The long-anticipated album from ‘90s rock icons The Smashing Pumpkins was released in three separate increments, titled “ATUM: A Rock Opera in Three Acts.” “ATUM: Act One” was released Nov. 15, 2022, “ATUM: Act Two” was released Jan. 31, 2023, and “ATUM: Act Three” was released May 5, 2023.
The album consists of 33 songs and runs just under two and a half hours, an unusually lengthy runtime compared to other artists, but a tradition for The Smashing Pumpkins. The lead singer, Billy Corgan, released songs from the album each week leading up to the release on his podcast, “33.”
Corgan’s decision to release the album on his podcast stemmed from wanting to explain the theories behind each of the songs. Although he created the podcast to explain and release his newest album “ATUM: A Rock Opera in Three Acts,” Corgan also used the medium to explore his band’s previous musical works and explain the meanings behind them. I personally enjoyed having an explanation for the songs on the album and believe it is a great way for artists to further connect to their audiences.
The band, mainly Corgan, decided to write and compose this new album in his free time during the COVID-19 shutdowns. The band originally had a tour scheduled for the summer of 2020, which was canceled due to the pandemic. They plan to return again to tour sometime this year with Green Day, and songs from their new album.
The 33 songs explore many different musical styles, deviating from the conventional choice of sticking to a single genre. “ATUM” feels more like an overview of the Smashing Pumpkins’ history.
The album’s variety can be overwhelming when listening to it in one sitting. The three separated parts can feel like three different albums with indifferent styles. The multitude of instruments and vocal styles is heavily heard throughout the album and transports listeners into the band’s different eras.
Listening to the album can be incredibly dense. With different styles and highly sensory instrumental choices, like overly heavy drums and an overpowering bass, I would recommend listening to it in stages and multiple times over to get the whole experience. The album has so much to it, and one listen doesn’t allow for complete digestion.
I believe that many key elements could be missed on a passive listen, lyrically or instrumentally. After around the third go of listening to each section, I noticed changes in pitch, instrumental features, and the translation of overall themes more clearly.
The first song of part one of the album, “ATUM” is purely instrumental and sets a base for the album as a “rock opera.” Leading on a strictly instrumental song sets the album up and allows the listener to glimpse what the record will consist of without overwhelming them.
The first section of the album “ATUM: Part One” was my least favorite part of the tracklist. Although instrumentally it is very unique like in “ATUM,” at times it can be so overpowering that it takes away from the vocals, which can be seen throughout all of the songs in part one.
It also seems as though some of the members did not have much of an involvement in part one of the album, specifically drummer Jimmy Chamberlain and guitarist Jeff Schroeder. The main vocalist of the group, Corgan, seems to be the only one featured. His voice, especially in “Butterfly Suite,” is incredibly auto-tuned and high-pitched. The drums are also mundane throughout this first section of the album, particularly compared to the rest of the album.
Following that track, there are numerous examples of complex instrumental choices, like within “Where Rain Must Fall” and “The Gold Mask.” There are also multiple examples of complex vocal decisions, including the exciting use of auto-tune.
The song “Where Rain Must Fall” is supposed to be modeled after an old Hollywood musical, according to the band, and includes the same instrumental choices as a musical might take, which is drastically different from the band’s other music.
“The Gold Mask” is arguably the strongest song on the album and is similar to the band’s previous work.
The lyrics follow the theme of rebirth and freedom which can be heard in the chorus: “Taken by the two’s in heart / Lover, I would choose to part again / Dain, I do not lead, dare not pale.”
I believe that this is the strongest song in the album lyrically and is incredibly poetic, but follows the same format as their previous work, which is both comforting and familiar.
“ATUM: Part Two” is more of a transitional piece between part one and part three. It is very unique, especially for the band, and uses a variety of sounds that have not been previously featured on any of their songs.
I find part two to be a very refreshing portion of the album and enjoy the uniqueness of it. I think that incorporating new sounds adds a sense of individuality to this part of the album—however, I think it is a filler piece and is mainly just there to transition to part three.
“ATUM: Part Three” is my favorite portion of the album by far. It follows more of a podcast format which I found very interactive. I liked that I was able to understand the artist’s thoughts and feelings behind the songs and I felt more immersed in the music after I had an explanation for certain musical and lyrical choices. Even so, it did take two hours into the album to find the best part—which may be done on purpose. Part three ends the album on a smashing note and makes listening to a two-and-a-half-hour album worth it.
Unlike the rest of The Smashing Pumpkins songs, “ATUM” relies heavily on auto-tune and digitally enhanced sounds within the album. Although it can be argued that the band’s other albums are more pure and raw, the use of these technologies is not necessarily negative. It melds into their work while adding a techno blend to the music, something they have not often featured. This also adds a new and fresh sound for the band and attracts a broader audience.
Longtime fans are offered a chance to listen to a mix of the band’s various styles and sounds within the album and are taken on a journey through the band’s success. This revival has left original ‘90s fans delighted and sentimental at the return of such a staple of the ‘90s rock music scene.
