Siamese Dream

When Siamese Dream was initially released in the summer of 1993 it was hailed as alternative rock’s first great post-Nevermind hope. And while it has gone on to become an overwhelming commercial success, it has also helped further re-draw the artistic borders of ‘alternative’ music. By combining neo-psychedelic aor guitars (band-members proudly claim Boston as an influence) with Pumpkin auteur Billy Corgan’s ‘outsider’ lyrical stance, Siamese Dream creates a rebel image; but one with a wandering eye towards mainstream acceptance as well. Consequently, Smashing Pumpkins are equally successful relating to young lollapaloozers and to classic rock radio. The album’s immediate attraction is plain to see – Corgan and co-producer Butch Vig have sculpted a sonic wall of guitars – in some cases, using up to 32 separate guitar tracks on a single song – that is electrifying in its sheer scope and power. Along with Jimmy Chamberlin’s powerhouse drumming, guitarists Corgan and James Iha’s thick sound endows Siamese Dream with a fresh feel that holds up even on repeated listens – and how many other ‘top ten’ albums can you say that about