Rob’s debut solo album and White Zombie’s break-up both happened mere months apart, and Hellbilly Deluxe is truly Rob’s: he took the White Zombie sound and futurised it, all industrial metal choppiness, bastard-heavy beats and timeless horror movie keys. You’ve got Dragula, Living Dead Girl, Superbeast - but what about deeper cuts like Demonoid Phenomenon and Spookshow Baby? All just as valid, just as vital. Every song on Hellbilly Deluxe could be a single, all packing chant-along choruses to bury a body to. Hellbilly Deluxe: 13 Tales of Cadaverous Cavorting Inside the Spookshow International (1998) Across 11 songs and 52 minutes, White Zombie rattled through enough grooves, gabbering and gut-twisting heaviness to rival any metal band in the 90s.ġ.
Produced by Terry Date, the record pulls no punches, just flesh from haunches - you don’t need us to remind you how perfect More Human than Human’s slithering slide guitar is. Astro Creep served as White Zombie’s fourth and final album, and yeah, they really did save the best till last. It’s everything La Sexorcisto was but leveled-up. Whether it’s the table-flipping primal energy of Scum of the Earth or Feel so Numb’s irresistible refrain, it’s all just so… immediate. Slightly more ‘metal’ than what came directly came before, the album doesn’t skimp on the accoutrements that make Rob one of heavy music’s most idiosyncratic songwriters: spooky-dooky movie samples, 4/4 drum beats to cave in the dankest of dancefloors, and ludicrously over-the-top industrial anthems about death, dying and the dead.
Rob Zombie jettisons that concept into space like the Xenomorph at the end of Alien, with pretty much every song on The Sinister Urge justifying him as a star in his own right. Of all his 2010s output, Venomous Rat is undoubtedly the most enthusiastically bug-eyed - the hippy-dippy energy’s so infectious, it doesn’t even matter that Teenage Nosferatu Pussy’s chorus wholesale rips off Demonoid Phenomenon.
It’s so fun - Rock And Roll (In a Black Hole) drives a dirty Rammstein riff through equally Germanic techno beats, with White Trash Freaks not trailing far behind. Venomous Rat Regeneration Vendor (2013)īasically a more boneheaded, muscular cousin to Electric Warlock, Rob’s fifth record is industrial metal through a keyboard-laden kaleidoscope reflecting, dunno, bench-pressing werewolves or something. Electric Warlock is horny, heavy and, in its final two minutes, genuinely heartfelt.Ĥ. has Rob go full-on Les Claypool with one of his catchiest vocal lines ever, while album finale Wurdalak climaxes with some properly gorgeous piano. And there’s still room for left-hand-path turns: Well, Everybody’s Fucking in a U.F.O. It’s all vibrant, dayglo, sharktooth-sharp riffs backed by the hammiest of keys and John 5’s Tom Morello-isms on stuff like Medication for the Melancholy. Clocking in at thirty-one minutes across twelve songs, his sixth solo outing is essentially the Zombie version of punk rock. The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser (2016)ĭespite a title that reads like a Rob Zombie parody, Electric Warlock is surprisingly succinct. Le Sexorcisto inadvertently straddled the zeitgeist and ended up going two-times platinum in the US.ĥ. The sampling’s reminiscent of the day’s hip-hop the psychedelic, drugged-up vibe fit right in with the likes of Soundgarden and Alice In Chains’ dark take on alternative rock. There’s the obvious stuff like Thunder Kiss ‘65 and Black Sunshine, but this record is nearly an hour long - even tracks like Grindhouse (A Go-Go), tucked right at the arse-end of the disc, will be stuck in your head for weeks. White Zombie’s third full-length saw Rob and the gang stuff Make Them Die Slowly’s grooves through a mince-grinder of bluesy guitar licks and exploitation film samples, tightening their offering and ensuring every song dug into your brain and set up camp there. La Sexorcisto: Devil Music Volume One (1992)
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