Independent Student Newspaper Since 1969

The Badger Herald

Independent Student Newspaper Since 1969

The Badger Herald

Independent Student Newspaper Since 1969

The Badger Herald

Advertisements
Advertisements

Ex-Pumpkin’s solo outing uninspired

Sometimes even the greatest talents make mistakes. The Future Embrace, the debut solo album from Billy Corgan is a horrible misstep at best. Corgan, of Smashing Pumpkins fame, is a cult hero of the '90s alt-rock scene, but one would be hard pressed to detect any of the genius evident in such Pumpkins classics as Gish, Siamese Dream and Mellon Collie and the Infinite Sadness, when listening to this album.

Formed in 1988 in Chicago, the Smashing Pumpkins combined metal, goth and progressive rock, as well as elements of psychedelic rock to create a unique sound. Both artsy and moody, the Pumpkins' music brought them both critical and commercial success. Throughout its existence, the band was characterized by conflict, especially with the romantic breakup of guitarist James Iha and bassist D'arcy Wretzky, and Corgan's intense depression. Following the death of keyboardist Jonathan Melvoin of a drug overdose and the subsequent firing of drummer Jimmy Chamberlain, the Smashing Pumpkins' tumultuous 12-year run came to a close in 2000. Following the break up, Corgan started another band along with Chamberlain, the short-lived and ill-fated Zwan, a musical nightmare of clashing guitars, drums and vocals adding up to essentially an album full of white noise.

The Mr. Clean-esque Corgan and his Smashing Pumpkins were a staple of the 1990s alternative/indie rock scene. Their music was an essential part of the post-grunge movement and a major part of the soundtrack of Generation-X members everywhere. Unfortunately, Corgan seems to have lost all the fire and passion that made the Pumpkins so gritty. Where he once spoke to a generation of repressed and depressed suburban kids, it now seems he is babbling to himself. His level of introspection and exploration of his emotions used to make one think about life, love, happiness and existence as a whole. Now it makes one tired and direly in need of a nap.

Advertisements

The Future Embrace wanders over hill and dale in search of anything remotely resembling melody or rhythm. Corgan drones in nasal monotone, song after song, painting the perfect picture of banality throughout the album. With the exception of "To Love Somebody," a Bee Gees cover, (with Robert Smith of The Cure on backup vocals) this album plods along cliché by cliché with no apparent direction.

It may not be possible to compose more standard lyrics than those that appear in almost every song. Case in point, from "A100" — "You are love/ You are soul/ You are real to me." Billy, please give listeners a break.

The other exception is "Mina Loy (M.O.H.)," the one song where there is a glimmer of decent rock to be found amongst the electronic/techno wreckage of the rest of this album. Layer after layer of computerized sound effects do nothing but distract from Corgan and he never seems to quite get in tune with his own music. Ultimately, the songs sound awkward and repetitive as Corgan typically does not sing more than four words at a time before a pause, followed by — surprise — another four words.

If Billy Corgan wants to continue to be relevant and regain the influence he once had over a generation, mumbling "we can change the world" can't be his best effort. But so far it is. If his previous albums hadn't been life-changing works of music, one might be content to say this album is another middle-of-the-road rock album in a world full of middle-of-the-road rock albums. However, this is not the case. Corgan's music did change lives, and therefore this album is nothing but a gigantic let down.

When everyone knows you have the talent to make great music that speaks to millions, it is obviously going to be hard to live up to those expectations, especially without the band you first made it with. But it's doable. Think Steve Winwood post-Traffic, Neil Young after CSNY, or Ozzy Osborne once he was kicked out of Black Sabbath. All musical geniuses have the potential to reach greatness as solo artists. Billy Corgan has this potential, but instead of trying to find himself through creating bad electronica albums, he might want to resolve his issues through some other means.

Grade: C

Advertisements
Leave a Comment
Donate to The Badger Herald

Your donation will support the student journalists of University of Wisconsin-Madison. Your contribution will allow us to purchase equipment and cover our annual website hosting costs.

More to Discover
Donate to The Badger Herald

Comments (0)

All The Badger Herald Picks Reader Picks Sort: Newest

Your email address will not be published. Required fields are marked *