As you may or may not know, The Smashing Pumpkins--my favorite band of all time--released their first album in seven years last week. I haven't been as excited as you might think, though, for a few reasons. First, it's not really The Smashing Pumpkins--it's just Billy Corgan and Jimmy Chamberlin. While Billy was always the main songwriter and the Pumpkin sound always depended heavily on Jimmy's drumming, I was afraid that the absence of James Iha (not to mention D'arcy, who I maintain was an underrated member) would result in a diminishment of the band's awesomeness. Maybe the band was more than the sum of its parts and, even with Billy always firmly in control, the other members nonetheless made perhaps intangible contributions. My second fear was that Billy's latest work, especially his solo album TheFutureEmbrace has, frankly, sucked. Billy's latest efforts have failed to even approach the unmitigated awesomeness of some of his earlier work. So, although I bought the album on the day it came out, I wasn't exactly extremely excited.
As it turns out, that's a good thing--at least this way, I wasn't as disappointed as I otherwise might have been. Zeitgeist doesn't suck completely, but it barely deserves to be called a Smashing Pumpkins album, and I doubt that it will appeal to anyone who hasn't been holding their breath since the Pumpkin's last show at the Metro.
The thing starts out promisingly enough. The first song, "Doomsday Clock" opens with some of Jimmy's patented awesome drumming. Jimmy's always been one of the best drummers in rock, and that comes through on this album. Billy, unfortunately, doesn't pul his weight.
The guitar work is extremely uninspired--it almost sounds as though the whole thing was written on autopilot. There are no discernable musical motifs, no hooks, no memorable riffs--not even a badass guitar solo. Instead, Billy alternates between nondescript loud guitar parts and nondescript slightly less loud guitar parts. There are almost no major dynamic differences between one song and the next, with the result being that the whole album runs together. On old Pumpkins album, one song would be balls-to-the-wall rock and the next would be a fragile ballad; Zeitgeist is what you'd get if you took the dynamic range of Melon Collie and averaged out all the songs; it's just one series of distorted power chords after another, without any emotional or musical differences to speak of. And the guitar solos are pathetic. They're basically all retreads of the solo from "Zero"; they all involve nonmelodic guitar parts pumped through harmonizer and modulation effects. It's sad.
If the album lacks dynamics, then the songs are even more static. A good example is "United States" which, at 9:53, is the longest track on the album. I've said before that Billy writes excellent long songs. Well, leave it to him to prove that those days are long gone. Basically, it's as if he knows that he used to be able to write great, epic songs, but he forgot how. "United States" basically consists of a mediocre four-minute song followed by what can only be described as pseudopsychadelic, effects-laden, "Silverfuck"-wannabe guitar bullshit, followed by the same five-note rhythmic motif, followed by, well, more crap. Basically, it's one of the worst tracks on the album and one of the worst songs the Pumpkins have ever done.
Perhaps most damningly, there's absolutely no acoustic guitar on this album, at least not that I've heard. On "Cherub Rock", one of the Pumpkins' hardest-rocking songs, Billy used an acoustic guitar for just one chord to give the chorus an extra lift. On this album, he's eschewed the acoustic guitar completely which, frankly, is unforgivable.
Being the only nondrummer Pumpkin left, Billy took the opportunity to do a few things he previously left up to other people (the liner notes literally say "Jimmy Chamberlin: Drums, Billy Corgan: All the Rest." The most audible difference is that Billy takes on the primary back-up vocals role. It used to be that D'arcy would provide some vocals, with Billy adding some overdubs here and there. Or they'd at least both have some parts. Or at least Billy's back-up vocals would be subtle. Here, it's all Billy's voice all the time. In fact, there are several instances in which the only sound is several layers of Billy's voice. This isn't necessarily a bad thing, as long as you don't hate Billy's voice, which I don't. The problem, however, is that the vocals are entirely uninspired. As with the guitar, there are no memorable lines, no memorable melodies, nothing. It's just there.
Even worse, though, is the fact that the vocals are both too quiet and too loud. It sounds like Billy refused to scream or sing loud, but he still cranks the voice in the mix. The result is that Billy's voice sounds bored and static even when the music is loud and furious.
There's on bright spot: I really sort of like "Bring the Light," which is probably the most dynamic song on the album. But even that song sort of peters out about halfway through.
Overall, the album is a disappointment, but I can't say that I'm surprised. If I had to rank all of Billy's work, my list would look like this:
- Siamese Dream
- Melon Collie and the Infinite Sadness (which includes The Aeroplane Flies High
- Pisces Iscariot
- Gish
- Adore
- Mary Star of the Sea (with Zwan)
- MACHINA/The Machines of God and MACHINA II/The Friends and Enemies of Modern Music
- Zeitgeist
- TheFutureEmbrace (Billy's solo album)
But at least I'll get to see them on tour again.