Nicely, what else was Rob Zombie going to call his sixth studio album? Following 2013’s Venomous Rat Regeneration Vendor, The Electrical Warlock Acid Witch Satanic Orgy Celebration Dispenser nearly looks as if the pure alternative. A smart title would in itself be weird to followers who’ve grown used to probably the most flamboyantly perverse and intentionally provocative parlance in relation to Zombie’s equally, let’s consider, colourful music.
Hearken to The Electrical Warlock Acid Witch Satanic Orgy Celebration Dispenser proper now.
Rob Zombie has spent his total profession since White Zombie bouncing from being a musician to a director and again once more, and the time since Venomous Rat Regeneration Vendor was no totally different. Not solely did Zombie voice the character of Ravager Navigator within the 2014 Marvel blockbuster Guardians Of The Galaxy, however he additionally directed, wrote, and produced 31, a crowdfunded movie starring Malcolm McDowell, which premiered on the 2016 Sundance Movie Competition. Although the modest launch solely acquired a lukewarm reception, it did nothing to dampen Zombie’s thirst for creativity.
For Zombie, one medium appears to feed off the opposite, given his aptitude for bringing the visible factor to his music. And, after all, there’s the creativity of soundbites that provides an additional dimension and depth to the aural assault. The Electrical Warlock Acid Witch Satanic Orgy Celebration Dispenser follows that time-honored custom. In truth, it maybe sounds extra like a soundtrack to certainly one of his slasher gore flicks than any of his earlier recorded work.
Launched on April 29, 2016, Electrical Warlock is the same old collage of film snippets and tongue-in-cheek shock, with its 12 tracks offering the theme tune to the acid journey sci-fi dystopia that exists in Zombie’s thoughts, the place all these artistic flashes occur. And with the entire thing clocking in at somewhat over half-hour, this file is a brief sharp shock of Technicolor explosion that’s Rob Zombie at his finest.
“The Last Of The Demons Defeated” is a militaristic name to motion. A rounding-up of the victorious survivors of a hostile alien takeover, Independence Day-style. Who is aware of? The lyrics are nonsensical: “Electric warlock, electric warlock, electric warlock acid witch,” repeat and finish. It doesn’t matter what it means, it simply sounds cool. However there’s an additional dimension to Zombie’s music which means you don’t solely hear it – you see it. Each buzzsaw riff, each gut-punching groove, each chiming electro flourish, each excerpt of film dialogue, and, most of all, each madcap music title serves to color an image of the demented world that exists inside his creativeness.
“Satanic Cyanide! The Killer Rocks On!” is an apocalyptic ode to the tip of one thing: “This is the end/Farewell my friend/All that you feel/Nothing is real.” And but, as darkish and morose as it could actually all seem on the floor, dig somewhat deeper and there’s an ever-present self-deprecating sardonicism at play: “Lyrics to real rock music is nothing more than Satanic Cyanide/Get it out of your house, throw it out and burn it/It has no place in the house of the righteous.” Artwork imitating life in Rob Zombie’s world, maybe.
Certainly, it may all be the soundtrack to Zombie’s double life – Rob Zombie the person at dwelling watching horror flicks together with his spouse, Sheri Moon, versus Rob Zombie the grasp of ceremonies at his psychoholic freak present; he could possibly be all three of the Jekyll, Hyde and teenage rock god in “The Life And Times Of A Teenage Rock God.” Elsewhere, it’s a sleazy, fantastical journey by means of the wicked corners of Zombie’s psyche on “Well, Everybody’s F__king in a UFO”: “This is the story of the one-eyed wolf/Called the honey of super doom/She rode her five-legged beast/In a mirrored bikini right out of the womb.”
And so it goes. “A Hearse That Overturns With The Coffin Bursting Open” is way extra light than the title suggests, being that it’s an acoustic instrumental lament with the soundbite, “So revolting, yet so interesting.” A Zombie modus operandi if ever there was one. The shock rock of “The Hideous Exhibitions Of A Dedicated Gore Whore” provides option to the souped-up electro-punk of “Medication For The Melancholy” and into the vigorous bump’n’grind of “In The Age Of The Consecrated Vampire We All Get High.” “Super-Doom-Hex-Gloom Part One” is one other instrumental interlude, this time heading in a sci-fi B-movie course, hinting at an intergalactic wasteland, Blade Runner-style – or perhaps the Earth’s post-apocalyptic future as depicted within the authentic Terminator.
It doesn’t matter what he turns to in his multi-faceted artwork, it’s Rob Zombie who guidelines triumphant by means of the likes of “In The Bone Pile” (“Well, I was born a rotten freak/Slicking back a widow’s peak/Well, I was born to take you down/I don’t ever f__k around/Well, I was born into the light/A demon warp on Friday night/Well, I was born to make you crawl/Give it up and lose it all”). And if “Get Your Boots On! That’s The End Of Rock And Roll” is a Marilyn Manson-style fist-pumping romp, then album nearer “Wurdalak” brings issues to an epic five-and-a-half minute funereal demise march crescendo.
No matter world Rob Zombie creates for the listener to step into, The Electrical Warlock Acid Witch Satanic Orgy Celebration Dispenser provides 12 frightfully extravagant flashes of his ghastly dystopia, returning the artist firmly to the highest of his sport.
The Electrical Warlock Acid Witch Satanic Orgy Celebration Dispenser will be purchased right here.
