Gish got people buzzing about the band, and an excellent contribution to the essential Singles soundtrack (“Drown”) furthered an alleged connection to the grunge scene and bands like Nirvana and Pearl Jam.
Next came a severe case of writer’s block for Billy Corgan before he penned the brilliantly uplifting anthem “Today,” a significant hit that put the Pumpkins on their way to stardom. The grungy power chords of “Cherub Rock” starts the album off with a classic rocker that’s an angry putdown of the indie community who had shunned them for not having “paid their dues.” Sorry, but greatness couldn’t wait, and with this big (in every way) second release the band blew away their competition (See ya, Pavement).
Layers upon layers of guitars seamlessly intermesh to form the backbone of louder tracks like the rumbling “Quiet” and brilliantly epic arena rockers such as “Hummer” and “Rocket.” The band also proves adept at switching gear, as their dreamy melodies often erupt into blasts of power chords and shards of feedback. The band’s reliance on these soft-to-loud dynamics (the changes in volume of which can be quite jarring) can seem inevitable at times, but the end result still thrills on songs such as “Today,” “Soma,” and “Mayonnaise” (my favorite song here which also has an absolutely gorgeous guitar intro going for it). Elsewhere, “Disarm” (a major hit), “Luna” (which ends the album on a beautifully optimistic “I’m in love with you” high), and “Spaceboy” (about Corgan’s disabled half brother Jesse) are all highly impressive, lushly orchestrated ballads.
If the album has a flaw it’s in a little too much doodling down time (after all, progressive rock is a primary influence), but though the willful experimentation on songs such as “Silverfuck” seemingly overstays its welcome, the band becomes well worth indulging when the screeching guitars search for transcendence. Apparently the album caused much friction among the band members, as it was later revealed that band leader Billy Corgan insisted on playing the majority of the guitar parts himself, untrusting that his cohorts could capture the many textured splendor of the sounds roaming inside his head.
So call Corgan an arrogant control freak if you must (he thankfully let Jimmy Chamberlin put in an incredible drumming performance, which has to be heard to be believed; check out the dynamic “Geek U.S.A” for starters), but don’t deny that with Siamese Dream he crafted a landmark early ‘90s masterpiece.