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Samuel Dillinger avatar 3:38 AM on 02.10.2010  (server time)
Album Review: Rob Zombie - Hellbilly Deluxe #2

Hey dtoid,

I usually save this space for writing about gaming and all its wonder. However, lately I have been focusing on music a little more because my side job of contributing to a street press mag presents me with some wonderful opportunities to offer my some-what professional opinions to the masses of the retarded Australian state, Victoria. Hopefully you don't mind and if you do, then click back on your internet browser and save my words for people who give a shit.

Album Review: Rob Zombie - Hellbilly Deluxe #2

The latest single: Sick Bubblegum

Some will tell you that there is no limit to the artistry an individual can possess. If that is the case than the busy Mr. Zombie must be one of those rare individuals who’s drawing closer to his artistic end. Not only because his latest effort is an attempt to regain past glory through a deemed ‘sequel’ of a classic release, but because it just doesn’t live up to the glory of its predecessor.

While fans will be pleased with Zombie taking time out of his current film making routine to deliver a much anticipated album, many will be knocked back with the obvious lack of artistic merit within the package. Repetition was something that achieved massive results with the original Hellbilly Deluxe due to the amount of effort put in to giving it an adrenaline fed sound causing listeners to put their foot to the floor while driving along in their car or take their significant other to the bedroom and have it play in the background. Gone are these urges due to lack of build within the musical arc throughout most of the album.

Repetitive background drumming efforts are apparent throughout two thirds of the album, only picking up speed to differentiate it from one track to the other. The same can be said about the electrics, samples as well as vocals, making each track sound identical to the last. The albums only real saving grace is in its attempt to salvage something different for a listener in its closing track The Man Who Laughs, with authentic string symphony samples keeping pace throughout some hefty guitar licks and an experimental drum solo which starts to wear thin soon after it starts due to it laying down a bloated foundation that nothing else builds upon.

This effort was something I feel Zombie felt forced to do in between more important artistic opportunities - A shame really, because this is the business that built him up to begin with.

I badly wish he would bring out another album to throw on throughout coitus. My copulation playlist is starting to get old...your suggestions, if you will.

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