Zoroaster is a band for people who love metal with lots of atmosphere and super heavy riffs. Two distinguishing features of the band of the spacing/echoing guitar tones and vocal effects. They stick to that excellent format throughout and create a seamless album.
The opening track to this sludge metal masterpiece is D.N.R. A slow and super heavy riff-laden bowl of molten metal. Vocals are delivered through a deep echoing spaced out effect. Listen closely for the panting in the background. Zoroaster pay close attention to details of atmosphere throughout this album. DNR is the ultimate combination of doom/stoner metal with psychedelic music. Be prepared for an extended solo that eventually returns home after its wandering ways.
The second track Ancient Ones opens with a thundering riff and pounding drums before the vocals kick in. The vocals have less echo but are dual layered so they give off a chant like vibe. The deep raspy tone of the vocals lend a villainous feel to song. The band uses a minute plus solo to finish the song but sing over parts of it showing off their musical chops.
Odyssey follows with a thunderous opening before settling into one of the slower tracks on the album. The vocals do not feature the raspy tone, but are sung cleanly, sort-of. They are delivered at a chant-like tempo and sound distant yet all round you. Time for the sonic odyssey to begin. The guitar solo on the track sounds as if it were recorded in a canyon. The appeal to this genre of metal is the rhythmic pulse and a general appreciation for riffs and solos. Zoroaster adheres to that premise with grinning, headbanging inducing precision.
Trident leads the way into the middle of the album by speeding up the tempo. Zoroaster doesn't want the audience to get too spaced out. It features a punk/surf style approach to the guitars in the verse. Fans of Monster Magnet will appreciate this addition to the album.
Firestarter begins with sparse guitar tones before a collision of effects rolls in to overwhelm the listener. The chaos quickly subsides and the sparse guitar notes are replaced with two spaced out solos while the drummer holds things together. Old World follows and it is the most psychedelic track on the album. Chant like vocals, slow pulsing riffs, and spaced out solos.
Blackhole opens with a searing solo and thundering drums. When the vocals come in they are menacing and continue the tone set during the song's first minute.
Odysessy II is a mellower version of its predecessor. A simple acoustic guitar pattern played while the bass and drums lumber along. The slow track allows the listen to settle down after Blackhole and leads nicely into the ambient title track and closer, Matador.
Monday, December 6, 2010
Monday, July 19, 2010
Sepultura: Chaos A.D.
This is a retro review a classic from the early nineties when drop-d tuning began entering the metal arena and metal bands began deviating from the thrash tempo of the previous decade.
The album opens with a heart-beat and then the now infamous drumbeat followed by the guitar riff and an opening solo before hitting the chorus riff. Lyrics of this song and much of the album focus on oppressive powers or governments and the people that stand up against them. "Inner Fear your worst enemy: Refuse-Resist!!!"
Territory brings back found memories of watching head-bangers ball at 1am in high school. This also opens with a dominating drum beat before the guitars fully enter. One of the Sepultura's sonic signatures between this album and it predecessor,Roots, is the prevalence of a strong rhythmic drum-beat. The band focused a great deal of energy getting in touch with their tribal roots and that connect manifests itself through the drums. Territory is about fighting for your land, "War for Territory!" In many ways the ways Rage Against the Machines debut album is an American brother to this albums lyrical content.
Slave New World accelerates the tempo of the album showcasing some of the band's thrash roots but slows down mid-way to deliver more political and tragedy based lyrical content, before calling the oppressed to rise up "what of free tribes? Charge the bread lines, blood boils inside me, were not slaves were free!" Guitar Solo "Face the enemy, stare inside you, destroy, destroy them all!"
Amen takes the vocal sonic spectrum in a new direction by adding an echoing/chorus effect. The slower chugging pace of this song suits tempo changes that are accompanied by chanting vocals, before going into solos, and Max's distinct yell.
Kaiowas is a song that listeners of metal from today may take for granted but at the time Sepultua was kicking down the doors of what metal was supposed to sound like. In this acoustic track which is dominated by the drums Sepulatura is sonically connecting to their Brasilian tribal heritage. Band like System of Down are a natural extension of this approach to writing metal songs.
Proganda leads off with a high-pitched solo before cranking into a full throttle thrash assault. "Why don't you get a life and grow up!...Don't believe what you see! Don't believe what you read! Don't!" The sentiments of this track are quite obvious.
