15 Songs, 1 Hour, 13 Minutes

EDITORS’ NOTES

Generally, bands that rock hard enough can release anything they want as long as they don’t forget to rock. Smashing Pumpkins’ previous album, Adore, had gotten a bad reputation for being a "techno" record, which it wasn't. And Machina/The Machines of God was understood to be a concept album, which it was. Except that few people understood the concept. Again, that shouldn’t have been a problem, since the band rocks very hard throughout, thanks to drummer Jimmy Chamberlin rejoining the group. This album and its second volume (released solely on the Internet) were met with commercial disappointment, despite receiving decent (even a few rapturous) reviews. Perhaps 2000 simply wasn't the year to be a long-established alt-rock band. Yet hardcore Pumpkins fans who gave the album a fair listen were treated to the fury of “The Everlasting Gaze” and the tuneful and somber “Stand Inside Your Love” before “Heavy Metal Machine” threatened to tear down The Wall (oops! wrong concept album). The nine-minute “Glass and the Ghost Children” further proved that Corgan hadn’t lost his sense of grandeur—just his audience’s attention. 

EDITORS’ NOTES

Generally, bands that rock hard enough can release anything they want as long as they don’t forget to rock. Smashing Pumpkins’ previous album, Adore, had gotten a bad reputation for being a "techno" record, which it wasn't. And Machina/The Machines of God was understood to be a concept album, which it was. Except that few people understood the concept. Again, that shouldn’t have been a problem, since the band rocks very hard throughout, thanks to drummer Jimmy Chamberlin rejoining the group. This album and its second volume (released solely on the Internet) were met with commercial disappointment, despite receiving decent (even a few rapturous) reviews. Perhaps 2000 simply wasn't the year to be a long-established alt-rock band. Yet hardcore Pumpkins fans who gave the album a fair listen were treated to the fury of “The Everlasting Gaze” and the tuneful and somber “Stand Inside Your Love” before “Heavy Metal Machine” threatened to tear down The Wall (oops! wrong concept album). The nine-minute “Glass and the Ghost Children” further proved that Corgan hadn’t lost his sense of grandeur—just his audience’s attention. 

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Customer Reviews

4.8 out of 5

38 Ratings

38 Ratings

Seriously No Reviews?

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This album is what first made me a fan of the Pumpkins. I was about 8 years old and shuffling through my dads cd collection when I happen to stumble upon this mysterious and interesting cd cover. Hmm the smashing pumpkins. Never heard of them, but because of the cover I decided to throw it into the player.The first track, Everlasting Gaze was powerfull with a euphoric breakdown. With the attention span of a pre-teen a continued skipping through songs but as I grew wiser I began to listen through the entire album. The whole first part is filled with brilliant power riffs and followed up by soulful, touching breakdowns turning any sensible rock fan into a Pumpkins fan with "I of the Mourning" as probably the best song. Much of the remaining tracks hold traces of the beauty in the beginning but lack the pure concentration of it in between the cold downtuned sections to recreate the previous eargasm. This however should be understood as a good thing because the variation that exists balances the album out from being more on a poppy side. With "Stand Inside Your Love" and "I of the Mourning" as the high, highs of the album. "Glass and the Ghost Children" and "Blue Skies Bring Tears" serve as the lows. Altogether this is a fantastic listen and could have been much more successful if the concept of the album (thats right it actually has a storyline) was more evident and clear.

Underrated

GreatCornhplio

I feel the same about this and Adore, they are both great albums but fell through the cracks of what was popular... Not the best Pumpkins work, but still a masterpiece in and of itself.

Underrated

CHSMetallicadude

This is actually the album I'd recommend for a first-time Pumpkins listener to pick up before regressing back to more popular works. The Machines of God is a concept albums that tells multiple stories with ambiguous conclusions. Listened to with abstraction-tuned ears, it tells the story of Zero/Glass, a rocker who uses his music to convey his own delusion that he is "the voice of God." On the linear side, Machina tells the story of a band trying to get back on track in a changed railyard. While the album collapsed under the weight of Korn, Limp Bizkit and others, it takes dedicated Pumpkinheads to an archaic realm where alchemy breeds beautiful insanity.

