The bulk of his work, from the pulsating amusement of Astro Creep Two Grand, the campiness of films like “House of a Thousand Corpses,” or the chugging intensity of the first “Hellbilly Deluxe” installment prescribes Zombie’s greatest appeal is unequivocally derived from human nature’s most cartoonish desires. After all, White Zombie got its mainstream break because Beavis & Butthead thought “Thunderkiss ‘65” rocked. However, "nice" should never be a word that can describe a Rob Zombie record.Review Summary: Although a return to glory days form is valiantly attempted, the finished product is unmemorable and rusty.ĭespite the captivating irony surrounding the fact Rob Zombie fancies himself an intellectual, there exists a non-exceptional, unyielding pre-requisite to turn your brain off in order to enjoy the schlock drenched forms of media bearing his stamp. JOHN 5 does his best to disguise lifeless riffs with some stylish playing and a killer tone, resulting in some nice mainstream metal. "Sick Bubblegum" is catchier than any song with a "Rock, motherfucker" rejoinder deserves to be, and "What?" may be the best GIBBY HAYNES impression since 1996, right down to lyrics that sound made up on the spot. Even when he isn't sounding awkwardly experimental, songs like "Mars Needs Women" and "Burn" are worthy of Rob's mediocre kid brother's band, but not the guy who gave us Astro-Creep 2000. "Werewolf Women of the SS" is an undeserving musical counterpart to Rob's inspiring Grindhouse trailer. The artsy detours and sound clips on "Jesus Frankenstein" and particularly the interminable "The Man Who Laughs" distract from otherwise fine songs. He's maintained the bells and whistles that made WHITE ZOMBIE stand out, but he no longer has the hooks to carry them. Sheri Moon Zombie sounds like an artist who should be on Roadrunner pitching himself to The End Records.
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