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Track Listings
| 1. Electric Head, Part 1 (The Agony) |
| 2. Super Charger Heaven |
| 3. Real Solution #9 |
| 4. Creature Of The Wheel |
| 5. Electric Head, Part 2 (The Ecstasy) |
| 6. Grease Paint And Monkey Brains |
| 7. I, Zombie |
| 8. More Human Than Human |
| 9. El Phantasmo And The Chicken-Run Blast-O-Rama |
| 10. Blur The Technicolor |
| 11. Blood, Milk And Sky/ The Sidewalk Ends Where The Bug Parade Begins |
Product Description
Description
Singer Rob Zombie and his cohorts in White Zombie realise that the greatest and most intense horrors stem from simple and innocent sources. And that musical virtuosity plays little or no part in conveying the feelings of dread that the band specialises in. So rather than revel in extended solos, orwrite complex musical passages like most successful bands in the post-modern metal community, White Zombie achieve the desired effect (emotionally tweaking the listener) by concentrating on the little things: opening the heavy dirge of "Grease Paint And Monkey Brains" with an out of tune merry-go-round theme that slows down to a halt, or adding an eerie church organ to the full-on throttle of "Electric Head Pt. 1 (The Agony)". You know, real cool, B-grade horror movie-type stuff.
White Zombie have long existed in that particular, aesthetic corner of the pop culture universe. But on ASTRO-CREEP 2000, the band embraces programming, samples and other effects as never before, placing the "future" emphasis of the title directly into the music. The more technologically advanced noises also make White Zombie sound faster, leaner, meaner--a laser-gun of angst-ridden heaviness, instead of theusual cannon. Just listen to the background voice loop on "Electric Head Pt. 2 (The Ecstasy)", driving the band with the techno mantra of "Go! Go! Go!" It's a moment indicative ofmuch of ASTRO-CREEP 2000--taking the band's established themes and tempos, and placing them on the electronic super-highway to hell.
Singer Rob Zombie and his cohorts in White Zombie realise that the greatest and most intense horrors stem from simple and innocent sources. And that musical virtuosity plays little or no part in conveying the feelings of dread that the band specialises in. So rather than revel in extended solos, orwrite complex musical passages like most successful bands in the post-modern metal community, White Zombie achieve the desired effect (emotionally tweaking the listener) by concentrating on the little things: opening the heavy dirge of "Grease Paint And Monkey Brains" with an out of tune merry-go-round theme that slows down to a halt, or adding an eerie church organ to the full-on throttle of "Electric Head Pt. 1 (The Agony)". You know, real cool, B-grade horror movie-type stuff.
White Zombie have long existed in that particular, aesthetic corner of the pop culture universe. But on ASTRO-CREEP 2000, the band embraces programming, samples and other effects as never before, placing the "future" emphasis of the title directly into the music. The more technologically advanced noises also make White Zombie sound faster, leaner, meaner--a laser-gun of angst-ridden heaviness, instead of theusual cannon. Just listen to the background voice loop on "Electric Head Pt. 2 (The Ecstasy)", driving the band with the techno mantra of "Go! Go! Go!" It's a moment indicative ofmuch of ASTRO-CREEP 2000--taking the band's established themes and tempos, and placing them on the electronic super-highway to hell.
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