Smashing Pumpkins
Mellon Collie & The Infinite Sadness

THE REVIEW

Only today do I begin to appreciate the greatness of this excellent group: the fact is that I discovered them with Adore and Machina, albums in which the raw and powerful sound that characterized their beginnings had vanished, and when finding a good track required navigating through the extracted singles (fans, don't kill me for what I just said).

With this second album, there's no need to skip for good music, because it's very rare to find an unpleasant track. It opens with a splendid intro (self-titled), with only the piano dominating the scene, highlighting that more pop side of genius Corgan that fans already appreciated with Mayonnaise in Siamese Dream. More melody with "Tonight, Tonight": there's no need to define its greatness, the lyrics are shocking and mesmerizing, and the music is played divinely, proving that the Pumpkins can also do it technically (in this case, I'm referring to Chamberlain). From track number 3 onwards, the electric guitars begin and "finally" the distortions: "Zero" and "Bullet With Butterfly Wings" are the peaks, moving through "Here Is No Why" until reaching "Love", a track that hints at what Adore will be, with its almost electropop sound. In this part of the album, the already mentioned calm side of Billy takes over again, which this time gets lost in some overly sweet melodies that, in my opinion, slightly lower the average.

The second disc is not at the level of the first, even if it starts off well, especially when listening to "Bodies". But it's "1979" that stands out: a very catchy riff, simple and precise drums that break in without disturbing Corgan's very expressive voice here. A track that perhaps owes something to My Bloody Valentine (?); it must be because I always have "When You Sleep" in my head, but anyway... The masterpieces are "finished" but the album continues to be enjoyable as it began, that is, among more rock tracks ("X.Y.U") or sweet ones ("Stumbleine"). I don't consider it, like many do, a masterpiece, but certainly the best in the discography of the Chicago band, with an ensemble of historical tracks and others of little depth, yes, but an excellent album.
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p.s: I write reviews for personal satisfaction, so I hope not to see the usual "it's already been said, adds nothing" in the comments, I'm aware of that but I still want to share my opinion on an album I appreciated; I will do so in the future as well.