The Smashing Pumpkins, Adore (1998):
The first (of four) recent finds I made on my latest Amoeba trip was the Smashing Pumpkin's much-maligned 1998 album
Adore. Coming after the stadium rock grandeur of
Mellon Collie and the Infinite Sadness, the album's harder, electronic-tinged sound had a mixed reception, and was even characterized by Billy Corgan as "the sound of a band falling apart." While generally well-received by critics, it failed to ignite commercially and over the years has become their least appreciated album. I'm glad I finally got around to buying it, because
Adore is in fact far from disappointing. The tone is set from the start with minimal, delicate ballad "To Sheila" and the album's singles (and perhaps only truly radio-friendly tracks), the driving "Ava Adore" and midtempo masterpiece "Perfect." The album then kicks into high gear with the dark, heavy "Daphne Descends," an anthemic industrial rock song that won't leave your head any time soon. The album, though running a bit long at 16 tracks, rarely loses the focus of its first few tracks. With the exception of less memorable slower songs like "Once Upon A Time" and "The Tale Of Dusty & Pistol Pete,"
Adore is a cohesive, fully-realized record with some of the Pumpkins' finest songs on it. The excellent rockers "Ava Adore" and "Daphne Descends" are supplemented by the equally stirring "Tear" and "Appels+Oranjes."
Adore also contains some of the band's best downtempo melodies, from the pensive "Shame" and sweeping "Behold! The Night Mare" to the album's single best track, the beautiful, heartbreaking 8-minute epic "For Martha." The Smashing Pumpkins' albums are defined their broad scope and ambitious reach, and
Adore manages to fully realize its sound and themes without losing focus. It's true that the album projects a cold, hard-edged sound distinctly different from their previous work, but that works to the advantage of the songs and helps make
Adore an unfairly underappreciated gem in their catalog.
The Smashing Pumpkins, "Daphne Descends" [YSI]
The Smashing Pumpkins, "Tear" [YSI]
The Smashing Pumpkins, "For Martha" [YSI]
Primal Scream, Vanishing Point (1997):
Primal Scream are a band that have had many incarnations, some more memorable than others. Finding little early success, it wasn't until they traded in their punk roots for the groundbreaking acid house of 1991's
Screamadelica that they became noticed. After a detour to Stones-based rock, they explored dub, ambient and Krautrock on 1997's
Vanishing Point. The album, like the aggressive electronica of
XTRMNTR, relies as heavily on its sound as on the song structures themselves, and as a result works much better as a unit than as individual parts. Its deep basslines and expansive soundscapes set up a unique mood for the record that is, for the most part, entirely engrossing. In some spots, where either the overall sound or the song as an individual unit are emphasized over the other, the record loses its edge (like on the forgettable "Star" or the latter part of the album). Other times, like on first single "Kowalski," they achieve their goals perfectly. For fans of the Scream (especially those who prefer
XTRMNTR or
Evil Heat to their most recent work),
Vanishing Point is an integral part of the story, rather than just an oddity in their catalog.
Primal Scream, "Burning Wheel" [YSI]
Primal Scream, "Kowalski" [YSI]
Primal Scream, "If They Move, Kill 'Em" [YSI]
Pizzicato Five, Made In USA (1994):
My initial obsession with Pizzicato Five has not worn off. In a few short months, I've picked up four of their main albums, dating back to their US debut on Matador, the compilation
Made In USA. The 11-track set collects songs from their huge array of Japanese album releases, and surprisingly works well as a standalone album. The set is heavily influenced by bossa nova, lounge pop and 60s rhythms, with a strong foundation in pop and an ear for the quirky. The "Shibuya-kei" style is developed to its extreme here on songs like the bombastic Bond send-up "Twiggy Twiggy" and the bouncy "Go Go Dancer." P5 let their hair down on relaxed numbers like the spoken word "This Year's Girl #2" and the cheeky "Baby Love Child." The album could have definitely had more on it, like some of the more traditional pop songs featured on its follow-up compilation (1995's
The Sound of Music by Pizzicato Five). However, its brevity and quick changes in tone make
Made In USA a fun, concise record, documenting the alternate dimension in pop music that Pizzicato Five seem destined to exist in.
Pizzicato Five, "Baby Love Child" [YSI]***
Pizzicato Five, "Twiggy Twiggy/Twiggy Vs. James Bond" [YSI]
Pizzicato Five, "This Year's Girl #2" [YSI]
***As featured on yesterday's
birthday mixtape.
***Note: Links removed***
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