The Heavy Metal Machine Returns

But New Smashing Pumpkins Record Lacks More Dynamic Sound

Jul 10, 2007 Uriel Mendoza

After a seven year hiatus, the Smashing Pumpkins return with Zeitgeist. Jimmy Chamberlin (drums) and Billy Corgan (everything else) rock hard - but that's all they do.

Band: The Smashing Pumpkins

Album: Zeitgeist

Release Date: July 7, 2007

Label: Martha’s Music/Reprise

Genre: Alternative Rock

Members: Billy Corgan, Jimmy Chamberlin

From: Chicago, Illinois

Like the Big Bang that created us all, the new Smashing Pumpkins album, Zeitgeist starts off with Jimmy Chamberlin banging away on the drums, leading to a punishing wave of thrashing chords that once again breathe life into the mighty Pumpkins.

But the resurrection isn’t without its faults.

Billy’s vocals immediately are a telltale sign of his aging – his voice is often bland and off-key, and are only made more obvious by the fact that they’re turned up and put at the forefront of the songs. After all, this is Billy Corgan’s album – he pretty much did everything but drumming duties, including photography – of course he’s going to be the star.

Billy and his Guitar

The album is very riff-happy. Like the gold ol’ days. Billy slips and slides his way through tracks like “Doomsday Clock,” “7 Shades of Black” and “Tarantula” – though the single starts slow before it gets caught up in a storm. Quantity isn’t quality, though. Where previous Pumpkin albums were more dynamic in sound, these songs bleed into the next. Granted, his riffs can still cut through steel, and Jimmy’s overdriving gorilla-powered beatings can still cause heart palpitations, but that’s not all there is to the Smashing Pumpkins. They are remembered as much for their beautifully orchestrated “Tonight, Tonight,” synthesized “1979” and heavenly ballads like “Disarm.” Billy buries the potential beauty of Zeitgeist under layers and layers of guitar licks in very masochistic fashion.

No Room for Politics

And worse, the emotional torment that endeared and tied our hearts to Billy Corgan’s have been replaced by lackluster political commentary. “Paris Hilton BAD,” suggests the first page of the CD booklet. That’s deep, Billy. That’s deep. Lyrics like “Tired eyes close for days / there’s no regret / ‘cause there’s no place / I don’t know what I believe / but if I feel safe / what do I need? Revolution!” are an attempt to display Billy’s maturity; he wants to save the world.

There’s still some semblance of Billy Corgan buried in the lyrics, though. “Bleed the Orchid,” for example, opens with “If life is my witness / love is my song / if nothing means no one / then blank, I belong / if fear conquers easy / I can lead on.” Ah, there’s the melancholy.

United States

"United States" is dark – we’re talking Tool-dark. It’s mean. Jimmy’s drumming is simply hypnotic; it never lets up. And Billy’s guitar howls in the night like a demon. The same, however, can’t be said for Billy. His voice lacks that evil spirit; that tenacious roar. Now he sounds like a little lion cub when he tries to belt it out. Tragically, the song is very anti-climactic in the way the last minute drags on, just chugging along – much like the three songs that follow.

Pomp and Circumstances

The closer, “Pomp and Circumstances” is by far the most unique sounding track. Nothing more than a gong, xylophone and plucked instrument accompany Billy’s voice as it floats up through the sky, singing “La-la-la-la-la.” It’s a tragic, but happy ever after.

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Zeitgeist by the Smashing Pumpkins