Released by: UMe/T-Boy Records
Release Date: Out Now!!!
Genre: Heavy Metal
Links: http://robzombie.com
Line Up:
Rob Zombie – vocals
John 5 – guitar, backing vocals
Piggy D. – bass guitar, backing vocals
Ginger Fish – drums, percussion
Tracklist:
01. The Last Of The Demons Defeated
02. Satanic Cyanide! The Killer Rocks On!
03. The Life And Times Of A Teenage Rock God
04. Well, Everybody’s Fucking In A U.F.O.
05. A Hearse Overturns With The Coffin Bursting Open
06. The Hideous Exhibitions Of A Dedicated Gore Whore
07. Medication For The Melancholy
08. In The Age Of The Consecrated Vampire We All Get High
09. Super-Doom-Hex-Gloom Part One
10. In The Bone Pile
11. Get Your Boots On! That’s The End Of Rock And Roll
12. Wurdalak
Rob Zombie has been keeping himself busy over the years, where his multiple skill-sets can only be admired from afar. Only a few would remain as powerfully ambitious as he is, which ranges from a Musician, Director, Actor, Producer, and Screenwriter. Despite his creative directions, one aspect has been consistent throughout the course of his career, and that is his work will always produce a one-of-a-kind Horror masterpiece.
2016 is looking bright for Rob Zombie, as his seventh feature film ‘31’ will be released in September, where it only feels it was just yesterday when 2003’s ‘House of 1000 Corpses’ shocked audiences. Now on April 29th, 2016 his sixth studio album ‘The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser’ was released, and what a title that is where it clocks just under the forty minute mark! This short yet long descriptive album features guitarist John 5, bassist Piggy D, and drummer Ginger Fish.
Opening up with “The Last of the Demons Defeated” rings in with a similar White Zombie ‘Astro-Creep: 2000’ tone to me with its radio introduction, however, maintains an expected Rob Zombie aesthetic. It continues to move with an eccentric instrumental followed by a crushing guitar riff that heavily explodes. “Satanic Cyanide! The Killer Rocks On!” comes in next with a voice that reminds me of Porky Pig from the Looney tunes as this character discusses Rock music not being allowed to play in the “house of the light.” This introduction brings back a bit of 70s nostalgia where many parents would burn their kid’s Kiss records back in the day as they believed it was satanic. Once Zombie’s vocals comes in, the energy demonically picks up but the melody does shift between an acoustic break followed by the familiar Industrial sound. The lyrics and hidden recordings have some sort of truth behind it, where it is more than nonsensical vocals. Towards the end of the track you hear in a radio tune, “Particular World view of what we may consider is normal, because we were born into the system of lies and deception. In fact, deception has become part of the social framework of society, so we don’t necessarily see things as they are. We see things as we are.” During this philosophic truth, the melody shifts to a spiritual and holy tone as though the listeners is being mentally transported to a chapel of pretentious deception.
Moving along with the drums leading in the next, “The Life and Times of a Teenage Rock God” as it angrily entices evil madness. For some reason, especially during “All the freaks come worship me” reminds me of something that would have been a decent collaboration with Marilyn Manson. It brings back the late 90s/early 2000s when Industrial Metal was at it’s peak, yet adds an extra modern zing to the mix. It’s an enjoyable track that can demonstrate the blatant fact that teenagers have worshiped Rob Zombie over the years. There’s no shame nor fear in admitting it as the tune continues to entertain. Now the next, “Well, Everybody’s Fucking in a U.F.O.” is perhaps the most bizarre track of the album. It is a thrilling spacious and Zombie-esque tune with at some point you will say to yourself, “what is he talking about?” yet, you will end up loving this track. The randomness is probably what is needed with phrases such as “filthy glory hole” and “jelly roll,” as the melody rushes in with aggression. I ended up laughing and headbanging along between the continuous sexual spacemen undertones mixed with the merciless rhythm.
The instrumental piece, “A Hearse That Overturns with the Coffin Bursting Open” comes in with a repetitive recording of someone saying, “Oh revolting, yet so interesting.” This phrase repeats itself for the first twenty seconds of the track as it is followed by a haunting and acoustic layer that fits perfectly in a film score. This instrumental adds shivers with its hidden atmospheric undertones that will cut deep into the skin. Next up is the semi-repetitive song “The Hideous Exhibitions of a Dedicated Goat Whore.” The lyrics seem to talk about different tattoos such as a “devil back with a crazy eye,” however, I think the meaning is more about strength and having a “fuck it” attitude. Moving in with a horror sound as though it is from the soundtrack to ‘Suspiria’ or even ‘A Clockwork Orange’ with “Medication for the Melancholy.” Shortly after the introduction it moves more into a maniacal flavor with melodic intensity. “In the Age of the Consecrated Vampire We All Get High” opens up with the standard heavy sound as a surprised silence hits with a voice that says, “Think for yourself and question for you.” where you have no choice but to let yourself go and have a blast listening to this one where I would love to predict this particular piece being performed live.
“Super-Doom-Hex-Gloom Part One” is another instrumental piece yet has an additional philosophical opening with “What makes them single this group out as the agents of satan who is this worry Goliath and why is he so afraid of this new found David?” Following this (anti?)-Spiritual piece is the crushing “In the Bone Pile” where all Hallows Eve returns here with its disturbing echoing chorus, “In the bone pile, where I wait for you.” The album continues to move quite fast as “Get Your Boots On! That’s the End of Rock and Roll” comes on next. It kicks off with a guitar warming up as it smashes in with another enjoyable momentum. There’s an interesting bass rumble that hits during the middle where it changes the pace and style. At this point of the album, I feel as though I’m listening to some sort of hidden anthem for Rock and Metal music in general. Where in this piece, despite its randomness you end up having fun between the bass and keyboard shifts.
The concluding song, “Wurdalak” moves in with a slow introduction with its horror-esque score. It is the longest track on the album and the most demonic as well that includes vicious vocals. Zombie’s voice slowly crawls in like hooves from Satan himself prancing along closer and closer to the gates of Rob Zombie’s own hell. It slows down with a creepy keyboard as the distorted guitar heavily chimes in. I believe this track is about the Russian vampire “Wurdalak,” where the blood of their loved one must be consumed to convert the Vampire’s whole blood(non-blood?) line to walk through all eternity together, where they can continue to crave and search for human blood and remains. This eerie and haunting track grows even further with the piano work that hits around 4 minutes. Bringing chills where your neck pulses a bit wondering if a Wurdalak is nearby. It ends with a sound of a thunderstorm as it leaves just like any Rob Zombie film, with the added shivers and shock to most listeners. That is why Rob Zombie is a master of Horror in music and film.
The album rolls through a mix between a fun Rock n’ Roll style, philosophical meaning and blood-driven horror. I don’t know how he does it but, this is well worth checking out.
Written By: Zenae D. Zukowski
Rating 9/10
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