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. 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. 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.
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