There’s every chance in the world that I’m writing this review from a significant disadvantage, and I’ll be the first to admit that I have somewhat odd tastes in, well, everything - from clothes to shoes through women and ending in my choice of drinks. I was also a fan of Machina, which many felt was an anemic chapter for the Smashing Pumpkins to close out on. That said, I’m still of the opinion that the newest addition to the Pumpkins’ extensive catalog is a worthy one. Is it another Siamese Dream? No. Do I believe to it to be on par with Mellon Collie… or rival Gish? Fuck no. What Zeitgeist is, though, shouldn’t just be dismissed because it cannot compete with the fantastic peaks that the Smashing Pumpkins have found themselves upon during their bizarre journey through the musical landscapes of the 90s or because of the projects Corgan involved himself with between the death and resurgence of his band.

From the first seconds of the album, Zeitgeist revels in torrents of overdriven guitars, Chamberlin’s distinct and masterly control of the drums, and that wonderful nasal delivery that Corgan etched into my heart at a young and impressionable age. Also in those first few moments it is obvious that this is a Smashing Pumpkins record, not a poorly photocopied, mangled replica made to ‘fuel Corgan’s greed’ (along with ticket sales for the reunion tour, the bastard!). I find it hard to believe that Corgan or Chamberlin would pour so much energy and talent into this record purely for the monetary reward (and the fact that many critics are seemingly balking at the idea that major label bands actually make money from their music is a strangely naive tact to employ when joining the bandwagon calls that Corgan is some fiscally-fixated monster orchestrating some underhand scheme so he can frolic in hotel suites full of ‘black money’). The musicianship is astounding — the guitar work is phenomenal, especially during the solos, and not enough can be said about Chamberlin’s craft — the songs are well structured, and having listened to Siamese Dream twice through this morning before returning to Zeitgeist, I remain confident with the rating I’ve given and words I’m putting down here.

While only a handful of songs would survive in any capacity through intense scrutiny next to the likes of “Today” or “1979″, they work together on Zeitgeist. I personally don’t feel there is an awful piece anywhere on this record (though “For God and Country” comes perilously close and is easily the most forgettable track on the record). “Tarantula” is a monstrous composition, a beast composed of besmirched walls of distortion, huge drum fills and fuzz-box squeals cutting through the avalanche of sound alongside Corgan’s snarling voice. The opening three tracks are as good an introduction to a rock album as you are going to find, easily excelling anything heard on rock radio stations around the country. “Neverlost” and closer “Pomp and Circumstances” are both accomplished slower numbers, kind breathers in this marathon of chugging guitars and thunderous drums. Even the meandering “United States” eventually finds its way and closes out with all the spite and angst I’ve lacked in my life since the Pumpkins called it quits.

Would I have preferred Corgan and Chamberlin producing something on the scale of Mellon Collie and the Infinite Sadness? Of course. But, I’m alright with the work they’ve done, and one must remember that they’ve only recently reunited. I’m hoping the flaws and stumbles will work themselves out soon enhancing the band’s future compositions. Until then, I’m confident Zeitgeist, and especially “Tarantula”, will survive me at least through summer and the coming autumn.