In retrospect, White Zombie was one of the most influential metal bands of the '90s -- their breakthrough album, La Sexorcisto: Devil Music, Vol. 1, relied more on camp theatrics than catchy melodies or guitar riffs, and the follow-up, Astro-Creep 2000, featured an everything-but-the-kitchen-sink production that camouflaged the simplicity of the music. Like many of the more popular alternative metal bands of the late '90s, Coal Chamber owe something to White Zombie's musical approach, often relying on noise, texture, and ...
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In retrospect, White Zombie was one of the most influential metal bands of the '90s -- their breakthrough album, La Sexorcisto: Devil Music, Vol. 1, relied more on camp theatrics than catchy melodies or guitar riffs, and the follow-up, Astro-Creep 2000, featured an everything-but-the-kitchen-sink production that camouflaged the simplicity of the music. Like many of the more popular alternative metal bands of the late '90s, Coal Chamber owe something to White Zombie's musical approach, often relying on noise, texture, and sheer aggression to put their music across. In following up their debut, Coal Chamber follows the White Zombie blueprint to a tee on its second album, Chamber Music, expanding the production palette to include electronic/industrial sounds, a bit of updated goth (i.e., more by way of Marilyn Manson than Bauhaus), and even a few orchestrations. In pure sonic terms, all of this means that Chamber Music is a better listen than its predecessor, and since it packs just as much of a wallop, it can be seen as a step forward. Plus, in the wake of Orgy's successful cover of New Order's "Blue Monday," there's yet another inexplicable alt-metal cover of an '80s pop song, this time Peter Gabriel's "Shock the Monkey" (performed with special guest Ozzy Osbourne). ~ Steve Huey, Rovi
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