The next track is a favorite of anyone who rodr in my car after cross-country practices. A trash track with a goofy chant chorus "Biotech, Biotech, Biotech, is Godzilla!"
The opening guitar riff of Nomad sounds like an alarm howling. This song employs a sliding guitar riff between vocals early on that evokes a horror movie don't look behind that door feel. Later in the song the pitch of the slide decreases.
We Who Are Not As Others is an instrumental track with one repeated vocal line. A precursor to Roots which incorporates more tribal rhythms.
Manifest is a retelling of a violent moment in South American history, the murder of prison inmates, through thrash movements, followed by slower segments where the events are told via a megaphone. The tempo and sonic attitude of this track do an excellent job of conveying the violence and chaos that the inmates would have experienced. The most disturbing moment "Over 80% of the inmates weren't sentenced yet."
The Hunt was not written by the members of Sepultura but one would never be able to tell because the lyrical content is in line with the album's. In this case it tells of rebels hiding out and spreading their message while being pursued by the authorities.
The albums last track "Clenched Fist" features all of Sepultura sonic ranges but the violent high-pitch guitar tones and rhythm section stand out the most. Max finishes the album shouting "Soul-Mind-Fist" which totally encompasses the Sepultura mantra, follow your heart and fight for what you believe in.
The album opens with a heart-beat and then the now infamous drumbeat followed by the guitar riff and an opening solo before hitting the chorus riff. Lyrics of this song and much of the album focus on oppressive powers or governments and the people that stand up against them. "Inner Fear your worst enemy: Refuse-Resist!!!"
Territory brings back found memories of watching head-bangers ball at 1am in high school. This also opens with a dominating drum beat before the guitars fully enter. One of the Sepultura's sonic signatures between this album and it predecessor,Roots, is the prevalence of a strong rhythmic drum-beat. The band focused a great deal of energy getting in touch with their tribal roots and that connect manifests itself through the drums. Territory is about fighting for your land, "War for Territory!" In many ways the ways Rage Against the Machines debut album is an American brother to this albums lyrical content.
Slave New World accelerates the tempo of the album showcasing some of the band's thrash roots but slows down mid-way to deliver more political and tragedy based lyrical content, before calling the oppressed to rise up "what of free tribes? Charge the bread lines, blood boils inside me, were not slaves were free!" Guitar Solo "Face the enemy, stare inside you, destroy, destroy them all!"
Amen takes the vocal sonic spectrum in a new direction by adding an echoing/chorus effect. The slower chugging pace of this song suits tempo changes that are accompanied by chanting vocals, before going into solos, and Max's distinct yell.
Kaiowas is a song that listeners of metal from today may take for granted but at the time Sepultua was kicking down the doors of what metal was supposed to sound like. In this acoustic track which is dominated by the drums Sepulatura is sonically connecting to their Brasilian tribal heritage. Band like System of Down are a natural extension of this approach to writing metal songs.
Proganda leads off with a high-pitched solo before cranking into a full throttle thrash assault. "Why don't you get a life and grow up!...Don't believe what you see! Don't believe what you read! Don't!" The sentiments of this track are quite obvious.
The next track is a favorite of anyone who rodr in my car after cross-country practices. A trash track with a goofy chant chorus "Biotech, Biotech, Biotech, is Godzilla!"
The opening guitar riff of Nomad sounds like an alarm howling. This song employs a sliding guitar riff between vocals early on that evokes a horror movie don't look behind that door feel. Later in the song the pitch of the slide decreases.
We Who Are Not As Others is an instrumental track with one repeated vocal line. A precursor to Roots which incorporates more tribal rhythms.
Manifest is a retelling of a violent moment in South American history, the murder of prison inmates, through thrash movements, followed by slower segments where the events are told via a megaphone. The tempo and sonic attitude of this track do an excellent job of conveying the violence and chaos that the inmates would have experienced. The most disturbing moment "Over 80% of the inmates weren't sentenced yet."
The Hunt was not written by the members of Sepultura but one would never be able to tell because the lyrical content is in line with the album's. In this case it tells of rebels hiding out and spreading their message while being pursued by the authorities.
The albums last track "Clenched Fist" features all of Sepultura sonic ranges but the violent high-pitch guitar tones and rhythm section stand out the most. Max finishes the album shouting "Soul-Mind-Fist" which totally encompasses the Sepultura mantra, follow your heart and fight for what you believe in.
