![]() ![]() Zombie still hasn't completely shaken his tendency toward filler, however. "The Man Who Laughs" is ten minutes of synthesized strings, guitar, and even a lengthy drum solo, but it works surprisingly well. "Werewolf Women of the SS" is a lot of fun in that classic Rob Zombie kind of way. The vocal effects on "Cease to Exist" are a bit much, but the song adds a psychedelic feel to the record. "Werewolf, Baby" is a pleasant surprise with its slide-guitar riffs and almost classic-rock feel. "What?" has a creepy circus feel, and it could almost fit on Marilyn Manson's Portrait of an American Family. Then comes "Sick Bubblegum," which is equally catchy but feels too much like a rehash of countless other songs. The record starts out with "Jesus Frankenstein," a slow, catchy metal track with some killer guitar riffs. This isn't an album-of-the-year contender by any means-too many of the songs are just paint-by-numbers Zombie tracks, with throbbing power chords, audio clips from old horror movies, and growled vocals-but for those who've been along for the ride so far, it's not a bad buy at all. The industrial touches of the first Hellbilly are still dead and gone, and he's still exploring some new musical territory once in a while. Contrary to what the title would suggest, this is not a return to Zombie's older days. Over the course of his next two releases, The Sinister Urge and Educated Horses, Zombie became more consistent and ambitious, but his best songs never again quite equaled the megahits on Hellbilly Deluxe. His first record, Hellbilly Deluxe, featured simplistic musicianship and a lot of filler, but it had a few tracks-"Dragula," "Superbeast," and especially "Living Dead Girl"-that were so infectious they more than made up for the album's flaws. Since departing the inimitable White Zombie, Rob Zombie has had a spotty music career. ![]()
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December 2022
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