Left without a drummer after
Jimmy Chamberlin's dismissal,
the Smashing Pumpkins took the opportunity to revamp their sound slightly -- which is what
Billy Corgan claimed they were going to do on their fourth album anyway.
Adore, however, isn't a drastic departure. Using
dream pop ballads and the synthetic pulse of
"1979" as starting point,
the Pumpkins have created a hushed, elegiac album that sounds curiously out of time -- it's certainly an outgrowth of their previous work, but the differences aren't entirely modern. Whenever synthesizers are added to the mix, the results make the band sound like a contemporary of
the Cure or
Depeche Mode, not
Aphex Twin. That's not necessarily a problem, since
Adore creates its own world with layered keyboards, acoustic guitars, and a rotating selection of drummers and machines. There's none of the distorted bluster that cluttered
Mellon Collie and none of the grand sonic technicolor of
Siamese Dream.
Adore recasts the calmer moments of those albums in a sepia tone, in an attempt to be modest and intimate. Only
Billy Corgan would consider a 74-minute, 16-track album a modest effort, but compared to its widescreen predecessors, it does feel a bit scaled down. Still,
Corgan's ambitions reign supreme. This is no mere acoustic album, nor is it
electronica -- it is quiet contemporary
art rock, playing like a concept album without any real concept. Its very length and portentousness tend to obscure some lovely songs, since all the muted production tends to blend all the songs together. But even with its flaws,
Adore is an admirable record that illustrates the depth of
the Pumpkins' sound, even if it ultimately isn't a brave step forward. ~ Stephen Thomas Erlewine
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