About Smashing Pumpkins

Of all the major alternative rock bands of the early '90s, the Smashing Pumpkins were the group least influenced by traditional underground rock. Lead guitarist/songwriter Billy Corgan fashioned an amalgam of progressive rock, heavy metal, goth rock, psychedelia, and dream pop, creating a layered, powerful sound driven by swirling, distorted guitars. Corgan was wise enough to exploit his angst-ridden lyrics, yet he never shied away from rock star posturing, even if he did cloak it in allegedly ironic gestures. In fact, the Smashing Pumpkins became the model for alternative rock success. Pearl Jam shunned it and Nirvana was too destructive. The Pumpkins, on the other hand, knew how to play the game, signing to a major-subsidized indie for underground credibility and moving to the major in time to make the group a multi-platinum act. And when the Pumpkins did achieve mass success with 1993's Siamese Dream, they went a long way to legitimize heavy metal and orchestrated prog rock, helping move alternative rock even closer to '70s AOR, especially in the eyes of radio programmers and mainstream audiences. Unlike many of their contemporaries, they were able to withstand many internal problems and keep selling records, emerging as the longest-lasting and most successful alternative band of the early '90s.

The son of a jazz guitarist, Billy Corgan grew up in a Chicago suburb, leaving home at the age of 19 to move to Florida with his fledgling goth metal band, the Marked. After the band failed down South, he returned to Chicago around 1988, where he began working at a used-record store. At the shop he met James Iha (guitar), a graphic arts student at Loyola University, and the two began collaborating, performing, and recording songs with a drum machine. Corgan met D'Arcy Wretzky at a club show; after arguing about the merits of the Dan Reed Network, the two became friends and she joined the group as a bassist. Soon, the bandmembers, who named themselves the Smashing Pumpkins, had gained a dedicated local following, which included the head of a local club who booked them to open for Jane's Addiction. Before the pivotal concert, the band hired Jimmy Chamberlin, a former jazz musician, as their full-time drummer.

In 1990, the Smashing Pumpkins released their debut single, "I Am One," on the local Chicago label Limited Potential. The single quickly sold out, and in December the band released "Tristessa" on Sub Pop. By this point, the Smashing Pumpkins had become the subject of a hot bidding war, and the group latched on to a clever way to move to a major label without losing indie credibility. They signed to Virgin Records, yet it was decided that the group's debut would be released on the Virgin subsidiary Caroline, and then the band would move to the majors. The strategy worked; Gish, a majestic mix of Black Sabbath and dream pop produced by Butch Vig, became a huge college and modern rock hit upon its spring 1991 release. While it earned a large audience, many indie rock fans began to snipe at the Smashing Pumpkins, accusing them of being careerists. Such criticism did the Pumpkins no harm and they embarked on an extensive supporting tour for Gish, which lasted over a year and included opening slots for Red Hot Chili Peppers and Pearl Jam. During the Gish tour, tensions between bandmembers began to escalate, as Iha and D'Arcy, who had been lovers, went through a messy breakup, Chamberlin became addicted to drugs and alcohol, and Corgan entered a heavy depression. These tensions hadn't been resolved by the time the group entered the studio with Vig to record its second album.

Toward the beginning of the sessions, the Pumpkins were given significant exposure through the inclusion of "Drown" on the Singles soundtrack in the summer of 1992. As the sessions progressed, Corgan relieved himself of his depression by working heavily -- not only did he write a surplus of songs, he played nearly all of the guitars and bass on each recording, which meant that its release was delayed several times. The resulting album, Siamese Dream, was an immaculate production owing much to Queen, yet it was embraced by critics upon its July 1993 release. Siamese Dream became a blockbuster, debuting at number ten on the charts and establishing the Smashing Pumpkins as stars. "Cherub Rock," the first single, was a modern rock hit, yet it was "Today" and the acoustic "Disarm" that sent the album into the stratosphere, as well as the group's relentless touring. The Smashing Pumpkins became the headliners of Lollapalooza 1994, and following the tour's completion, the band went back into the studio to record a new album that Corgan had already claimed would be a double-disc set. To tide fans over until then, the Pumpkins released the B-sides and rarities album Pisces Iscariot in October 1994.

