Artist: The Smashing Pumpkins
Released: November 27th, 2020
Highlights: The Colour of Love, Dulcet in E, Wrath, Ramona, Anno Satana
Ever since their heyday in the 90s, when the fantastic sequence of albums comprised of “Siamese Dream” and “Mellon Collie and the Infinite Sadness” put them on top of the alternative rock world, The Smashing Pumpkins have been a bit of a mess. Active through most of that interval, with the exception of a six-year break, all of those who do not follow the music universe too closely would be easily forgiven for thinking Billy Corgan’s group had disbanded long ago. After all, the records they have put out since that pair of releases, with the exception of the very good “Adore” from 1998, have failed to make any impact with the general public; worse yet, lost amid lineup changes, internal fights, and the ego of a front-man who is a bit hard to deal with, the band has seen many of its early fans move on to other pastures.
Such a scenario may lead one to think that The Smashing Pumpkins have been pretty bad for nearly twenty years; and some are certain to build an argument in that direction, especially former fans who passionately followed them in the 90s. But, truth be told, even if continued relevance has eluded them and personnel consistency has been non-existent, the group has not really produced any work that straight up stinks. Sure, most of their output since the days of glory has been marred by silly conceptual grandeur that has repeatedly failed to come to fruition and – as the critics will point out – an impressive amount of embarrassing lyrics. But Corgan is, ultimately, too good of a songwriter to produce a major disaster of an album, let alone a bunch of them; and, as such, The Smashing Pumpkins have, in a way, remained afloat to the few who are listening and have continued to publish works that, though not excellent by any means, have been mostly good.
It is in that position that the band gets to its eleventh release, the mysteriously titled “Cyr”. However, this time around there is a twist, as the album is a product of the reunion of three of the four members the band had during its classic run, an encounter that had not happened since the year 2000. Truly, some will point out that 2018’s “Shiny and Oh So Bright” was actually the moment in which that trio came together, and that would be correct. But, as Corgan said it himself, that release was a bit of a rushed and spontaneous work; so much that it contains only half an hour of music. “Cyr”, meanwhile, is a calculated effort: one that has been planned, conceptualized, and slowly built by the band.
As collaborative of an album as it may be, “Cyr” will never convince anybody it is anything other than a product of Corgan’s mind: as he is such a complete leader of The Smashing Pumpkins that he reportedly recorded most instruments of “Siamese Dream” himself. And although it is kind of silly to complain about Corgan having total control given that The Smashing Pumpkins have always been his band, for the good and for the bad, it is always a bit worrisome when Billy gets too caught up with conceptual matters, as those flights of grandeur have always tended to be the band’s downfall, since records that had the potential to be good collections of songs – such as the “Machina” pair and the scrapped “Teargarden by Kaleidyscope” – have historically gotten lost in the middle of foggy ideas.
“Cyr” is by no means different. With seventy-two minutes of music, it shows all the problems of The Smashing Pumpkins’ conceptual works: it is too long, it could have been trimmed down to a far more consistent release, and it has a concept that will fly over pretty much everybody’s heads, a characteristic that makes many of Corgan’s words here sound silly or pretentious. On a brighter note, it has the traits that stop the band’s most gigantic ideas from falling into the garbage bin, because its tunes are good, its hooks are plentiful, its melodies are beautiful, and it has an uncountable assortment of catchy moments; little musical sparkly gems that stick to listeners’ brains like bubblegum. It is, in many ways, The Smashing Pumpkins at their best and at their worst.
“Cyr”, however, makes an extra effort to put additional weight on that worst side of the equation. As stated by Corgan, musically the album is guided by a desire of his to respond to critics that have called him out for making the same type of music over and over again. “Cyr” is, thereby, paraphrasing Billy’s own words, a fight to display he is a contemporary musical artist, not one that is stuck in the 90s. Sadly, it seems Corgan’s idea of contemporary sounds is quite limited to the world of synth-pop, as that is the style in which all of the album lands. Truly, considering the creative drive behind the record, it could have been much worse, as Corgan would not be a good fit for the kinds of sounds that dominate much of the contemporary landscape; so, in a sense, synth-pop was probably a good choice for The Smashing Pumpkins. At the same time, results could have been much better.
The main problem here is neither concept nor length, but the fact The Smashing Pumpkins fail to make synth-pop of their own. From the outset, they were a band with a unique skill of merging the heaviest of riffs – uncorking walls of guitars powerful enough to make metal bands envious – with the sweetest and most vulnerable pop melodies. And ever since those days, Corgan and company have taken good advantage of those skills. Here, though, they do not. Overall, there is both beauty and darkness to be found in “Cyr”, a mixture that recalls the “Adore” era, when the band used electronic sounds to explore a nigh Gothic vein of their pop inclinations. But where “Adore” was original in spirit while retaining The Smashing Pumpkins’ heart, the originality of “Cyr” comes off as generic because it carries very little of the band.
It is hard to the deny the greatness of a tune like “The Colour of Love”; the beauty of an electronic ballad such as “Dulcet in R”; and the incredibly tasteful production touches of the record, like the processed female vocals that permeate most of the tunes and the occasional appearances of jangly guitars, as the ones that add a touch of alternative rock to “Wrath”. But, in the end, “Cyr” is both excessively homogeneous for its length, running out of steam by the second half when the quality of the tunes clearly degrades; and slightly too safe of a synth-pop effort, even if The Smashing Pumpkins turning to that genre is quite a bold choice. And perhaps that is what is so disappointing about it: the fact it is simultaneously courageous and not sufficiently audacious. At least before it is all said and done, Corgan gives us a glimpse of how good and original his band can be in this setting, as the tune “Anno Satana” provides a look into what “Cyr” could have ideally been: powered by synthesizers, sure; dark, absolutely; but also packing a heaviness that leaves the unique mark of The Smashing Pumpkins on synth-pop.