Rob Zombie’s last few albums have been, well, just okay. Something about them didn’t have that fire and heaviness of his best material. For a while it seemed like he was too distracted to actually focus on music. On his latest, Zombie takes on music with the same venom and spooky nature that made him a staple in heavy metal. Returning to his metal roots and keeping this short and sweet has made this one of Zombie’s strongest albums to date.
The dark, gritty mood is set with the opening track “The Last of the Demons Defeated.” This one is classic Zombie all the way with the creepy noises, sampling, and screaming set against crunchy guitars. Rob Zombie then comes on repeating “Electric Warlock Acid Witch.” It’s a brief track, but it will peak listener’s interest and does give a taste of what’s to come. “Satanic Cyanide! The Killer Rocks On!” oddly enough seems like a throwback to the rocker’s White Zombie days. This track isn’t groovy or lightening fast. Instead it lulls at a slow, dragging pace and everything sounds like it’s caked in mud. It makes you feel drugged and heavy when listening to it. In terms of style and tone, it’s the heaviest on the record. It’s not the strongest song on the album, but it’s pretty decent.
Zombie has never strayed too far from rock music, but in recent years some of his albums have been more hard rock or psychedelic rock oriented. With this record, it seems Zombie wants to get back to his hey-day of supernatural heavy/groove metal. This is plainly heard on the infectious “The Life and Times of a Teenage Rock God.” From the tribal drum opening to Zombie’s growling vocals, everything about it is reminiscent of “Living Dead Girl.” It even has the same flow and style of the song. The track manages to be memorable with the hard music and simple hook of “I’m a teenage rock god,” but you can suspect part of the reason it’s so good is its ties to the successful Zombie single.
Another song that’ll make Zombie fans think back is the kick ass “In the Age of the Consecrated Vampire we All Get High,” which has a similar electric, staticy intro as “More Human Than Human.” But that’s where the comparisons end. The track is everything a Zombie song should be: intense, high energy, kind of eerie, and lots of fun. Aside from this, the songs are more hard edge, dirty, and aggressive than they have been in recent years. Even though the entire track is really strange and somewhat off putting, “Well, Everybody’s Fucking in a U.F.O.” still has a great start/stop guitar riff that’s hard to resist. Zombie’s country vocal style is strange, but the song grows on you after a while. “Medication For the Melancholy” is an explosion of hard guitars racing towards an end, while Zombie growls through the lyrics. The whole thing is a mass of rapid energy that’ll get listeners moshing wherever they are.
Zombie returns to the psychedelic realm on “The Hideous Exhibitions of a Dedicated Gore Whore,” which begins with a memorable sample of “Wow, you fucking whore.” Unlike the other tracks, which have loud, distorted guitars, this one has more of a groove. The psychedelic vibe comes in with 60s-esque keys blaring. Hearing them makes you picture bikini girls in fringe outfits and go-go boots doing the Watusi. Zombie returns to hard rock on the straight forward and somewhat forgettable “In the Bone Pile.” It’s another hardcore song that’ll get your blood racing, but there’s very little that makes it stand out.
He switches things up slightly on “Get Your Boots On! That’s The End of Rock and Roll,” which has this bouncy, pep rally feel to it similar to Marilyn Manson’s “Fight Song.” This one is upbeat and has a lot of energy and Zombie is infectious when he chants “Gabba gabba hey!” and “Wham bam thank you mam!” This is one that’ll get crowds jumping in unison at live shows. Up until this point that album is a raucous ride of partying with Rob Zombie. It’s not until the final track, “Wurdalak” that we come to a stop. Being the longest track on the LP at over six minutes, it drags on too long. Zombie mumbles his way through it while the music trudges on at a snail’s pace. This gives way to a light, acoustic outro that finishes the song. Again, not terrible, but dull compared to the other songs.
As Rob Zombie explored other outlets in his career, it seemed like music was taking a backseat seeing his last few lackluster albums. But this one shows he’s still got. It gets back to Zombie’s heavy metal, aggressive roots, but never sounds like he’s repeating himself. Most of the songs are wild, upbeat, fun, and just a rocking good time. The songs may be short, but they give you a taste, making you want more until you have to hear the album one more time. This is the best album Zombie has put out in years. He’s clearly not done making us groove yet.