Working with producers Flood and Alan Moulder, the Smashing Pumpkins recorded as a full band for their third album, which turned out to be, as Corgan predicted, a double-disc set called Mellon Collie and the Infinite Sadness. Although many observers were skeptical about whether a double-disc set, especially one so ridiculously named, would be a commercial success, Mellon Collie became an even bigger hit than Siamese Dream, debuting at number one on the charts. On the strength of the singles "Bullet with Butterfly Wings," "1979," "Zero," and "Tonight, Tonight," it sold over four million copies in the U.S., eventually being certified platinum over eight times (each disc in the set counted separately toward certification). The Pumpkins had graduated to stadium shows for the Mellon Collie tour, and the band was at the peak of its popularity when things began to go wrong again. On July 12, prior to two shows at Madison Square Garden, the group's touring keyboardist, Jonathan Melvoin, died from a heroin overdose; he was with Jimmy Chamberlin, who survived his overdose. In the wake of the tragedy, the remaining Pumpkins fired Chamberlin and spent two months on hiatus as they recovered and searched for a new drummer. Early in August, they announced that Filter member Matt Walker would be their touring drummer and Dennis Flemion, a member of the Frogs, would be their touring keyboardist for the remainder of the year. They returned to the stage at the end of August and spent the next five months on tour. During this time, Corgan contributed some music to Ron Howard's Ransom.

Early in 1997, once the Pumpkins left the road, Iha and D'Arcy launched Scratchie Records, a subsidiary of Mercury. In the spring, the Smashing Pumpkins recorded two songs for the soundtrack of Batman & Robin. Iha's solo debut, Let It Come Down, appeared in early 1998; Adore, the new Smashing Pumpkins LP, followed a few months later to disappointing sales and reviews. Chamberlin returned to the group and D'Arcy exited prior to the early-2000 release of MACHINA: The Machines of God. Several months later, Corgan announced his intentions to dissolve the band before the year was out. With former Hole bassist Melissa Auf der Maur replacing D'Arcy, the band launched its farewell tour in 2000. Fans received one last treat when Corgan and company worked feverishly to finish off tracks that were left over from the MACHINA sessions. Surprisingly, Virgin Records balked at the idea of releasing the 25-track set so close to the release of their previous album, so the band put the entire album (going by the official title of Machina II: The Friends and Enemies of Modern Music) on the Internet for fans to download for free. On December 2 of the same year, the Pumpkins played a mammoth final show at Chicago's Metro (also the venue at which the group played its first show back in 1988) before officially calling it quits.

But the former members of the band didn't wait long before carrying on with other projects -- Corgan spent the summer of 2001 playing guitar with New Order on select concert dates, and later in the year unveiled his new band, Zwan, including Chamberlin on drums (as well as former Chavez guitarist Matt Sweeney and bassist David "Skullfisher" Pajo). The other two former Pumpkins, Iha and Auf der Maur, began putting together an alt-rock supergroup dubbed the Virgins. The same year, a pair of postmortem Pumpkins collections were issued for the holiday season -- a double-disc collection and a DVD both called Greatest Hits. Corgan released his first solo album, The Future Embrace, in 2005, and on the day it came out, he took out a full-page ad in The Chicago Tribune to announce that the Smashing Pumpkins were reuniting. He hadn't informed any of his past bandmates, and only Chamberlin went along. Zeitgeist, a heavier album than any past Pumpkins album, was released in 2007.

The group promoted the album heavily well into 2008, but at the end of the year, Corgan announced that the group would no longer record albums, and would instead only issue singles. It wasn't the only change in the band. Corgan announced the departure of Chamberlin in March 2009, making him the last remaining original member of the band that by then consisted of guitarist Jeff Schroeder, bassist Nicole Fiorentino, and drummer Mike Byrne. Once the dust settled, Corgan followed through on his promise to issue only short-form releases, putting out the track "A Song for a Son" in December of 2009. Scattered songs from the band's Teargarden by Kaleidyscope concept were released over the next two years as free downloads, with physical collections of the tracks released in 2010 by way of the EP box sets Songs for a Sailor and The Solstice Bare. In 2012, Corgan decided to take a break from the single-centric concept and released Oceania. Ostensibly the Smashing Pumpkins' eighth studio album, Oceania was also designated part of a 44-track concept titled Teargarden. In 2014, Corgan announced that he would be releasing two albums the following year under a new deal with BMG, which would tie up the Teargarden concept; these would be titled Monuments to an Elegy and Day for Night. By this point, Fiorentino and Byrne had left the band, and drums on Monuments to an Elegy were played by Tommy Lee of Mötley Crüe. Monuments was released on December 9, 2014 and debuted in the Top 40 of the Billboard 200. Chamberlin returned to the band for a 2015 tour, although the promised Day for Night failed to materialize on schedule. ~ Stephen Thomas Erlewine & Greg Prato

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