Kingcrimsonprog 2021 sees the release of the seventh full-length studio album from the horror and sci-fi obsessed industrial tinged larger than life rock icon Rob Zombie. Cumbersomely named; “The Lunar Injection Kool Aid Eclipse Conspiracy” sees Rob Zombie continued his tradition of excessively titled albums, but perhaps not topping his most OTT choice from a decade ago with his fourth record “Hellbilly Deluxe II: Noble Jackals, Penny Dreadfuls And The Systematic Dehumanization Of Cool.”

It was released on Nuclear Blast and follows up the very well received “The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser” album from 2016, which the general consensus around reckoned was one of Zombie’s best albums to date, but for me it was actually a bit of a let-down after my favourite album to date, Venomous Rat Regeneration Vendor from 2013. Warlock had its highlights for sure, and I appreciated the attempt to be lean, succinct and have a big personality, but fell a bit flat a times in the song writing department of the deeper tracks.

As such, I approached this new album with a bit of trepidation, but luckily ‘Kool Aid really knocked it out of the park in my opinion, as it seems to fuse the best elements from ‘Venomous (Catchiness, hooks, better song-writing) and ‘Warlock (immediacy, character, eccentricity).

This is the second album to be produced by Christopher “Zeuss” Harris. It doesn’t have as clean nor big a sound as the old Scott Humphrey produced albums of yore, but it does has a lot of energy and seems to be going for a bit of a slightly punkier vibe than a typically industrial or even stadium sound.

The band line-up is also the same as last time around. Former Marilyn Manson member turned solo virtuoso John 5 has been in the band for years and years now, but his influence is particularly notable on this record, with all the little funk asides and effects laden guitar parts. I feel like he has been allowed to shine much more than say Educated Horses for example. I would argue that in terms of sheer guitar playing fun, this is definitely one of the most colourful Rob Zombie records to date. Its also the third studio with former Marilyn Manson drummer Ginger Fish on board. Now that Manson’s career is looking to be fast going downhill, its great to see some of the members from the iconic Holywood line-up are still out there making an impact.

There are a lot of damn fine songs to be found here. From the single “The Triumph Of King Freak” and “The Eternal Struggles Of The Howling Man” to the much talked about country tinged “18th Century Cannibals, Excitable Morlocks and a One-Way Ticket on the Ghost Train.” The real highlights for me personally are the stompy “The Satanic Rites of Blacula” and the groovy “Shadow of the Cemetery Man” as well as “The Ballad of Sleazy Rider.” I’d already rank it higher in the discography than Hellbilly Deluxe 2 or Educated Horses and in fact there is certainly a much higher hit to miss ratio than ‘Warlock on the deeper cuts. It hasn’t been out that long so its probably too early to tell, but already I’d estimate that this is in at least the top half of his discography.

Its not all glory though. There are 17 tracks here, totalling 42 mins, but there is a bit of fat that could be trimmed. Six of the Seventeen tracks here are effectively intros or interludes and this cumulatively makes up a full five minutes of the record. Zombie has never been a stranger to intros and interludes, the classic debut Hellbilly Deluxe certainly has its fair share, and the platinum selling follow up The Sinister Urge had a couple, and while I appreciate that one or two can add flavour and break things up, I think this record has perhaps the most extracurricular activity outside the main songs, which may affect the flow a little bit (its not a deal breaker or anything, but I’ll probably find myself skipping them a lot in the future).

To summarise; it has a silly name and a lot of interludes, it doesn’t sound as huge as the early records sonically, but it is consistently chocked full of strong and memorable songs, has some variety and in terms of quality it is even better than its much hyped predecessor. Well worth checking out.

Warthur Oh, sure, a different album in Rob Zombie's discography happens to bear the name "Hellbilly Deluxe 2" - but set that aside, this is basically Hellbilly Deluxe 2: Industrial Rock Boogaloo. Having established a pretty fun songwriting formula on Hellbilly Deluxe, driven it into the ground during the production of that album, and then thoroughly beaten the dead horse via the remix release American Made Music To Strip By, Rob Zombie was finally faced with the task of cooking up some new solo material, having apparently decided that he needed to grow his repertoire beyond Hellbilly Deluxe's selection and old White Zombie favourites.

Joke's on Rob - to a large extent, Hellbilly Deluxe's best songs and the White Zombie back catalogue are more or less what people are interested in, and musically speaking seem to be all Rob has to offer anyway. That, at least, is the impression one gets from The Sinister Urge (named after an Ed Wood movie lampooned on Mystery Science Theater 3000, because Rob Zombie is the industrial rock guy who loved movies so much he ended up having a better career as a director than as a musician).

Remember all the songs you really liked from Hellbilly Deluxe? They aren't here. But there is a crop of songs which follow the formula of those old classics closely enough that the only real emotional or aesthetic effect the album accomplishes is to make the listener think "wow... I really wish I was listening to Hellbilly Deluxe right now". And then, because there's almost zero chance you bought this one if you didn't already own Hellbilly Deluxe, you turn The Sinister Urge off and go listen to Hellbilly Deluxe. That album, after all, is the full-bore full-fat full-sugar Rob Zombie solo experience; this one just seems a little watered down for radio airplay in comparison (and given how carefully crafted for radio airplay the previous album was, that's saying a lot).

