By Greg Michaels
Somewhere between Billy Corgan’s decision to disband the Smashing Pumpkins in 2000 and today, a re-configured version of the band was conceived. Although Corgan and drummer Jimmy Chamberlain play all of the instruments on the record (with the Corgan doing most of the work), the duo decided to make use of hired guns Jeff Schroeder (second guitarist), Ginger Reyes (bass) and Lisa Harriton (keyboard) in their live show. For better or worse, Corgan takes the helm on their recent release with Reprise Records, “Zeitgeist”. Produced by the two Pumpkins along with Terry Date and Roy Thomas Baker, “Zeitgeist” will definitely satisfy a good chunk of its target fan base. However, there is an even larger portion of fans that will view the release as nothing more than a run-of-the-mill rock record: a boring, unnecessary outing and an attempt to cash in on the Smashing Pumpkins name.
It is hard to know what Billy Corgan’s intentions were when he decided to record this album- whether he saw dollar signs in his eyes or just wanted to make a superior alternative rock record like in his heyday. Regardless, there are several solid tunes on “Zeitgeist”. Hardcore fans who decide to give the new Pumpkins a chance will likely not be entirely disappointed as several songs return the band to its roots. “Doomsday Clock,” the opening track, is one of the most focused rock tunes Corgan has ever created. The pounding guitars and tight drumming give the track a heavy-melodic feel, and will leave listeners satisfied. The catchy chorus and pleasing harmonies don’t hurt either.
As the album progresses, listeners are treated to a rather repetitive affair in “7 Shades of Black.” This song could have been innovative and refreshing but instead the simple guitar melt with the bounce of the snare drum and toms to create an unremarkable, somewhat confusing experience. There is one redeeming quality, however, and it is one Corgan seems to be rather good at: the melody and harmonies in the chorus, not to mention the soaring, screaming overtone of his lead guitar.
“Bleeding the Orchid” is a standout track as Corgan’s voice complements the rest of the chugging, melodic music. It does seem, however, that the Pumpkins front-man is trying way too hard to come up with meaningful lyrics. “Gilded art this silent march / past triumph thru alarm / So thus charmed / Does this will stand for much? / But heart’s untouched by heart’s unloved,” Corgan croons. What that exactly means is anybody’s guess. Most of these songs have an intricate meaning behind them, but it’s conveyed in such convoluted terms that the listener is left uncaring. To the band’s credit, tracks like “Doomsday Clock” and the relatively sappy “That’s The Way (My Love Is)” do have cohesive lyrics that spark attention and interest.
Reminiscent of older, heavier Pumpkins tunes, “Tarantula” succeeds in melding the scattered guitar solos with the vibrant, energetic rhythm part and impressive, varied drumming. The lyrics are provocative without being too abstract: “Don’t want to be alone at all / If it’s a white hot soul they want / Then a black heart they’ll get.” The next song however, “Starz,” is a minor disappointment. Despite its vague, early similarities to the Pumpkin’s classic hit “Disarm,” “Starz” repeatedly disintegrates into a mind-numbingly annoying hollering of “We are stars.” To be fair, the song somewhat redeems itself with head-banging sections of ear-shattering bass drum pounds.
Next up is the nearly ten-minute-long epic “United States,” a track that chugs along without really going anywhere. Corgan speaks of a revolution he wants to take part in. While an alternative rock band singing about the government isn’t shocking it feels that song doesn’t need to be as long as it is – had several sections been cut it would probably make for a better listen. In the end, it’s redundant and mildly irritating – especially Corgan’s strange, unbelievably high-pitched voice modifications
“Bring The Light,” however, is one of “Zeitgeist”‘s best tracks. The melody is varied and just complicated enough to make it interesting. As the song progresses, so do the harmonies, drums and lead guitar; a perfect combination for an alternative anthem. The lyrics speak of an inner “light,” which is untouchable and perfect: “Bring the light / It’s yours not mine / If you just want to survive / Go grab a glimpse of any star / In heaven’s high / I never felt so real and loved and alive / No shadows follow me unsung.”
As the album hurdles to conclusion, “(Come On) Let’s Go!” spices things up a bit. It’s standard rock fare but it works as a song that will probably have listeners wanting to bob their heads back and forth (not to mention the intelligent lyrics). If released as a single, it would most likely even be a hit..
Finally, we are presented with “Pomp and Circumstances,” the final song on the record and definitely the strangest song on the entire album. Corgan croons “la la la’s” all over the place while what sounds like a synthesizer and orchestral instruments weave throughout the background. Though not terribly exciting this track is muddled and interwoven with too many effects. In fact, listened to it at high volumes, it will probably hurt more than a few ears.
“Zeitgeist” is not a bad album by any means. Hardcore Pumpkins fans will definitely pick it up and a good deal of them will be satisfied with it. Unfortunately, it’s not the groundbreaking comeback album that Billy Corgan had in mind. Perhaps after their current tour, Corgan will be able to round up former members James Iha and D’arcy Wretzky to create the groundbreaking comeback album he had in mind. Unfortunately, “Zeitgeist” isn’t it.
(idolator.com)
