According to Corgan, "Just found out the weirdest news: our bass player Nicole just admitted she is one of the girls on the cover of Siamese Dream." However, according to the assistant photographer for Siamese Dream, the cover photo was probably shot specifically for the album. They are not conjoined anymore, as far as we know." The band's intentions for the search were never made clear. In February, 2011 Billy Corgan announced via Twitter that not only had one of the girls been found, she was the current bassist for the Pumpkins, Nicole Fiorentino. As you all know, they were quite young when the photo was taken. Shortly after the Pumpkins reformed in 2007, Corgan posted a message to the band's blog saying that they were "ooking for girls from Siamese Dream album cover. Corgan admitted there was some truth to accusations of tyrannical behavior, though he felt the press misunderstood the situation. Corgan often overdubbed Iha's and Wretzky's parts with his own playing. Wretzky stated that Corgan only performed most of the guitar and bass parts because he could lay them down in recording easier and with far fewer takes. Stories of the album's recording had circulated in the music press.
Vig later recalled, "D'arcy would lock herself in the bathroom, James wouldn't say anything, or Billy would lock himself in the control room". Corgan's desire for musical perfection put further strain on the already-frayed relationships between the band members. The band relocated to Triclops Studios in Marietta, Georgia for the album sessions, so they could avoid local friends and distractions, and to cut Chamberlin off from his known drug connections. Butch Vig reprised his role as producer after working on their debut album Gish. Recording and production Siamese Dream was recorded mainly between December 1992 and March 1993. Rolling Stone called it "awe-inspiring" with "meticulously calculated chaos" and a "swirling energy". Heim also indicated that the varied styles of the album would be a good addition to the alternative music culture of Chicago at the time-a culture that was sometimes perceived as inaccessible for new bands. Jon Pareles of The New York Times picked up on the eclectic mix of musical style on Gish as well, complementing its "pummeling hard rock", "gentle interludes", and "psychedelic crescendos". In an end-of-year recap of 1991 releases, Heim noted that the album constituted a "smashing local success story" for the Chicago area.Greg Kot, also of the Tribune, called Gish "perhaps the most audacious and accomplished" of all 1991 albums released by local bands in an article later that year, Kot listed the album among the best of 1991.
On the month of its release, Chris Heim of the Chicago Tribunecredited producer Butch Vig for helping the band achieve a "clearly defined" and "big, bold, punchy" sound for the album. Gish was met with largely enthusiastic reviews.