I cannot say whether I speak for all my peers, but I can definitely bear witness to a shift in the zeitgeist of the metal scene: back when I was a lad, and making my first ventures into the cornucopia of divine sonority and cacophonic grace, I was accosted time and time again by hordes of mascara-d prepubescent vermin, who attempted to distract me from my pilgrimage to the heart of darkness by trying to infiltrate my musical consciousness with the deliberately identifiable and very marketable produce of one Marilyn Manson (real name Brian Warner, spawn of middle class white American suburbia and the voice of the annoyed-and-annoying generation).
Rob Zombie needs to make a new full-length, for sure, but he could also do well by emptying the vaults of whatever he hasn’t gotten around to releasing, as the bonus cuts here clearly indicate.And so we return, in a climate that has sadly progressed beyond grizzled schlock-horror industrial metal, to tentatively uncover the latest offering of one of the scene’s veterans. The other new track, “Michael,” sways with extra weight as it threatens to come loose from Zombie’s hand and crush anyone in its way. Zombie also adds a raw garage-rock pulse to what he does. “Everything Is Boring” is more standard metal aggression with the usual dissatisfactions with life. That’s not to say that tunes such as “Jesus Frankenstein,” “Sick Bubblegum” and “Death and Destiny Inside the Dream Factory” aren’t filled with plenty of road rage, but the additional tunes do a nice job of augmenting the original album. “Theme for an Angry Red Planet” is the intro to “Mars Needs Women” split into its own track and “The Man Who Laughs” is a new version of the album’s closer. “Devil’s Hole Girls and the Big Revolution” is an intense beating that’s heavier than many of the album’s original tracks.
For the special edition of Hellbilly Deluxe 2, three additional tracks were added.
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