Review: I've got to say, Zeitgeist ain't a bad album. In fact, it's pretty good. It doesn't live up to the glory days, though, no matter what album you like best (with the possible, but still unlikely, exception of Machina). The electronics don't prevail quite as much as Adore or Machina, and it simply doesn't have the grunge of Gish, but more importantly, it unfortunately lacks the guitar mastership and structural wonders of Siamese Dream and the epic scope and varied sound of Mellon Collie and the Infinite Sadness. The main problem is that album basically sounds like 'Zero' and maybe some 'Ava Adore', and that's about it. There isn't much in the way of dynamics.

It's loud, full of distorted electric guitars, and uncompromising. There are a few slower or softer songs, but outside of 'Neverlost', they're all bonus tracks not available on the general release. 'United States' and a few other songs have slower or softer sections, which helps, but other than that song, none of them have the scope and vision of songs like 'Thru the Eyes of Ruby' or 'Soma' or many other wonderful, longer pieces. In fact, outside of 'United States' and 'Death from Above', every song is around three to four minutes long, which is kind of boring. (Oddly, the concert-only 'Gossamer' is an extremely long (15-30+ minutes) super-dynamic piece, going all over the place.) Also, the keyboards don't even show up until the fourth track.

The Smashing Pumpkins 1991. The Smashing Pumpkins - Adore (Super Deluxe Edition) (6CD) - 2014. The Smashing Pumpkins - Zeitgeist.

They do become more prominent as the album continues, culminating in the nearly guitar-less 'Pomp and Circumstances', but the dominant sound is just plain loud, 'cybermetal' guitars. Jimmy Chamberlin's drumming is great, thankfully, and that spices things up and keeps some of the Pumpkin feel. But there isn't quite enough variety going on. I always admired Corgan's ability to whip up all sorts of guitar tones, but here, he sticks to a more limited selection.

One still has to ask about the legitimacy of this reunion, as I did in my previous article about the live shows. The liner notes make it clear in the credits: 'Jimmy Chamberlin: Drums / Billy Corgan: All the Rest'. There is a live band, but the album is mostly Billy. The two members thankfully weren't the sole producers, but I think Corgan exerts enough control over any producer to basically do whatever he wants. I wish D'arcy or James Iha were back to makes things more balanced (I'd even take the temporary replacement back in the day for D'arcy, Melissa auf der Maur). Honestly, this could be a Zwan reunion, except that Corgan gave up on his bright, cheerier attitude and shimmering, bright guitars, even the ones that appeared on Siamese Dream and Mellon Collie.

More accurately, this is just Corgan's second solo album, with Chamberlin upgraded from part- to full-time drummer. (He played on one song on The Future Embrace, just as Corgan sang one song on the Jimmy Chamberlin Complex's Life Begins Again.) Anyway. So this is definitely a concept album. The album cover with the drowning Statue of Liberty and sinking/rising sun, coupled with the title, should make it obvious, but the lyrics and song titles prove it true. I'm alright with that. Sometimes the lyrics stretch too much or get a bit bad, but not really much worse than Corgan ever was in the first Pumpkins incarnation.

(His Zwan lyrics weren't very good, and his solo album was just difficult to figure out, although not bad.) He still has his general collection of spiritualism (now more pronounced) and love (in whatever sense), but now it's wrapped around the state of the nation, the zeitgeist. There you have it.

Siva putrudu movie songs download. It's a good album, but not great. My expectations weren't too high because I feared for the worst, and this isn't at all the worst, just not the best, either. Score: B- Logic: Corgan is capable of better, and he's using the Pumpkins name for questionable reasons and with questionable fairness.

However, I can't deny liking the album and enjoying listening to the recent concerts, which are filled with old songs, several of which are yet again rearranged ('Blue Skies Bring Tears' and 'Heavy Metal Machine' (complete with some lines borrowed from Jefferson Airplane's 'White Rabbit'!) most notably), plus some obscurities ('Translucent', available only on the Mashed Potatoes bootleg, some previously-unplayed Machina II songs) and new, written-on-the-road material, which progresses from show to show. Maybe I'll do another concert review.

Don't worry too much about it, it's really not a bad album. Just don't set your bar too high.