Prog rock excess does not belong on a Rob Zombie record. About the only thing that doesn’t work on this belated sequel is the closing “The Man Who Laughs,” which is a bloated overblown production complete with string arrangements by film composer Tyler Bates and a (very) extended drum solo. The industrial beats and distorted guitars that worked in 1998 on tracks like “Dragula” and “Superbeast” still work fine on “Dream Factory” and “Werewolf Women of the SS” (the latter of which named after Zombie’s mock trailer for “Grindhouse”). And while nothing here is original, it’s still a hell of a lot of fun. Coming 12 years after the original Hellbilly Deluxe, this album finds Rob Zombie forcefully stripping away every development and evolution in his sound to deliver an album that is intentionally uninspired and derivative, but is that a bad thing? Because even though Educated Horses was a bold move for Zombie and it showed he could do more than he did in the past the brand of rock he first showed us with “Thunder Kiss ’65” is still the what he does best. It was mature, experimental and a brave move for the man who hadn’t really advanced his musical style since 1992. Rob Zombie’s 2006 album Educated Horses was a shocking departure for the shock rocker where he dropped the industrial dance beats and heavy production in lieu of classic rock riffs and heavy metal grooves. RIYL: Rob Zombie, White Zombie…other zombie related culture
0 kommentar(er)
