Smashing Pumpkins (with the distinct exception of Led Zeppelin) is my favorite band. I suppose since they have reunited, I could claim them to be my favorite "active" band. They are one of few bands who I could have been considered 'fanatic' about – though it is not fitting of my soul to be that intensely obsessive about anything really. My conviction that this band - and especially its Leader / Dominant Energy – is, in fact, fallible - began with the release of Melancholy and the Infinite Sadness. In a way, it was the simultaneous progression and regression of a band who – with a catalog of only two full length (and various other) releases prior to that – was virtually incapable of anything less than 'really good'. Though it is quite arguable that some of the material on this double length release was among their best, Melancholy proved their humanness (thank God).
The (thank goodness temporary!) expulsion of Jimmy Chamberlain proved how essential his talents were to this elegant juggernaught of a band. Interestingly though, Adore still proved the Pumpkins to be a valid and viable force in the alt-rock (whatever that means) genre. Even without the solid, powerful percussion of Jimmy Chamberlain, Adore (at the very least, in retrospect) proved that Corgan and Co. were quite capable of producing quality and meaningful material. But what makes this band so great is the combination of Corgan's songwriting/playing/arranging genius with the rockin', solid – yet intricate- rhythm that emanates from Jimmy Chamberlain. With the help of JC, this band is a well-produced, epic garage band with balls.
Alright, so after Adore, it was completely valid to inquire "What (of quality) do the Smashing Pumpkins have to offer now?" The reenlistment of Chamberlain was promising. Unfortunately, the first album in 5 years with JC behind the kit was an overindulgent, overproduced, oversaturated release with not enough highlights (two of the singles) to keep from overshadowing itself. The artwork was wonderfully dark, the musical textures were richly interwoven. But the essence was just not there. The subsequent release of Machina II and breakup of the band hinted that perhaps they had opted for the "fade away" path (as opposed to the "burn out") path. Personally – for them – the prior is a better option. But for the sake of rock'n'roll, the latter is much more… well, Rock'n'Roll. All of the Machina tracks could have been easily whittled down to one very worthy, very epic album. I view Billy's prolific catalog to be a blessing and a curse. If only I had his musical talent along with a healthy dose of objective wisdom, I'd very likely be the most revered musician in modern rock.
Perhaps the best tracks since "To Sheila" that the band recorded before its breakup were the cover of "Rock On" (the only studio track featuring Melissa Auf Der Mauer on the bass?) and the absolutely wonderful "untitled" which were put out on their Greatest Hits disc.
I won't say too much about Zwan. Some of the songs were great. Billy and Jimmy are very talented. The sonic quality of the album is extremely poor. Sorry Alan, sorry Bjorn, sorry Howie. This was the Smashing Pumpkins v.2.0. Except it didn't last very long. So be it. Post Zwan, Jimmy put out a great sounding record that showcased his skill and quite possibly exposed some fans to a musical approach they hadn't heard before. You could call it a "musician's album" without the real over the top, masturbatorial freneticism associated with "Prog Rock". I never bought Corgan's solo record. I was one of those who found it extremely odd and somewhat disappointing that he took out that add saying he wanted his 'band back' on the release date of the album. He's never been a strong vocalist, but yet I've always loved his vocals. Some of his lyrics make no sense, but some cut straight trough and just slay you- as if he was right there, inside your heart and soul. Corgan is the genius, who when surrounded by complementary talent, is unrivaled in his scope and depth. But it is that complementary talent that is more often lacking than present. In my opinion, Billy only needs JC behind the kit, another (competent of course) guitarist and bassist at his side and an equally gifted producer on the other side of the glass. I don't mean to disrespect Iha or Wretsky, but at the same time the main thing they brought to the table was the fact that they were live, unique, human musicians who brought in their own nuance to Billy's world. They didn't honestly much stand on their own too well (sorry, but Iha's solo album was just plain boring).
Anyway, what's up with the new album?
Well, it's Billy and Jimmy. They're in better places in their life than they were10 years ago; that seems apparent. As a spiritual (but not dogmatically religious) person, I admire and respect the transformation these two men have gone through. Just like Johnny Cash, Robert Plant, Dave Mustaine, and other rockers who came to terms with their Maker, I am truly happy for BC and JC. Unfortunately, serenity and spiritual well being do not always translate into great music. This is the very crux of my simultaneous love and hate for music. The best rock out there is usually the stuff that is steeped in the sex, drugs, & rock'n'roll culture. The appeal of music is in its tension and release. When there is no (or very little apparent) tension, the release is not as sweet. On Zeitgeist, though it has some strong politically themed messages, there is not that same tension – nor the poetic release – that was felt on earlier albums. Being wealthy, older and at peace with yourself is something I quite admire, but it shows on this album. Don't get me wrong, there are some moments where I am reminded of why I "adore" the Pumpkins, but all in all, this is a very mediocre release. Much like with two Machinas- had the best of the Zwan songs, along with the best of Zeitgeist, been assembled together and produced by someone really good (Butch Vig, anyone?), the Pumpkins could have catapulted into the upper echelon of rock. They could have had reason to claim their band should be called "Cream". But, alas, just as any Aerosmith, Prince, Metallica (and countless other bands for that matter) fans know…
You have to take the good with the bad.
The good news is this album isn't all bad.
The bad news is it isn't all good either.