Smashing Pumpkins - Zeitgeist

As a long time adamant fan of the Smashing Pumpkins I don't feel I should be allowed to review this album; however, maybe a fan perspective could help perspective buyers fears of buying this disc.

Zeitgeist is a massive sea change for the Smashing Pumpkins as all Smashing Pumpkins releases are. Billy Corgan will not, and can't stand still. However, this disc is also a welcome return to form for Corgan. There are subtleties that exist in a Smashing Pumpkin album, and this is the first record since Mellon Collie and the Infinite Sadness that doesn't try to avoid them. There are also little bits of Solo Corgan, and Zwan Corgan and Chamberlin textures, but it's only the peices which work.

Since the poorly received last album (Machina), a break-up, a freak-out, an internet music revolution, sol records, and Zwan, a lot has happened to the world. Before Corgan had always been content to write highly personal abstract lyrics, but it seems now he's more interested in lyrics that taping into the times, hence the albums title. This is certainly the first time Corgan has shifted his focus externally. Does it work? Well not as well as others, but much better than many feared. There is still a coy abstraction, but it's often lifted so that a message can be received. It's sometimes confusing what he's trying to say, but it's always interesting.

Now onto the biggest question for this album, the sound. How does it sound. I've heard lots of folks calling it poorly mixed. I've heard many people questioning why Billy's voice sounds so different. Less whiny? If you listen to the vocals you can hear that Billy's actually breathing correctly. That will often eliminate a little whine, but there is still an ache in his tenor. I'd say it's all Corgan evolving as a vocalist. There are new little things he does that he pulled in from Zwan, that I honestly think make a welcome part of his repertoire. Although in my opinion it could stand a few more belly aching wines. It's just the guitar tones are... so different. A lot of it comes from Corgan shifting to Diezel amplifiers and Reverend guitars, Billy Corgan previously reached his height using mostly Marshall Amplifiers and Fender Stratocastors, and part of me understands the necessity for a more modern sound, but I still miss his previous Mid 90's guitar tones. Aside from the stuf he uses, the guitar performance is mostly flawless. It sometimes leans more towards hard rock than I would prefer, but it always "rocks". The drums are awesome, sometimes a little bit buried in the mix, but perfect performances and great tones. The mixing is a bit awkward. Unsurprisingly it's mixed like a record from today. It takes some getting used to, but over time it starts to make much more sense. If you're going to create a record about the times it's best to do it in a current way, but a big question is whether in 10 years the choices will result in something that will sound classic or dated. Either way this record has enough delightful moments that I'd say let's encourage Billy to keep it up, and recommend he look up Butch Vig.