Left of the Dial	Smashing Pumpkins: Zeitgeist by Joe Sweeney

(Martha’s Music/Reprise)

At some point in their career it seems that every monster arena rock band hears the same complaint—they just don’t rock as hard as they used to. And since the rise of hip-hop and electronic music it’s even easier for rock stars to unplug their guitars and pop open their laptops, which is precisely what happened to the Smashing Pumpkins in the late 1990s. The last time we heard from the band, Billy Corgan had traded the glistening guitar hooks and pile-driving prog-rock dynamics of the glory days for muddy, conceptual electro-goth—something Marilyn Manson was doing a much better job at circa 1998. Yes, the Pumpkins had officially stopped rocking, and as a result, what was once an alt-rock juggernaut had fizzled into nothingness by the start of the 21st century.

From the opening chords of “Doomsday Clock,” the first track on Zeitgeist, it’s clear that Corgan has dusted off his distortion pedals and is ready to make music for the masses once again. But as the crunching power chords shimmer through the speakers under the vocalist’s reedy tenor, something is missing (more than original members James Iha and D’Arcy, who wisely bowed out of the project). That signature guitar tone is back, but it feels empty and hollowed out. The track begs to be taken seriously, but like the rest of Zeitgeist, the melody takes a back seat to sociopolitical commentary, and judging by lyrics like “Kafka would be proud to find out I’m certain of the end,” this is a grave mistake.

Perhaps Corgan is trying to replicate the success that Green Day has enjoyed in the second act of its career, criticizing our fear-mongering government in a concept album format. But where that band was smart enough to keep the songs poppy and the political commentary easy to digest, Corgan goes off the deep end, neglecting to write anything resembling a hook and fancying himself a devastating poet (something he’s never been). Nothing exemplifies this more than “United States,” a nearly 10-minute debacle that sits smack in the middle of Zeitgeist like a Double Quarter-Pounder that refuses to break down in your stomach. This is nothing like the stunning, epic, long-playing tunes of Pumpkins past, songs like “Silverfuck” and “Drown” that defined what was important and exciting about alternative rock in the early 1990s. Anchored by yet another throwaway riff and vocal melody, “United States” is unnecessary in every way, from the faux-punk screams of “Revolution!” to the clunky power chords of the coda (you can mark the exact moment when the song is supposed to give you chills).

While everything about Zeitgeist that makes it a concept record is abominable—the lyrics aren’t half as bad as the artwork—it’s the lack of attention to the music that truly disappoints. When the Smashing Pumpkins were at their peak, making albums like Gish and Siamese Dream, they combined soaring melodies with explosive guitars and fun, throwaway statements like “Today is the greatest.” Sure, Zeitgeist fails as social commentary, but who cares? The songwriting is lazy, the riffs are half-baked and the listener has nothing to hold on to. This is the real crime committed by Corgan’s overzealous artistry. Despite all his rage, he’s still an aging rock star who’s desperately grasping at straws.

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