Monday, April 26, 2010
Assjack
That's right Assjack. Not Jack Ass. Assjack is a heavy metal band fronted by Hank Williams III. Yep, the son of the guy who sings the Monday now Sunday Night Football introduction song. Hank III has been tearing up the country scene for sometime now but has regularly been playing two sets at his shows. The first set is his country music and then he comes back on and scares the shit out of his fans with hardcore punk metal.
Assjack's first album is a ten-track selftitled affair written and played entirely by Hank III himself. Having listened to some of Hank's country tunes his punk-outlaw persona is definitely intact here on Assjack but he cranks up the attitude. The first track opens with a Slayer Reign in Blood-esque riff and then blasts off with double-bass action, hey-hey sing-a-long and chug-chug riffage all leading up the FUCK YOU MUTHAFUCKER!!! A couple of themes are constant throughout this album sonically and lyrically. On the sonic side, vocal distortion effects, double-bass, snare-drums, and fuzzy guitars. Lyrically it is very simple, being an outlaw and getting wasted.
The album is loud and fast (like a good punk album) but aggressive like a young heavy metal band just thrashing as fast as they can and making lots of noise (think slipknot's first album). What I cannot figure out is whether or not to take the lyrics seriously. THey are over the top, but so is Hank's country lyrics. Not to mention this guy plays country sets and then actually comes back on the stage and plays Assjack music. Seriously who does something like that? Hank Williams the third does and he does it well.
Assjack's first album is a ten-track selftitled affair written and played entirely by Hank III himself. Having listened to some of Hank's country tunes his punk-outlaw persona is definitely intact here on Assjack but he cranks up the attitude. The first track opens with a Slayer Reign in Blood-esque riff and then blasts off with double-bass action, hey-hey sing-a-long and chug-chug riffage all leading up the FUCK YOU MUTHAFUCKER!!! A couple of themes are constant throughout this album sonically and lyrically. On the sonic side, vocal distortion effects, double-bass, snare-drums, and fuzzy guitars. Lyrically it is very simple, being an outlaw and getting wasted.
The album is loud and fast (like a good punk album) but aggressive like a young heavy metal band just thrashing as fast as they can and making lots of noise (think slipknot's first album). What I cannot figure out is whether or not to take the lyrics seriously. THey are over the top, but so is Hank's country lyrics. Not to mention this guy plays country sets and then actually comes back on the stage and plays Assjack music. Seriously who does something like that? Hank Williams the third does and he does it well.
Sunday, April 25, 2010
Mini Reviews from Lala.com
The following is a series of mini-reviews I wrote for a CD trading club that I was a member of. Reviews were limited to 100-200 characters. They are in no particular order and are rated on a 5 point scale. The club allowed you to pick discs you wanted, identify discs you have, and mark some as untradeable. I have bolded the Band and Album names to enhance your scanning experience. The reviews are in their original state of being--whiskey enhanced wit.
Korn: Follow the Leader
Korn: Follow the Leader
Features some star tracks like Got the Life, and Freak... some rockers Dead Bodies and BBK and lots of pure rap rock that brings the score down. Hey Carson Daly do you remeber hanging with these guys? 2 1/2 stars
Clutch: Robot Hive Exodus
Best album of the year. Rocking and grooving with a sound to call their own, grunge-blues-rock. These guys can jam. 5 statrs
Mastodon: Blood Mountain
Terrific album. The music is unbelievable. They can go from a pounding, complicated metal barrage to a melodic trippy segment that takes you far away from where they began. What makes this album great is they are able to successfully weld that mixture together over and over, whether it be in one song, like Sleeping Giant, or from track to track it all works. 5 stars
Celtic Frost: Monothesit
The kind of heavy metal that mothers should actually be worried about their young listening too. A Dying God Coming Into Human Flesh is superb. 3 stars
Velvet Revolver: Libertad
Libertad is by far the superior album of Velvets two so far. Scott presence during the recording has obviously benefited this superband. On this disc they have created a solid hard rock album that incorporates more swagger and less of the chaotic soloing that hindered their first effort. Their more focused approach has paid off. 4 stars
KSE: As Daylight Dies
An incredibly intense album overall. Killswitch hit the jackpot by mixing melody with the metalcore sound. The result is pounding metal that you can listen to hundreds of times. The lyrics are terrific again. Continuing KSE's focus on self-motivation, commitment, and positivity. It is worth buying the limited edition to get the extra tracks, especially Holy Diver. 4 stars
Papa Roach: The Paramoor Sessions
Their best album to date. More variety of music and Coby sings more on this album than in the past. Their lives shows equal the energy and passion heard on the album. Chicago 2/15 @ The Vic 3.5 sttars
Morphine: Cure for Pain
Being a metal head I am finding it hard to categorize this incredible album. Itunes classifies it as alternative and punk. It certainly is not a mainstream sound and Morphine does have a rebelious attitude, so that works. Originally the track Thursday, a tale of forbidden love gone wrong, caught my attention. I picked up the album through BMG and was shocked by how much I liked the entire album.
