One-finger guitar riffs, turned into tones of assault by the multi-tracking of the same part dozens of times over. The choruses leap into a high register that pops from the sludge of the verse in a way that is so satisfying.

At its best, distortion on a guitar is like pointillism, overdriving the scene with a palpable unreality.

The smoothness of Billy Corgan's voice in the midst of the guitar rush was essential to the band's success. It was a well-maintained tension. The concluding line of the chorus, multi-tracked in octaves, is the key moment.

Points for the aggressive switch to a three-beat in the guitar solo, breaking each repetition with a measure of four. That's how you bring the thing back around.