However this trend continued, and musically I have found little to enjoy about Rob Zombie since Urge was released in 2001. Of course this album was released as he was putting together his first movie, and the album wasn’t terrible, just disjointed, so I gave a bit of a pass.
With the release of The Sinister Urge, the music started to be less consistent, and Rob seemed distracted. Yes it was a bit more pop-py, but the spectacle and tongue-in-cheek attitude was still there.įor me, this is where the love started to come apart. When White Zombie unraveled, there was a moment of pause among the fan base, including me, but when Hellbilly Deluxe was released in 1998, much of that worry was relieved. He seemed to have fun with the whole thing: expanding beyond just the music, doing cover illustrations for the CD’s, directing the videos, and popping up all over in the metal world to add Zombie flair. Even when White Zombie was at their height, it was clear that it was his show. Of course this was all overseen by Rob Zombie. White Zombie also put on one of the best live shows I have ever seen. I liked that they didn’t write lyrics like it was some sort of gospel, and I liked the spectacle of the band. I liked that they sounded different than most of the other bands out there. I went through my teenage years in the 90’s, and in a way grew up with White Zombie. 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.In this review of Rob Zombie’s latest album, I think it is only fair to give some of my background. 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 mid-range 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.
Rob zombie hellbilly deluxe 2 songs movie#
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 stripclub 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 2 were his easiest to write.
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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