Billy Corgan is a complicated guy. You know it, I know it, and the entire alternative rock world has known it since 1991. For years, the narrative around The Smashing Pumpkins was one of sprawl—massive triple albums, synth-pop experiments, and 80-minute rock operas that felt like they required a PhD to fully decode. Then, seemingly out of nowhere in the summer of 2024, we got Aghori Mhori Mei.
It’s lean. It’s loud. It’s exactly what people have been begging for since the Melon Collie days, but it doesn’t feel like a cheap nostalgia trip.
When the band announced the record just two weeks before its release, the collective internet did a double-take. No singles? No months-long marketing campaign involving cryptic tarot cards or expensive box sets? It was a bold move for a band that usually operates with the theatricality of a Wagnerian opera. But Aghori Mhori Mei isn’t about the theater. It’s about the riff. Specifically, the kind of heavy, distorted, "Big Muff" pedal-drenched riffs that Jimmy Chamberlin can actually sink his teeth into.
The Raw Sound of Aghori Mhori Mei
If you felt like Cyr was too electronic or Atum was just... a lot to process, this record is the antidote. It clocks in at around 45 minutes. That’s it. In Smashing Pumpkins time, that’s practically an EP. But within those ten tracks, Corgan, Chamberlin, and James Iha manage to reclaim the "guitar band" throne they vacated years ago.
"Edin" kicks the door down immediately. It’s a six-minute opener that feels massive, reminding us that when Corgan and Iha lock in, they create a wall of sound that few modern bands can replicate. It’s got that signature "Siamese Dream" crunch but with a darker, more contemporary edge. Honestly, hearing Jimmy Chamberlin play like this again is a gift. The man doesn't just play drums; he conducts a masterclass in jazz-inflected rock percussion. His snare work on "Pentagrams" is enough to make any aspiring drummer want to sell their kit and take up accounting.
The production here is surprisingly direct. While Howard Willing is credited with the production alongside Corgan, there’s a noticeable lack of the "vocal-forward" mix that plagued some of their recent work. In the past, Billy’s voice sat so high in the mix it felt like he was whispering directly into your ear while the band played in the next room. On Aghori Mhori Mei, he’s back in the trenches with the instruments. The guitars are loud, the bass (handled by Corgan in the studio, as per tradition) is thick, and the whole thing feels cohesive.
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Moving Past the "Atum" Fatigue
Let’s be real for a second. Atum: A Rock Opera in Three Acts was an exhausting experience for everyone involved, including the fans. 33 songs is a massive "ask" in the streaming era. While there were gems buried in there, the project felt like it was buckling under the weight of its own ambition.
Aghori Mhori Mei feels like the band exhaling.
There’s a specific energy that comes when a legendary act stops trying to prove they are "still relevant" and just plays what they’re good at. You can hear it in "Sighommi." It’s catchy, it’s fast, and it has that classic Pumpkins "woosh" factor. It’s the kind of song that would have been a massive radio hit in 1996, yet it doesn’t sound like a parody of their younger selves.
What’s with the name?
Corgan has always had a thing for esoteric titles. "Aghori" refers to a specific sect of Hindu ascetics known for their unconventional rituals and focus on the cycle of life and death. "Mhori Mei" is a bit more of a Corgan-esque linguistic puzzle. When you put it together, it suggests a journey through the dark to find the light, or perhaps a shedding of the ego.
It fits. This record feels like a shedding of the "Grand Architect" persona Billy has inhabited lately. It’s less "I am the visionary telling you a story about shiny star-ships" and more "Here is a heavy song about feeling lost."
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Why This Record Actually Matters in 2024 and Beyond
The music industry is currently obsessed with "vibes" and short-form content. Rock music, especially the "guitar god" variety, has been pushed to the fringes. But there’s a reason Aghori Mhori Mei resonated so quickly. People miss the physicality of rock music. They miss the sound of a real room shaking.
- Consistency: Unlike Zeitgeist or Monuments to an Elegy, there aren't many "skips" here.
- The Iha Factor: James Iha’s presence is felt more in the atmosphere and the layering, even if Billy still handles the bulk of the heavy lifting.
- Vocal Delivery: Billy’s vibrato is more controlled here. He’s leaning into his lower register more often, which suits his aging voice much better than the nasal heights of his mid-2000s work.
"War Hall" and "Murnau" show the two different sides of this coin. "War Hall" is jagged and slightly uncomfortable, while "Murnau" (likely named after the silent film director F.W. Murnau) provides that cinematic, sweeping emotional finish that Corgan has perfected over thirty years. It’s a beautiful, haunting way to close the album, proving that they haven't lost their ability to write a genuine "closer."
The Impact on the Smashing Pumpkins Legacy
For a long time, the "Old School" fans and the "New Era" fans have been at war. The old guard wanted Gish part two. The new fans liked the synth experiments. Aghori Mhori Mei is the first time in a decade where both sides seem to be shaking hands.
It validates the return of the "original" lineup (minus D’arcy, of course). It proves that the chemistry between Billy, Jimmy, and James isn't just about cashing checks on tour; it’s a functional creative unit. When you listen to a track like "997," you realize that no other band sounds like this. The interplay between the frantic drumming and the shifting guitar textures is a specific DNA that belongs solely to the Pumpkins.
Critics were surprisingly kind to this one, too. Usually, a new Pumpkins record is met with a "What is Billy doing now?" eye-roll. But the sheer quality of the songwriting on this release made it hard to dismiss. It debuted well on the charts, but more importantly, it stayed in the conversation. It didn't just vanish after the first weekend.
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How to approach the album for the best experience
If you haven't dived in yet, don't just shuffle it on a tiny phone speaker. This is a "headphone" record. There are layers of EBow, feedback, and subtle synth padding that get lost in a low-quality stream.
- Listen in order. It’s only 10 tracks. The flow from "Edin" to "Murnau" is intentional and tells a sonic story that is lost if you just pick random tracks.
- Watch the live footage. The band has been weaving these tracks into their sets alongside "Cherub Rock" and "1979," and they hold up remarkably well.
- Read the lyrics. Corgan is still Corgan. There’s a lot of spiritual imagery and "Corgan-isms" that add depth to the heavy riffs.
Basically, Aghori Mhori Mei is the sound of a band that has nothing left to prove and is all the better for it. They aren't chasing a TikTok trend or trying to write a 10-minute prog epic just because they can. They’re just being The Smashing Pumpkins. And honestly? That’s all we ever wanted.
The best way to appreciate this era of the band is to stop comparing it to Siamese Dream. That record was made by twenty-somethings in a pressure cooker. This record was made by veterans who have survived the industry, survived each other, and still find something worth screaming about. It’s a victory lap that actually feels earned.
Next Steps for Fans: Go back and listen to the "Machina" albums right after finishing this one. You’ll notice the "Aghori Mhori Mei" sound is actually a spiritual successor to that era's grit, rather than the polished sheen of the 90s hits. Once you see that connection, the record opens up even more. Keep an eye out for the physical vinyl releases as well, as the artwork and gatefold details provide more context to the "Aghori" themes Billy is playing with.