During his prime it was not difficult to think Zombie was cool, and the primal atmosphere drenching nostalgic metal cuts like “More Human Than Human,” “Supercharger Heaven,” and “Dragula” made it pretty damn hard not to. From a musical perspective, Zombie has historically proven consistent at delivering the necessary goods to feed this beast. 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. 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.
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