The album features lots of heavy bass and deep sax intermixed to create catchy, groovy laden songs. The singers deep voice and tales of misfortune add to the album's overall atmosphere.
Cure for Pain features a number of unique tracks that stand out. In Spite of Me is soft song featuring a mandolin wishing a loved one the best of luck in the world that the singer didn't help prepare them for. Let's Take a Trip Together has a slow, smoking lounge sound that takes you away to a different era. 4 stars
Deftones: White Pony
This album is the sound that will forever define the Deftones. Soft-loud verse-chorus structures, ambient sounds, and dark sexually suggestive lyrics "my jaw and teeth hurt I'm choking from gnawing on the ball" 4 stars
Tool: Anemia
An articulate masterpiece of dark broody songs that build into raging torrents of aggression and anger. Unequaled by anything. 5 stars
Powerman 5000: Mega Kung Fu Radio
"Dollar a Look!!! Public Menance, Freak Human Fly" The best album by the original line-up. This was Powerman at its best: funky, experimental, heavy jams, great use of vocals. For heavy tracks checkout Car Crash, Organized, Earth vs. Me. For a funkier sound listen to Tokyo Vilgante#1, Standing 8, Even Superman Shot himself.
Update 9/15 I saw them last weekend and they played "Neckbone". This is not average run of the mill metal. They definitely have their own unique sound on this album 4 stars
Orange 9mm: Tragic
One of Helmet's current guitar players, Chris Traynor provided the chops for Orange 9mm before joining Helmet in 1996/7. THe title track, Failure, and Kiss it Goodbye are the best tracks. Kiss it Goodbye is a fun blast it loud track. 3 stars
Willie Nelson: Country Man
I love this album. Classic Willie with a jamaican twist. Great to chill to in the hot summer. 5 stars
Andrew W.K.: I Get Wet
Why hasn't anyone written a review for this album? Maybe because he's a clown. But his music is catchy, and fun to listen to from time to time. 3 stars
Pantera: 101 Official Live
Anyone wanting to check out Pantera should buy this album. It captures everything that was great about the band. Listening to the crowd roar on Walk and Fucking Hostile is unbelievable. 5 stars
Korn: Life is Peachy
After this album Jonathon Davis put his truly haunted childhood to sleep. Korn lost their lyrical teeth after this twisted rocker. 4 stars
Ministry: 12 Inch Singles
I decided to write a review about this album because it keeps coming up in my trade list and just clicked the keep button. Here's why... "Everyday is Halloween". That's it, I heard when I was in 5th grade, taped it off the radio forgot all about it, bought Pslams 69 in high school and somewhere along the way learned that that 80's dance track with "mmm mm mmm bop bop" chorus was by the same band who cranked out Jesus Built My Hotrod and industrial sludge (that rules) like Scarecrow and Corrision.
Moby: I Like to Score
I enjoyed this album more than other Moby efforts because of the variety of upbeat songs on the disc. It is not bogged down with Mobyism. 3 stars
Friday, April 23, 2010
Baroness the Blue Record
An impressive sophomore album from this young band from Georgia. The songwriting and sequencing of songs on this album craft a unique and invigorating metal album. I would like to use the newer buzz phrase "Southern metal" but the band prefers to distance themselves from that moniker. The album is uniquely american. The arrangements, solos, and sequencing reflect an appreciation for blues and seventies progressive rock sound. Tracks on the album do sound metal to the nonmetal listener but the overall vibe of the album is more progessive hard rock than heavy metal. That puts Baroness in the same sonic niche as most bands played on radio, but Baroness is far and away better.