Kingcrimsonprog Venomous Rat Regeneration Vendor is the fifth studio album by the American Industrial Metal legend Rob Zombie, it came out in 2013 and was produced by Bob Marlette (Filter, Alice Cooper, Iommi). Personally, this is my favourite of all the Rob Zombie albums, with the strongest set of songs, the least filler and the best choruses.

This album sees Ginger Fish join the band on drums (the second Marilyn Manson alumnus to join after guitarist John 5) which is a nice addition indeed. It mostly follows the usual stompy fun sample-filled Rob Zombie formula musically (but delivers a concise, focused, above average quality version of that formula) and also takes a strange turn lyrically and it the artwork and goes in a sort of ’60s/LSD-fueled direction. The main difference musically between earlier records is the higher frequency of keyboard and organ sounds giving it a retro feel. Sort of the same thing Monster Magnet sometimes tap in to, for example on ‘See You In Hell’ from their famous Powertrip album.

Sometimes, with Rob Zombie, there are real highlights on albums and making a greatest hits set or cherry picking the best moments is super easy but here its harder to choose because literally every song here is great. Its almost hard to pick something. For me, my absolute favourite track is the Ridicously catchy (even with the gibberish lyrics) ‘Ging Gang Gong De Do Gong De Laga Raga’ …its such a well built song. The section where the chorus kicks in but there’s only drums and vocals feels so anthemic. The speedy keyboard-fueled lead single ‘Dead City Radio & The New Gods Of Supertown’ and their rousing cover of Grand Funk Railroad’s ‘We’re An American Band’ complete with fun as hell cowbell are also worth mentioning. However, picking favourites is really just deciding which mood you are in today because this is seriously strong from start to finish.

Compared to some of the other famous Industrial stars, its less progressive, less artistic, and less challenging, but don’t forget a heck of a lot more fun. This album in particular is like a greatest hits set in terms of quality and consistency. If you want some damn catchy and memorable, totally fun, simple and entertaining music with an Industrial Metal flavouring on the top its worth exploring Rob Zombie and if you like Rob Zombie or indeed if want to check him out, in my opinion this is his best work to date and I heartily recommend it.

Unitron Rob Zombie - The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser

"The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser" is the sixth studio album from industrial metal musician Rob Zombie. One look at the incredibly long album title and tripped out psychedelic album cover, you may at first think this is some acid-fueled neo-psychedelic album but this is total classic Rob Zombie weirdness.

Instead of the style the title and cover, the music is groovy industrial metal just like the majority of Zombie's solo albums. 'The Last of the Demons Defeated', 'In the Age of the Consecrated Vampire, We All Get High', and many other hilariously long titles are all groovy industrial with catchy hooks and crunchy grooves. However great those are, my favorite songs are the ones that mix it up a bit. My favorite, 'In the Bone Pile', has a surprising melodic chorus which really makes it stand out. The hilarious 'Well, Everybody's Fucking in a U.F.O.' sounds like the demonic spawn of Primus and Ministry, which in this case is great and some real fun. 'Get Your Boots On! That's the End of Rock and Roll' mixes in industrial groove with some classic hard rock riffing. 'Super-Doom-Hex-Gloom Part 1' sounds straight out of a 90's electronic album.

The album closes as epic as it begins, with both the aforementioned 'The Last of the Demons Defeated' and finale 'Wurdalak' both having a very epic feel to them, the latter ending with some mellow piano. The album has a very short running time, of only just over a half-hour, but that just cuts out any filler that may have otherwise plagued the release.Overall, if you like silly or b-movie horror related lyrics and groovy industrial metal, this is one hell of a catchy album that is a perfect way to satisfy that taste. Hope you found this review helpful.

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Unitron Rob Zombie - Educated Horses

"Educated Horses" is the third studio album by industrial metal musician and former White Zombie vocalist Rob Zombie. "Educated Horses" was seen as a disappointment among fans back when it came out, as it was somewhat of a departure from the techno industrial metal of the previous two albums. There's still industrial to be heard, but it's only one sound among others as this is a pretty varied release.

The album opens up in a way that you would not expect from a Rob Zombie album, with 'Sawdust in the Blood' featuring melancholic piano playing over crashing drums before opening into the first full song on the album. More of this new sound is heard on '100 Ways' which is somewhat of an intermission with a very atmospheric sound. The classical guitar work here is dark yet gentle at the same time, and it's a shame it only goes on for a bit under two minutes. More classical guitar is featured in the beginning of the song 'Death of it All' before it gets a sort of blues-y sound. The opener 'American Witch' has an addicting classic heavy metal sound, with a really driving march of a guitar riff. Like I've said before, I'm a sucker for the Phrygian scale, and '17 Year Locust' has an awesome Egyptian-sound throughout the song combined with heavy guitars and a real foot-tapping beat.

