything on a surprisingly bombastic note with orchestrated synths, delicate piano flourishes and lyrics such as ‘Lord, help me, save my soul…as the river rolls…you dare not follow’, lines that could be questioning Billy’s own mortality but not in the form of martyrdom. His career is a remarkable achievement and compared to the angst-ridden Mellon Collie or the existential yet somber Adore, he is finally happy.
So, the boys are back. Not quite to the standard of Siamese Dream, but that is perhaps an unfair assessment to make - The Smashing Pumpkins have always been a band that defies expectations: this is what makes them so fascinating to listen to. And with Aghori Mhori Mei, they have managed to inspire, excite and surprise once again. In other words, despite their somewhat perplexing back catalogue, it gives me great pleasure to say: welcome home, guys.
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