Why are they better? Songwriting. All of the songs have hooks and are easy to listen to, but the hooks are not predictable pop hooks heard on the radio. The comparison I can make to preexisting albums would be to compare this to Smashing Pumpkins' Siamese Dream. That album and this one have a sonic cohesiveness that is a rare treasure to behold. Baroness' album is not at all a Pumpkins copycat. It is far from that. I only want to draw attention to the fact all the tracks are well written and flow into each other seamlessly creating a kaleidoscope of sound that delivers whether cranked to ten on sunny day in the car or listening on head phones looking out the window.
After the intro track the album unloads with two heavy hitters, The Sweetest Curse and Jake Leg. Both are big rollicking affairs doused with solos and roaring vocals (not screamed/yelled/growled, just load and manly). The hypnotic acoustics of Sleep that Sleeps the Eye follows and gently bleeds into Swollen and Halo. A track that actually shares the same chorus as its predecessor, a clever play that blurs the line between the different tracks. But Swollen and Halo is not a continuation, but an extended main coarse. The amplifiers and intensity return on Swollen as do mini jam sessions and melodic riffs throughout the vocal segments. Listen for the music and vocals to build crescendo style and crash into a wall of cymbal crashes before mellowing into a guitar solo. Damn, I could write all night about this song. The song finishes with two plus minutes of instrumental jamming before Ogeechee Hymnal continues the jam at a slowed pace for a minute. Ogeechee then slips into a feedback induced prelude introduction to the pounding A Horse Called Golgotha. The tempo of the drums keep this song anchored throughout the variety of melodic solos and riffage that propel the track.
O'er Hell and Hide begins with an acoustic harmony before dumping some amplified bass guitar on the listener, followed up again by melodic solos that propel the tempo before Baroness turn down a different road for the vocals. The lyrics are spoken in a cadence at intervals between the galloping riffs, solos, and jams. War. Wisdom and Rhyme begins with a minute of the rhythm section pounding away. The intensity ebbs and flows throughout the track. The vocals feature distortion and a layered background vocals echoing the lead singer. Blackpowder Orchard follows and serves to add to record's atmosphere with acoustic melodies and some electric feedback soloing. The Gnashing is the albums last full length song. The Gnashing plays from the great rock-n-roll song book, a long build intro before an amplified build-up then drums pounding and finally the vocals come in after three minutes. Bullhead's Lament anchors all of the albums variety of sounds and is the goodbye serenade that forces you to accept that this musical journey through the hills of Georgia will be ending soon.
Why are they better? Songwriting. All of the songs have hooks and are easy to listen to, but the hooks are not predictable pop hooks heard on the radio. The comparison I can make to preexisting albums would be to compare this to Smashing Pumpkins' Siamese Dream. That album and this one have a sonic cohesiveness that is a rare treasure to behold. Baroness' album is not at all a Pumpkins copycat. It is far from that. I only want to draw attention to the fact all the tracks are well written and flow into each other seamlessly creating a kaleidoscope of sound that delivers whether cranked to ten on sunny day in the car or listening on head phones looking out the window.
After the intro track the album unloads with two heavy hitters, The Sweetest Curse and Jake Leg. Both are big rollicking affairs doused with solos and roaring vocals (not screamed/yelled/growled, just load and manly). The hypnotic acoustics of Sleep that Sleeps the Eye follows and gently bleeds into Swollen and Halo. A track that actually shares the same chorus as its predecessor, a clever play that blurs the line between the different tracks. But Swollen and Halo is not a continuation, but an extended main coarse. The amplifiers and intensity return on Swollen as do mini jam sessions and melodic riffs throughout the vocal segments. Listen for the music and vocals to build crescendo style and crash into a wall of cymbal crashes before mellowing into a guitar solo. Damn, I could write all night about this song. The song finishes with two plus minutes of instrumental jamming before Ogeechee Hymnal continues the jam at a slowed pace for a minute. Ogeechee then slips into a feedback induced prelude introduction to the pounding A Horse Called Golgotha. The tempo of the drums keep this song anchored throughout the variety of melodic solos and riffage that propel the track.
O'er Hell and Hide begins with an acoustic harmony before dumping some amplified bass guitar on the listener, followed up again by melodic solos that propel the tempo before Baroness turn down a different road for the vocals. The lyrics are spoken in a cadence at intervals between the galloping riffs, solos, and jams. War. Wisdom and Rhyme begins with a minute of the rhythm section pounding away. The intensity ebbs and flows throughout the track. The vocals feature distortion and a layered background vocals echoing the lead singer. Blackpowder Orchard follows and serves to add to record's atmosphere with acoustic melodies and some electric feedback soloing. The Gnashing is the albums last full length song. The Gnashing plays from the great rock-n-roll song book, a long build intro before an amplified build-up then drums pounding and finally the vocals come in after three minutes. Bullhead's Lament anchors all of the albums variety of sounds and is the goodbye serenade that forces you to accept that this musical journey through the hills of Georgia will be ending soon.
