Rob Zombie
Educated Horses

THE REVIEW

I begin by stating that I've never been a fan of Rob Zombie, partly because I'm not very familiar with him and partly because in the world of industrial/alternative metal I prefer other artists. But lately, I've realized that this particular figure has fired some noteworthy shots throughout his career, capable of hitting the mark.

First with White Zombie, and just mentioning this group, I think "La Sexorcisto" or "Astro-Creep 2000" convey the idea well, and then as a solo artist, capable of producing an album like "Hellbilly Deluxe," perhaps his best work, with tracks like "Dragula" or "Superbeast" that have now become heavy classics, nothing to envy to Ministry or the golden age Marilyn Manson.

After the equally interesting work "The Sinister Urge," released in 2001, one had to wait five years for the release of this "Educated Horses."

Five peculiar years for someone like him, considering that during these years, besides co-producing the Ramones tribute album "We're A Happy Family," he also started directing some good-quality horror films (it's well-known that he has the role of director in his blood) like "La Casa Dei 1000 Corpi" or "La Casa Del Diavolo".

And indeed, in Rob Zombie's universe, something was genuinely changing. Apart from the aforementioned opening to the cinematic world, right in "The Sinister Urge" one could already feel something different. But in "Educated Horses," Rob does even more. First of all, Mike Riggs is out of the group to make room for John 5, former guitarist of the aforementioned Marilyn Manson, who adds a bit of spice with his heavy riffs. Secondly, now the Superbeast is not only that mysterious splatter character from "Hellbilly Deluxe," or the wild madman from "The Sinister Urge," but he also approaches sounds that many would have never expected from him. And sometimes he succeeds ("Foxy, Foxy", heavily criticized by many, or the acoustic marches of "Death Of It All" and "Ride"), while other times less so, revealing his decidedly less appealing side, in the truest sense of the word ("The Scorpion Sleeps", perhaps Rob's worst song, characterized by a melody I can't fully appreciate).

However, there are still pieces in his classic style, like "Let It All Bleed Out" (very close to the recent "rides" of Rammstein), "American Witch", "The Lords Of Salem" (both inspired by the Salem Witch Trials of the late 1600s, especially recommended is the second one), "The Devil's Rejects" (perhaps the posthumous theme of "La Casa Del Diavolo"?) or the instrumental "100 Ways", with a bass somewhat reminiscent of Mr. Trent Reznor's sounds from the time of "The Fragile" ("Ripe (With Decay)" as a reference). In short, something for everyone. And that's what counts.

However, in trying to do more, Rob perhaps dared too much, paying less attention to quality. "Educated Horses" is far from being a masterpiece, but despite everything, it is not the mediocre CD some claimed it was at the time. You just need to skip a few low-quality fillers to find some flashes of genius scattered here and there.