Login
When was 2005, Billy Corgan bought an entire page of the Chicago Tribune to announce the return of the Smashing Pumpkins, wrote of wanting to resume his dreams. The road was, as usual for the band and its leader, long and winding. But seven springs away (the same length of time which served as the original line to climb the charts and then melt: 1993 - 2000), can finally consider closing the file. What will be from here on out remains to be seen, because of certainty, in the changing psyche of an amiable and unbearable as the first woman Corgan, there are few. Better enjoy the present time, that represented with unexpected effectiveness of "Oceania", the seventh studio album for the group. But first studio album for this group, that consisted, besides Corgan (vocals, guitars, interviews questionable), Nicole Fiorentino on bass, Mike Byrne on drums and Jeff Schroeder on guitar.
It's really hard for these Smashing Pumpkins and a new episode of Billy solo in disguise, it is evident to anyone who wants to approach with white spirit to sixty minutes of music spread through the thirteen episodes of what is a thematic album. Yet another themed album in the career of pumpkins: with "Mellon Collie & the infinite sadness" that had been better we could not, with "Machina / The Machines of God" the box office performance was not the most egregious. Correct to speak of disc being played by a band, event, non-trivial when there is half the ego (rightly) hypertrophic an artist revered, especially in the nineties, as Corgan. But between the bass lines of "Pale Horse" and grafts Schroeder in "My love is winter", between attunements (!) Of "Pinwheels" and the new approach to the skins, at least for the sound of the Pumpkins, of Byrne on multiple tracks ... a win is a renewed sense of wealth.
Wealth of resources and solutions that the four used to drive the melodies, solar and ever so vital to Corgan of openings or dreamy adventures aftertaste prog. These are the dreams that are reclaiming the Smashing Pumpkins "Oceania" those ethereal flavors that made the unique sound of the band when they were calling the shots ethics and approach grunge. The flights of fancy, often the single reason why writing Corgan was appreciated and hated at the same time, returning finally to recover their place, after attempts willing but limited "Zeitgeist" (2007).
"Oceania" makes it even more obvious misunderstanding of the project "Teargarden by Kaleidyscope" that the new band has kept busy over the past two years. There he spoke to deploy individual pieces through the web, but Corgan and (also) those Smashing Pumpkins work best when they can play on a full tracklist, with its wide range of emotions and sounds, however, taking the opportunity to put sensational pop songs and concessions to radio programming.
Who wants to find in Oceania the effrontery to "Siamese Dream" can do with the opening of "Quasar" (where Byrne evidence clearly to imitate the style of Jimmy Chamberlin) or "The chimera" (where Byrne test clearly a caring style Chamberlin). Adventure seekers Mellon Collie can play on the intercom "The celestials" or "Panopticon". Those interested approach and massive marble "Machina" can query the title track. But none of the pieces sound like a clumsy attempt to be quoted him: the explosive power of the aforementioned "The celestials" (in fact chosen by some U.S. radio as the first single) is compelling, the delicacy of "Violet rays" daughter of the most enveloping the repertoire Pumpkins, dressed in new clothes from a synthesizer as big as a studio apartment.
Like all the albums before him, Oceania lives and dies of his imperfection, daughter of pretentious character of Corgan. The triptych of pieces before the greeting minimal, yet spectacular, the "Wildflower" is positioned so questionable. Three tracks aggressive and does not perform the best in the few minutes available to them (the guitar "Glissandra," however, applies only to the endurance of the next "la la la").
But despite the constant chatter and a bit 'sickly love as the only saving power of Corgan, despite texts whose basin lexical seems less attractive for the "good old days" and despite some svirgolata here and there, Oceania is revealed for what it is : A hard to hear from beginning to end, with his feet improbably set between the claims prog, hard rock of the seventies, and a generous use of electronics. Just complain about a lack of quell'imprudenza a bit 'naive that made inimitable the first part of the group's career, but it is the price to pay for a Corgan, finally, can leave behind adolescence.
