It goes downhill. Dramatically!

The wacky, bubbling over with ideas and energy albums that emerged under Rob Zombie's expert hands (only with tape, then alone) I've heard as a teenager, I hear it now as an adult and I will hear as a pensioner. That was just pigs cool music, from someone who had it, who sealed his love for music, the horror aesthetics and comics to a kogenialen synthesis, which could accommodate on an album more Firecracker choruses, as other bands in ten years. Then Rob Zombie early noughties fulfilled a long-cherished dream and was director - and almost at the same time it started to go downhill with his musical career. After a century album The Sinister Urge followed Educated Horses, which could definitely not keep the vigorous standards of previous albums, then sometime Hellbilly Deluxe 2, not only in my eyes more than a Verwurstung stranded ideas.

That brings us already talking about the issue, because although his new work again occurs with the claim of a durchkonzipierten album, Rob seems in the meantime, neither the desire nor recovered the interest in making music to have. I would even say that it is his weakest album so far, and has hot, overlooking the previous album quite what.

What first strikes the very narrow musical spectrum: The songs give the impression of short-listed structural ideas that were still at Rob in the drawer, but now that he has rolled relentlessly on four minutes in length. The opener (NosferaturPussy) is beyond all doubt, stomping, hungry horror Hard Rock at its best, then what follows is sounds more like a second-rate Remix Collection. Many of the songs consist of little more than a half guitar chords (elsewhere herein very aptly as "riff-weight ** XES") is that simply deliver a abstumpfendes background noise without change of tempo or guitar solo - no solos, no tempo changes, just always the same droning Riff canned. Even after the sixteenth through hearing songs are 2 to 7 in my ears a complete acoustical Committee before then in the second half again slightly (but only slightly) is better - not a good record in songs throughout the 12.

Even as a copywriter Rob Zombie has now greatly reduced: the artist delivers what you expect from him, but that's why affects his poetry in 2013 just as tired indiscriminately on paper thrown routine - every text has the same arbitrary motley potpourri of horror, Cowboy - and sci-fi elements, again fucks the White Trash Girl with the werewolf while in the background the atomic bomb detonated, the zombies giggle and (inevitably) somewhere a monkey holding a cable in his hand: but in all honesty - is interested something today anyone?

The lyrics are, at best, irrelevant at worst annoying directly - without exception:

- Spray paint on a pentagram on your face; Sing it hey, hey yeah; X yourself from the human race "
"Revelation, Revolution, She got the gun, get it done Come on, come on -. Bring it on!"
- "Shake it baby, shake it baby - The broken bones and Microphones"
- "Mmmmmm Mmmmmm-momma-Shut Your Mouth"
- "We're all dancing in a black hole When all we want to do is rock and roll." (Yes, seriously, from this one sentence is the entire chorus)

That a great many choruses consist only of the sixteen times repeated headline (see above), and therefore the UGF earworm factor. Moving on stadium chorus level, does not make things better. That in as good as any text (as well) is still woven a good deal of "mood", and never pass more than ten seconds without Rob not "Hey, hey, hey", "Come on", "Bang, Bang, Bang, "" Oh Yeah! " or "Shake it" says, also not.
To put it bluntly: Rob Zombie is the last musician of which I expect a protest song about the civil war in Syria - but if a whole album only consists of indiscriminately pushed together text blocks, then running is definitely something wrong - who said the six times repeated Wortkette "Ging gang gong gong de do de Laga raga" good-as good chorus that should rather write children's songs

And so the purring this listless with allerdniedrigstem effort largely on the electric panel zusammengeschustertem Line album from "Revelation Revolution" (Excerpt: "! Turn it up Oh Yeah") is little more than an arrhythmic Spoken Word performance (just look at the audio sample click) that from time to time by the set (Refrain I would not say) "We are listening to the radio" is interrupted. "Theme for the Rat Vendor" - a Ravishankar music as Rob already several times used it in better songs as background music, now warmed up here as banal 1:30 minute stopgap. "Rocknroll / Black hole" - an unspectacular, never varied electro sound loop as can fabricate any teenager who has incorporated just five minutes in Frooty Loops - "Hussah" over and over again until the pain threshold "Yeah", "baby" and "Bums Fallera!"

In defense, "We are an American Band", "Filthy Creatures" (unfortunately, too briefly - in contrast to most other tracks on this album, this song would have liked to go two minutes), and the opener are good to very good songs as Rob Zombie they routinely shook sooner out of his sleeve. As I look at the rest of this album not only for more than flat, but here and there on the border with lazy-listless Fanboy feeding, for me are no more than two stars in it. Large parts of the disc I'll never listen again - and whether and how Rob Zombie comes as a musician back on its feet, advice vendor is not a question that will give me until further notice sleepless nights.