![]() John 5 finishes the track with an echoing solo of experimental audio slides and pitch.Īs with all Zombie albums, the record is stacked with various interlude pieces which create a varied expedition through the musical mind of Mr Zombie. It’s got the hard hitting clean breakdowns that make us want more, whilst adding in a seductive seventies funk vibe. ‘The Eternal Struggles of The Howling Man’ sees the record smash back into sludging heavy industrial rock that we are used to, it drives hard, with a solid rhythm performance from Ginger Fish and Piggy D. I really hope that this track is released for the sole purpose of seeing what Rob would do with the music video. I’m sure if H G Wells had a vision for a theme song for the Morlocks, this wouldn’t be too far off it. It’s a high energy, western, blues driven ditty with a heavy distorted chorus. This has become one of my favourites, it’s so randomly different to his usual style but actually fits perfectly if you look at the creative universe of Rob Zombie and encompass his movies. When I received the record for review something happened during the encryption download, this caused a mix in the listing of the tracks so when I eagerly hit play ‘18th Century Cannibals, Excitable Morlocks and a One Way Ticket On the Ghost Train’ was the first track to play, needless to say I was pretty intrigued with what the album was about (when you play it, you’ll understand my confusion). The intricate breakdown of John 5’s solo into the sample vocal, which sits atop a groove filled bassline from Piggy D, adds a new element to an old recipe showing Zombie can give the fans what they want but still add a new spin. ![]() The relentless beat that drives through is sure to be a huge fan favourite, I can see this firing up the crowd to surge point at any Spook Show. ‘Shadow Of A Cemetery Man’ is a sledging stomper of a track, if you love tracks like ‘Ging Gang Gong’ then this is one for you (and me). John 5’s guitar work is sublime with hints of eighties licks throughout the track. ![]() ‘And they can tell us we’re crazy and we can say, well you haven’t seen anything yet!’ What a way to start ‘The Ballad Of Sleezy Rider’, with hooks and an industrial sound reminiscent of White Zombie days, it’s a nod to earlier elements of his musical journey. The track is led out with another musical switch into funk, it’s different but it works. As John 5 wails into the heavy guitar riff and solo, Rob’s vocal slam back in with ‘ and the crows will dig your grave, I do not forgive, I do not save’ reminding fans that Zombie always has a way with words and a hook. The breakdown bassline and tone has an almost ‘Grand Funk Railroad’ feel, with essences similar to ‘Inside Looking Out’ – ah man I love that tone. It’s a diverse piece with eastern influences in the guitar riff at the start along with the percussive tabla, through to hard rock chants within the verses and chorus. Whilst ‘The Triumph of King Freak (A Crypt of Preservation and Superstition)’ is heavy, it’s almost a musical extravaganza. The flow of the early stages of the record is the undisputed hard rock that we have come to expect with his releases, as ‘Expanding The Head of Zed’ finishes with a repeated sample of ‘….to insanity, to insanity,’ we hear the crackle of a needle on vinyl and a sample vocal ‘the demons hate you’. We are treated early on to Rob Zombie’s use of movie and interview samples, which, across his career he has flawlessly melded music, interviews and speeches together. We’re introduced to The Lunar Injection Kool Aid Eclipse Conspiracy by ‘Expanding The Head Of Zed’, as a ritualistic chant begins, you’re drawn in to the energy and driving heartbeat of the record. Across his near forty-year music career, Rob Zombie has carved his own niche of shock rock, horror punk, morphed industrial metal and driving entertainment that has fans hooked as they find their own lust of individuality. There are not many other acts who can deliver what he does, he doesn’t fit into any genre as such. Rob Zombie is one of the busiest people in the music industry, it’s been nearly five years since ‘The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser’, in that time he has released two movies and toured relentlessly. There’s musical curveball’s just as you’re getting comfortable, there’s hauntingly vulnerable moments that make you stop and give your undivided attention to what has been delivered but as always there’s that hard sledging relentless beat that Mr Zombie does so well. I can only explain ‘The Lunar Injection Kool Aid Eclipse Conspiracy’ as an eclectic, musical journey through the mastery of an insane genius.
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