For those missing the White Zombie sound, check out the song 'Let it All Bleed Out', which is a really driving thrashing track that is kind of reminiscent of White Zombie. The last three songs on the album are all probably the heaviest songs on the album along with the aforementioned song. 'Ride' begins with dark piano before being assaulted with a crushing guitar riff. 'The Devil's Rejects' has a really dark yet catchy guitar riff and drum beat throughout, and the contrast between the dark heavy guitar and the quieter parts really fit well. The finale 'The Lords of Salem', has an industrial-twinged doom-y riff, and the lyrics wouldn't sound too out of place in a Black Sabbath album.

Overall, I feel like this is a really underrated album, and it's especially great if you're looking for something both relatively short and varied. It's not a long album, but that just keeps it from getting boring. One of my favorite Zombie albums, and I highly recommend it for any fans of Rob Zombie who are open to variation. Hope you found this review helpful.

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Kingcrimsonprog The Zombie Horror Picture Show is a live release by the Industrial Metal band Rob Zombie. It was filmed in Texas and released in 2014 on DVD and Blu Ray, his first full concert video release. The Blu Ray version is in 1080p with DTS HD Master 5.1, Dolby TrueHD 5.1 and PCM stereo options.

Live CDs are great, but Rob Zombie has always been about spectacle, about visual, about putting on a show. It just makes more sense to release it in a visual medium. Here’s a list of things you can find on this concert film: Multiple costume changes (including prosthetic Nosferatu ears and a light-up mouth-guard) …when the band are already decoratively dressed and wearing make up to begin with; Multiple screens (showing a mixture of crowd footage, scenes from the music videos and dedicated footage such as horror imagery, strip tease, psychedelic visualizers and karaoke sing along prompts), light-up guitars, a see-through drum kit (which also has pentagrams projected onto it at one stage), balloons, confetti, fireworks and pyro and steam cannons, lights and lasers, customized mic-stands, fake snow falling, hired dancers in big puppet costumes, a giant prop that says ‘Zombie’ on it, a giant radio prop, a giant skeletal podium prop and even a giant steampunk-robot-chariot that drives around the stage and can move its head around. That’s more than most bands do in a whole career these days.

Its a very visual concert, with a lot to take in. The editing and camera work is all very high-budget stuff, lots of different angles available, movement, concentrating on the right parts of the song. There’s the occasional grainy film filters, or psychedelic looking screen mirrored down the middle or what have you, and during the intro, outro and a small selection of the more quiet parts it’ll cut to footage from the road. Its a very good looking film, well put together, not too stylized but not to plain. Very in keeping with Zombie’s tastes and artwork (Which makes sense seeing as Zombie himself directed it). Perhaps, there’s a few too many titty-shots. … a much higher proportion than normal really. If that’s off-putting to you then this aint the concert for you I fear, as there’s no getting around it here.

The band, featuring drummer Ginger Fish and guitarist John 5 (Hey, remember how cool Marilyn Manson was live when those two were in the band!?) as well as bassist Piggy D are all on top form, no free rides! Rob himself performs well and enthusiastically, really getting into it, dancing, interacting with the audience, going into the crowd etc. His vocals, which have been criticized on previous live releases are very strong here, and not a weak link at all. From everyone involved its a good performance, and the crowd seem into it.

The setlist is great; out of all of ‘Zombie’s live albums this has the most wide-ranging setlist, covering five solo albums and two White Zombie albums. Across its 80 minute length you’ll find all the hits you’d expect like ‘Dragula,’ ‘Living Dead Girl,’ ‘Never Gonna Stop (The Red, Red Kroovy),’ ‘Sick Bubblegum’ etc. There’s material from the then-new album Venomous Rat Regeneration Vendor (including a really storming rendition of ‘Dead City Radio…’). There’s also a brief drum solo and a slightly longer guitar solo where John 5 really gets to shred. There’s the popular Grand Funk cover of ‘We’re An American Band.’ The Educated Horses album is the least drawn-from album but then there was already a live album from that touring cycle so its good not to just repeat the same setlist twice. Everyone’s tastes are different and I’d personally have loved to add in ‘Scum Of The Earth’ and ‘Werewolf Women of the SS’ but otherwise it is a pretty amazing selection.

Sound wise, its is decent. The White Zombie covers sound nice and thick, and the more organic material from his solo catalogue fairs really well. Some of the more industrial sections maybe sound different live than on record but not in any way that spoils them. My only minor gripe is that my favourite ‘Zombie song, the very catchy ‘Ding Dang Dong De Do Gong De Laga Raga’ isn’t just as crunchy and massive live. Its good, but not just as satisfying. I think its just because there’s only one guitar track live and in the studio they can beef it up with more. Minor nitpick at most though.

There isn’t much in the way of extras at all, just a gallery, not even a booklet with linear notes or anything, but to be honest I bought it for the concert in the first place so that’s ok I guess.

Overall, in terms of set,sound, performance, spectacle, visuals and editing this is a very good concert film and I highly recommend it. If you are a fan already it is pretty perfect and as an introduction to the band it serves as a pretty high quality ‘greatest hits’ package with a nice career spanning collection of songs to give you a flavour for different eras.