![]() Only Billy Corgan would consider a 74-minute, 16-track album a modest effort, but compared to its widescreen predecessors, it does feel a bit scaled down. Adore recasts the calmer moments of those albums in a sepia tone, in an attempt to be modest and intimate. There's none of the distorted bluster that cluttered Mellon Collie and none of the grand sonic technicolor of Siamese Dream. That's not necessarily a problem, since Adore creates its own world with layered keyboards, acoustic guitars, and a rotating selection of drummers and machines. Whenever synthesizers are added to the mix, the results make the band sound like a contemporary of the Cure or Depeche Mode, not Aphex Twin. Using dream pop ballads and the synthetic pulse of "1979" as starting point, the Pumpkins have created a hushed, elegiac album that sounds curiously out of time - it's certainly an outgrowth of their previous work, but the differences aren't entirely modern. Adore, however, isn't a drastic departure. Left without a drummer after Jimmy Chamberlin's dismissal, the Smashing Pumpkins took the opportunity to revamp their sound slightly - which is what Billy Corgan claimed they were going to do on their fourth album anyway.
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