The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser Review

artist: Rob Zombie date: 05/05/2016 category: compact discs
Rob Zombie: The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser
Released: Apr 29, 2016
Genre: Industrial Rock, Industrial Metal
Label: Universal Music Enterprises
Number Of Tracks: 12
After gravitating more towards a classic rock/metal feel, Rob Zombie brings back the strong industrial metal energy in his sixth album, "The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser."
 Sound: 7
 Lyrics: 7
 Overall Impression: 7
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overall: 7
The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser Featured review by: UG Team, on may 05, 2016
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Sound: Nearly two decades ago, Rob Zombie parlayed from the breakup of the critically-acclaimed White Zombie into his solo music career pretty damn well, with his debut album, "Hellbilly Deluxe," continuing the industrial metal direction that White Zombie had traveled in their final album and making it heavy-hitting, catchy, and a bit kitschy. From there, however, Rob Zombie's albums wouldn't be able to top that reputable debut, despite trying to branch out from it (like the nu-metal characteristics of "The Sinister Urge," and the more severe doom metal influences of "Educated Horses") or recapture it (like the attempted sequel of "Hellbilly Deluxe 2," which doubled down more on the classic rock/metal influences).

With 2013's "Venomous Rat Regeneration Vendor" still strongly appealing to the retro rock vibe that was present in his past few albums, its moments of bringing back Rob Zombie's early industrial metal sounds made for a pleasant return to his classic style that had been neglected for quite some time. Now on his sixth album, "The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser," Rob Zombie travels back even further to that classic sound of "Hellbilly Deluxe." With a total runtime of 31 minutes and having almost every song clock in at less than three minutes, Rob Zombie's choice for executing his ideas with brevity is a welcome change of pace compared to the meandering likes of his last few albums. "Satanic Cyanide! The Killer Rocks On" evokes the sloggy headbanging early on, "Well, Everybody's Fucking in a U.F.O." utilizes Zombie's hillbilly singspeak vocals, "The Hideous Exhibitions of a Dedicated Gore Whore" wields the kitschy shock metal vibe with a cheesy synth organ melody stitched to the metal backbone, and the tail end of the album shows an even stronger energy with the industrial metal cut "In the Age of the Consecrated Vampire We All Get High," the tremolo soloing in "In the Bone Pile," and the final doom jam of "Wurdalak."

Every idea's brief display keeps the album flowing well, and with these ideas compartmentalized, Zombie's recurring theme of using samples pertaining to the fear-mongering of rock music being satanic decades ago helps keep "The Electric Warlock..." unified. However, the album also shows some clear moments of repeated ideas. The slow chorus vocal of "The Life and Times of a Teenage Rock God" sounds much like the opening "Venomous Rat..." song "Teenage Nosferatu Pussy," and the swingy "Get Your Boots On! That's the End of Rock and Roll" essentially uses the same triplet-rhythm template as the previous album's lead single "Dead City Radio and the New Gods of Supertown." And though the upbeat "Medication for the Melancholy" sounds awfully close to the similar likes of the "Venomous Rat..." song "Behold, The Pretty Filthy Creatures," Zombie's use of a Tom Morello-esque killswitch noise guitar riff saves the song from being a total repeat. // 7

Lyrics: If the absurd title of the album wasn't indicative enough, Zombie drafts up his fair share of kitschy shock metal narratives in "The Electric Warlock..." as expected, from the explicitly grotesque and goofy "Well, Everybody's Fucking in a U.F.O." ("I said 'look to the skies, I think I saw a spaceship ready to feast!' / But all they had was jizz on the walls and the bones of a mangled priest"), to the more elementary horror/sex appeal of "The Hideous Exhibitions of a Gore Whore" ("She got a Dracula tattooed on her neck / Sunlight always makes her sick"), and takes a turn for the serious with the menacing ode to the titular Russian vampire in "Wurdalak." But with some songs running alongside the aforementioned theme of Zombie's choice to sample speeches about "the devilish dangers of rock and roll," a part of the album drums up a quasi-concept about a young rockstar who takes solace in his craft going hand in hand with the occult. This is heard simply in the first-person perspectives of "The Life and Times of a Teenage Rock God" ("I've been driving all night, a devil by my side / I used to call him Jekyll, now I call him Hyde") and "In the Bone Pile" ("I was born to sell my soul / Thrash it all for rock and roll"), as well as being derided by another perspective in "Medication for the Melancholy" ("Aww man, this fucking freak up on stage, shit he's got everything"). // 7

Overall Impression: Like the campy horror theme that inspires it, Rob Zombie's aesthetic in the music world is best employed and enjoyed when indulging in the kitsch that it's laced with. With that in mind, "The Electric Warlock..." successfully recalibrates to that mentality that had been relatively lost in Zombie's last few records, and along with its musical demeanor revamping the heavy industrial metal energy of "Hillbilly Deluxe" in brief doses, the album also gives into its campy inhibitions, making for a simply fun shock metal record with a nice bite to it. // 7

- Sam Mendez (c) 2016

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