The Smashing Pumpkins
Oceania

When, quite a few years ago, the last "real" album by the Smashing Pumpkins came out, I was one of the few here on Debasio who didn't bash it.

It didn’t seem that bad to me, probably because at that time my tastes were all over the place... a bit like these days when all I do is listen to the Management Del Dolore Post-operatorio.

Now, after spending the entire morning listening to the best avant-garde jazz, fusion, and post-rock currently around, the entire discography of Candlemass, and that of KC's latest period (from 2000 onwards), I’m trying to redeem myself (as my friend Father Maronno would say) by "reviewing," after careful listening, this latest work from the Chicago group.

So, to be very critical, I could start by citing that wonderful film "The Sixth Sense," and at least those who have seen it would immediately understand what I'm trying to convey.

But perhaps, since it's better not to be so drastic, let me explain how I intend to proceed.

I’ll enter a "record" store (remember, I'm a "purist" and I love original albums made of plastic and cellophane) and say:

"Good morning, I’d like half the latest album by the Smashing Pumpkins. Plus, add the cover."

"Excuse me?" the saleswoman with the splendid blue eyes will say to me.

"You understood correctly, precisely I want eight thirteenths, can I have what I asked for?"

"Alright, you have to give me eight thirteenths of 20 euros, that is 12.307692307692307692307692307692 euros, plus the cover which is one euro, it totals 13.307692307692307692307692307692 euros. Do you have a saw?" the resigned saleswoman will say.

In the end, dear old Billy (and I can say that since he's my age) had somewhat deceived us with certain pieces of the "Teargarden by Kaleidyscope" experiment.

There was a certain variety and a certain "Melloncollian" lightness that, at least to me, gave good hope.

He kept his promise halfway, exactly in the first eight songs of the album, for instance, until the eponymous track ("Oceania"), very psychedelic in its final part, which (absolutely) constitutes the peak of the album.

Up to that point, you find scattered (among absolutely insignificant tracks and an always latent heaviness and monotony in composition; after all, many say Corgan always uses the same riffs in his songs) tracks of certain value, truly reminiscent of certain things from Siamese Dream and MCATIS (e.g., "Pinwheels," with the harmonic progression that reminds me so much of "Porcelina...").

After that, after the "orgasm" of Oceania, the decline, the "post-orgasmic-chill" (applies also to a track like "Pale Horse" which is to my taste but, I don’t know why, I find "cold"), as the Skunk Anansie of the time would say.

In the end, to conclude and recap, there are only two things to say:

•  To Billy Corgan's detractors, rest assured, this SP album isn’t that much better than the last, and perhaps their end (the second, awaiting the third) is really close, if Billy keeps his word.

•  A beautiful cover and nice titles (even if a bit pretentious) don't necessarily make a great album (at least not entirely).