Clearly going for more of a vintage garage rock feel, and with some crack musicians behind him, that new simplified, organic feel coupled with Zombie’s notorious obsession with grindhouse movie shtick fits him like a glove.Īlthough it’s said to be a companion piece to Zombie’s 1999 album, Hellbilly Deluxe 2: Noble Jackals, Penny Dreadfuls and the Systematic Dehumanization of Cool bears a lot of musical differences from that of Hellbilly Deluxe. For the first time, Zombie has recorded with his entire backing band, many of the new songs having been written quickly and hammered out in the studio almost just as fast. The marriage of simple, primal heavy rock, danceable groove, samples, and electronic enhancements that made White Zombie’s and Rob Zombie’s music so distinct has been cast aside in favor of a far more stripped down approach. Recorded two years ago and constantly pushed back because of his film commitments, Zombie’s fourth solo album turns out to be an interesting change from what we’ve come to expect. Of course, that’s not like Rob Zombie at all: the dude never seems content to rest on his laurels, even if the best he can manage is constantly re-hashing the same old formula, as he did on 2001’s The Sinister Urge and 2006’s Educated Horses. He could simply return every once in a while and cart out the classic songs and lavish stage show, just as he did in 2007 when he toured arenas with Ozzy Osbourne, and nobody would complain.
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His musical legacy is set, plus he’s gone on to enjoy a very fruitful new career as a horror movie director with five popular feature films now under his belt, and counting. 1, Astro-Creep 2000, and Hellbilly Deluxe, Rob Zombie doesn’t have to put out another new album again. Still, at this point in his career, his best move is to take these types of risks, and when he does so on the ten-minute closer, “The Man Who Laughs,” with its underlying orchestral score by Tyler Bates (composer for the Halloween remakes The Devil’s Rejects and The Watchmen), the results are compelling and unnerving in a good way.Having created one of shock rock’s most distinctive sounds with White Zombie and on his own with such great albums as La Sexorcisto: Devil Music, Vol. It’s as if Rob Zombie’s trying to be something else, but still coming up totally Zombie. Influenced by ‘60s garage rock, the vocals are run through a maximal amount of midrange distortion and accented by tambourine clinks and organ riffs behind the usual crunch, but where bands like the Horrors make raw revival work for them, “What” is too calculated and processed to actually sound raw.
Chris Baseford’s production is thick throughout, notwithstanding the single “What,” a song Zombie and company wrote and recorded in only a few hours. His trademark “yeah” and monotone hoedown growl are still front and center, the B-horror movie references are still plentiful (Frankenstein, martians, witches, and two songs about werewolves), and the chugging guitars and dark, sleek beats are still trashy enough to be strip club staples. “Jesus Frankenstein,” “Sick Bubblegum,” and “Mars Needs Women” are the same schlocky grooves that made up his five previous solo records and six White Zombie records.
This could be because it was his first outing to include help from his bandmates (longtime touring comrades guitarist John 5, bassist Piggy D, and drummer Tommy C), but it’s probably more attributable to the fact that making this type of song is old hat by now. Returning with his first album since 2006’s Educated Horses after several delays following the record’s completion in 2008 - due to his work on Halloween 2, time spent shopping for a new label after 18 years of recording for Geffen, and, perhaps, a lack of public interest - Zombie has since gone on to say that the songs on Hellbilly Deluxe, Vol.
Love him or hate him as a director or as a musician, Rob Zombie shows no signs of closing the door on either of his creative endeavors anytime soon.
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