Reviews>> Smashing Pumpkins - Oceania (EMI/Martha's Music)

In the five years that have passed since The Smashing Pumpkins’ last studio album, Zeitgeist, was released, there have been numerous line-up changes. Most obvious of course, being the departure of original drummer Jimmy Chamberlin, who was replaced by 22-year-old Mike Byrne, a long-time Pumpkins fan. Unlike on Zeitgeist, rhythm guitar and bass duties weren’t supplied by band leader Billy Corgan, but by Jeff Schroeder, who’s a somewhat veteran in the band, having been there since live shows in 2007, and Nicole Fiorentino, formerly of Spinerette and Veruca Salt fame, respectively. This therefore makes Oceania the first full band release for the Pumpkins, since 1995’s colossal double album, Mellon Collie & the Infinite Sadness, which incidentally, Corgan had claimed that Oceania would be their finest effort since then.

Over their long career, the Pumpkins have always fused together an amalgam of different genres and this release is no different, taking a trip through different stages of their career, from arena rock to prog to dream pop and electronica. It isn’t a completely new sound for the Pumpkins, a couple of songs could be found at home on earlier releases, but it is an attempt to make its own mark in the Pumpkins vault, rather than rehashing past glories.  

Opener “Quasar” hits you early on, with its pounding drums and soaring arena-ready guitars, whilst the ensuing “Panopticon” continues where its predecessor left off. The new wave “Pinwheels” could well be the “1979” of the album, a beautiful dreamlike composition comprised of floaty guitars and atmospheric-synths. The title track is the Pumpkins at their grandest and most ambitious; an epic, evolving nine-minute journey through dreamy space rock, progressive rock, acoustic balladry and funky basslines.  Ballads “My Love is Winter” and “Violet Rays” are melodically beautiful, whilst “The Chimera” and “Inkless” revisit the early Pumpkins, with their fuzzy, heavy progressive riffs. “Pale Horse” is a futuristic space rock odyssey.  It does tail off towards the end with “Wildflower,” but with listening to the album all the way through, it is worth enduring.  

Overall, it’s a great return from The Smashing Pumpkins, but it’s also a great prologue for them to continue off on their next release.

8/10 

Seen It>>Smashing Pumpkins at Brixton Academy - 16.11.2011

Billy Corgan and the new Smashing Pumpkins ensemble - consisting of guitarist Jeff Schroeder, bassist Nicole Fiorentino and drummer Mike Byrne - descended onto London for the second night at Brixton Academy, for an intimate UK tour of new material and old favourites. The majority of the crowd seemed to be young adults and teenagers getting their first taste of the Pumpkins and the line up didn’t seem to bother anyone. For the first time since the original line up, it seems that the Smashing Pumpkins have a sound that gels incredibly well together and the craftsmanship they process is one of a band who have been together for years, not just a matter of months.

The one complaint seemed to stem from the lack of big singles -”Today”, “Disarm”, “1979” and others were missing - which was exactly why this was a show for the most ardent of Pumpkins fans. B-sides from the album Pisces Iscariot, “Starla” and “Frail and Bedazzled”, made the setlist along with Mellon Collie & the Infinite Sadness tracks, “Muzzle” and “Thru the Eyes of Ruby”, and Siamese Dream’s “Geek U.S.A”, “Soma” and “Silverfuck.” Even at 44, the older and still balder Corgan showed he could still handle the long and pounding solos, shredding the shit out of the guitar at every opportunity. New songs from upcoming album Oceania and online album Teargarden By Kaleidyscope, included “Quasar”, “Panopticon”, “Lightning Strikes”, “Oceania”, “Pinwheels” and “Pale Horse.” The songs’ blend between heavy guitars riffs and long solos, prog rock and shoegaze, dream pop was the typical mixture of genres that the Smashing Pumpkins became known for.

Unsurprisingly, the biggest cheers of the night came for the singles, “Siva,” “Cherub Rock”, “Zero” and “Bullet With Butterfly Wings.” However, undoubtedly the highlight of the night was the surprise inclusion of “Tonight, Tonight” into the setlist, the only time on this current tour that it was performed. It drew the biggest singalong of the night, drawing some passionate screaming with arms aloft and, played even without the orchestra, remained as beautiful and poignant as always. The transition from “Thru the Eyes of Ruby” (which included an extract of “I Am One”) to “Cherub Rock”, into “Tonight, Tonight” and “For Martha”, was an excellent showcase of the band’s altering back catalogue, from head banging and air guitar grunge to moving and delicate singalongs. It was the prefect way to send the audience home happy.

They returned after the encore, covering “Stephen” by Gene Loves Jezebel along with two of the band members, before the audience got what they were waiting for; the angry, fist pumping anthems “Zero” and “Bullet With Butterfly Wings”, which were full of sweaty mosh pits and teenage angst.

A beaming and grinning Billy Corgan even had time at the end for a bit of US v UK banter with the crowd. Much like Corgan and the rest of the band, the crowd left with grins across their faces. A fine welcome back to the UK for the Pumpkins and a great send off at the same time.

Setlist:
Quasar
Panopticon
Starla
Geek U.S.A
Muzzle
Window Paine
Lightning Strikes
Soma
Siva
Oceania
Frail and Bedazzled
Silverfuck
Pinwheels
Pale Horse
Thru the Eyes of Ruby (plus I am One)
Cherub Rock
Tonight, Tonight
For Martha

Encore:
Stephen (Gene Loves Jezebel cover)
Zero
Bullet With Butterfly Wings