Wednesday, February 10, 2010
Zombie is Back!
Rob Zombie has finally released the his sequel, Hellbelly Deluxe 2. When I heard he had decided to push the release back from November to February I feared the worst. I hope the decision works in Zombie's favor because the new album is good. Educated Horses was a forgettable release from this multi-talented artist.
All the tracks on this album deliver the Zombie sound; carnival-horrorscape-boogie with fist pumping choruses. Zombie has learned from his mistakes on Educated Horses crafted a cohesive album. The album opener could easily be a concert opener, with its long eerie introduction before Zombie belts out "All Hail!!!" Sick Bubblegum the next track is a concert sing-a-long in the tradition of Dragula and Feel So Numb. After that the newest sounding song on the disc, What? blasts off.
What? is an extension of a sound Zombie played around with on the Houses of 1000 Corpses track, Two-Lane Blacktop. It is a fast-paced, punk styled track with distorted auctioneer vocal track effects. Mars Needs Women gives the album a change of pace, with its acoustic intro and slow drum beats. Werewolf Baby follows with slide guitar riffage and standard Zombie verse chorus verse structure, but John 5 the new guitar player has definitely helped Zombie return to form.
Virgin Witch plays up on the ghoulish appeal of Zombie and you can quickly visualize grandiose images of Zombie standing high above everyone touting virgin witch verbiage at a crowd. This song is mostly instrumental which is also a change for Zombie. On Rob's past three releases the instrumental tracks are generally just segues between songs and are layered with horror movie clips and industrial sound effects. This album doesn't have those tracks. There is more musicianship contained in each song. Probably a positive bonus of having John 5 sharing writing duties on of the songs.
The next couple of tracks switch styles and pace well never boring the listener. Death and Destiny inside the Dream Factory is only track that resembles the segue tracks commonly featured on Zombie albums. Werewolf Women of the SS is a fun uptempo track featuring surf guitat inspired riffs and once again showcases the musicianship and variety that John 5 has brought to Zombie's sound. The final track clocks in at a lengthy 9+ minutes. Zombie successfully reincorprates the symponthic sound that was heavily present in The Sinister Urge and the track features a lengthy drum solo.
All the tracks on this album deliver the Zombie sound; carnival-horrorscape-boogie with fist pumping choruses. Zombie has learned from his mistakes on Educated Horses crafted a cohesive album. The album opener could easily be a concert opener, with its long eerie introduction before Zombie belts out "All Hail!!!" Sick Bubblegum the next track is a concert sing-a-long in the tradition of Dragula and Feel So Numb. After that the newest sounding song on the disc, What? blasts off.
What? is an extension of a sound Zombie played around with on the Houses of 1000 Corpses track, Two-Lane Blacktop. It is a fast-paced, punk styled track with distorted auctioneer vocal track effects. Mars Needs Women gives the album a change of pace, with its acoustic intro and slow drum beats. Werewolf Baby follows with slide guitar riffage and standard Zombie verse chorus verse structure, but John 5 the new guitar player has definitely helped Zombie return to form.
Virgin Witch plays up on the ghoulish appeal of Zombie and you can quickly visualize grandiose images of Zombie standing high above everyone touting virgin witch verbiage at a crowd. This song is mostly instrumental which is also a change for Zombie. On Rob's past three releases the instrumental tracks are generally just segues between songs and are layered with horror movie clips and industrial sound effects. This album doesn't have those tracks. There is more musicianship contained in each song. Probably a positive bonus of having John 5 sharing writing duties on of the songs.
The next couple of tracks switch styles and pace well never boring the listener. Death and Destiny inside the Dream Factory is only track that resembles the segue tracks commonly featured on Zombie albums. Werewolf Women of the SS is a fun uptempo track featuring surf guitat inspired riffs and once again showcases the musicianship and variety that John 5 has brought to Zombie's sound. The final track clocks in at a lengthy 9+ minutes. Zombie successfully reincorprates the symponthic sound that was heavily present in The Sinister Urge and the track features a lengthy drum solo.
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