rob zombie: back in the game
Rob Zombie
HELLBILLY DELUXE II
Label: Roadrunner Records
Release: February 2010
Type: Full-Length, LP
Genre: Industrial Metal
Links: Official, MySpace, Wiki
It's been 4 years since Educated Horses, 12 since Hellbilly Deluxe itself, and 2 years in the making and waiting for Hellbilly Deluxe II: Noble Jackals, Penny Dreadfuls and the Systematic Dehumanization of Cool. But really the point I'm trying to make with that is? He's back in the musical saddle. And I for one am happy to have him back. Originally he had finished the recording of this album back in 2008, but he had to consistently reschedule finalizations due to schedule conflict on the film directing end of his career with Halloween II where the album had been just about set for a late 2009 release before more setbacks happened due to lack of promotion. But on February 2nd, 2010, fans of Zombie rejoiced as the 11-track full-length album was finally available to hold in their hands.
I, myself, have always been a fan of his work from back in the days when he was part of White Zombie to when he began his solo work to when he ventured into directing horror films. So in a way, I might be a little biased in giving it 5-hearts - but to me, all his work deserves that. He's an exceptional talent in all the fields he's explored.
The album opens with "Jesus Frankenstein", which begins with a glorious traditional metal instrumental - with Zombie's unique touch. Then a bit over a minute in he bellows 'All hail...' before the industrial-infused metal cues itself before his gritty voice makes its return for a verse. Soon after a chorus it slows down, in a matter of speaking, to a much prettier instrumental bit before it goes back to the grit. One of the things I have always loved about Zombie's work is he knows how to mix metal with industrial and a touch of the orchestral. The next track on the album is the first single "Sick Bubblegum", which to me upon listening is clearly a metaphor-laced jab at popular music and media today with chorus work like 'Chew it up, spit it out, sick bubblegum; blow it up, stick it out, sick bubblegum. Turn it up, push it down, sick bubblegum; shove it in, rip it out, sick bubblegum.'.
One of the things that is a constant with this man's work? Energy. Next up is "What?", an energy-packed track with an anthemic feel that to me is reminiscent of songs like "Dragula" & "The Red Red Kroovy" (Hellbilly Deluxe, 1998). Listening to his lyrics, you'll catch one of the other more prominent elements, another constant in his music and his work overall: controversy. Which can be heard in the next track as well "Mars Need Women", which opens with a gorgeous acoustic that reminds me of old Westerns. Only to transition into a chanting, anthemic track at the 1:30-mark with him chanting 'Mars needs women, angry red women...', which I can see some feminists possibly getting disgruntled with this concept. But really, I think in a way thats part of his point, took me awhile to realize it but Women Are From Venus, Men Are From Mars says enough to explain where my thought process on this songs is.
Those tracks are followed by "Werewolf, Baby!", which returns to one thing he does a lot with openings of songs: feature a excerpt from a film of some kind. Then it goes into a very southern twang metal, guitar riff with his gritty voice sneaking in, the southern feel of the track remains throughout. Then comes a song called "Virgin Witch" which opens with church bells and a very cinematic sounding instrumental before slowing a little to more well-paced vocals on instrumental story telling; followed by brief a chorale and a very classic metal breakdown/guitar solo in the last minute or so. Next up is, "Death and Destiny Inside the Dream Factory" which has a very racecar metal feel in its pace, if you know what I mean. And like one of it's predecessors, "Sick Bubblegum", it's a stab at Hollywood, preaching, 'Free your mind and feel the passion, baby / Death and suntan, still in fashion, baby / Hollywood, in Hollywood' and in the chorus:
Break it down
Please stop calling
I'm so sick
I think I'm falling
Inside the
Mind fucking
Meat grinding
Unwinding
Soul sucking
Factory of all your dreams
Zombie then returns again to opening a track with film excerpts is the next track, "Burn", a very steady paced track with some gorgeous, very metal guitar-work. There is also a exceptional guitar solo around the 2-minute mark of the song. Opening also with film excerpts is the next song, "Cease To Exist", which is probably one of my favorites on the album (next to likely the final track "The Man Who Laughs" and "What?") because the almost Opeth-like guitar work in the track at the 1:30-mark against some film excerpts and the building upon building sensation the track fills you with as you listen. I've always been one for the cinematic feel in music, so that is one of my favorite aspects of Zombie's work as a musician - in my head I can envision a scene that might be happening during the song whether it's the story being told or the instrumentation itself.
Now, the final tracks of the album! We made it, well, if you're still reading, ha ha. Anyways, the first of the 2 final track is "Werewolf Women of the SS" which, I will not lie, makes me giggle because of the throwback feel. It's like watching an old, cheesy horror film - the instrumentation lends to that with have a very circular feel in it's guitar-work and almost sounds like a metal surfer-"Wipe Out!" situation. A favorite in the sense that it amuses me and makes me want to dance. The album closes with quite possibly my favorite song of Zombie's to date, "The Man Who Laughs", a nearly 10-minute cinematic adventure which enters with dramatic strings and a haunting feel. Then it soon picks up pace with very metal guitar and drumming, keeping the strings all the way through. One of my first thoughts with this song, and something a friend pointed out, is that it reminds me of The Joker from the Batman franchise (comics and films, etc). He also uses this track to tie in the full title of the album, speaking of things like 'noble jackals', etc.
If you can handle heavier music and or like metal or industrial, I strongly recommend this album as a whole. Of course I totally see where other might not enjoy an album like this, but even if you are 'meh' about music like this? Try out "The Man Who Laughs", at least.
If it's not your thing, so be it - to each their own.
Recommended for fans of: His movies, Rob Zombie, Powerman 5000, Industrial music like NIN (Nine Inch Nails, Tool, Marilyn Manson and the like)
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