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Gladly dismissing the noise rock experimenting of the first White Zombie album and ditching the thrash influence of Make Them Die Slowly, White Zombie combined '70s psychedelic rock with alternative rock and metal of the time to make one unique and catchy album. Though slathered in '70s sleaze and B-movie samples, this album seems to be a rather serious effort. No more kids banging on drums and scratching chords like the early days, White Zombie finally bloomed into an awesome groove machine. Noticeably, the band's production is dramatically increased and in turn the instruments are clean and crisp. Other modifications such as the variety of influences like thrash, doom and '70s pop-rock are very prominent and give this album a lot of variety.
The infamously overrated front man, Rob Zombie, brings forth his '70s sleaze and rusty vocals along for the ride on this album. Going for more of a laid back zombie chilling in the studio attitude, than the 'wanna-be singer' of the previous album, is what makes Zombie's performance so great. Zombie seems really interested in the music and his vocals seem to effortlessly flow with the groove. Backing the catchy riffs and trippy jams with a perfect vocal match. Tracks like "Thunder Kiss '65" and "Welcome to the Planet Motherfucker" really show this side of Zombie well. Zombie is also able to go for a doomy approach on "Warp Asylum" and "I Am Legend" to really bring the B-movie zombie flick feel to life. The lyrics entirely center around horror movies and some exploitation films of the '60s, which matches the music very well. Zombie's lines and vocal phrasing is also something that makes this album so great and unique. "Soul Crusher" and "Cosmic Monsters Inc." show some catchy vocal hooks and lyrical wording that can be taken in many different directions at times, but are ultimately spectacular. Other tracks like "Grindhouse" and "Starface" show a more pumped and happy side of Zombie's voice. Zombie's vocals basically make this album what it is, a sleazy horror show. Without Zombie's great lyrics and vocal phrasing this album wouldn't be half as good as it is.
The guitar work on this album is very '70s psychedelic and a bit thrashed influenced at times. With these two styles together, Jay Noel Yuenger makes really great, groovy riffs that will trap themselves inside your brain and tear it to pieces. Yuenger has a fantastic tone, that has a great chunky low end for heavy riffs, and a squealing high for screaming solos and leads as heard on "Spiderbaby" and "I Am Legend". Some of the psychedelic grooves like that on, "Welcome to Planet Motherfucker" and "Cosmic Monsters Inc." are incredible catchy and have a lot of great hooks and melodies. Some of the more thrash oriented tracks like, "Soul Crusher" and "Thunder Kiss '65" are more like a South of Heaven era Slayer, but with a bit more '70s influence. Yuenger also shows some influences of pop/rock of the '70s in, "Thrust!", "Grindhouse" and "Starface". These songs are very different from anything else White Zombie has done, mainly because of the 'happy-go-lucky' vibe they give off. None the less, the riffs and melodies are incredible solid and full of great hooks to keep you coming back for more. Some nice solos are also presented by Yuenger most noticeably on "Thunder Kiss '65" and "Cosmic Monsters Inc." A more dramatic solo is also heard on the epic doom influenced closer, "Warp Asylum" that really brings the album to a nice closing point. Yuenger's playing is exceptional to say the least. Bringing forth some of the catchiest riffs in metal and trippy leads that are a nice throwback to the '70s.
The drumming on this record is incredible tight and holds the funk perfectly with the guitar and bass. Being the last album with Ivan de Prume, it turns out to be his best performance with the band. Taking his simplistic approach to drumming, and trowing in a lot of great kick drum beats that really put the album together like that on, "Starface", "Thrust!" and "Thunder Kiss '65". Prume's drumming has just as much range as Yuenger's guitar does, ranging from doom, thrash and psychedelic beats. They complement the guitar work well and really seem to know what each other are thinking. Together they make great beats take the already funky riffs and make them air tight. The drum tone is great as expected, with some nice clean cymbals and a pounding snare. The kick drum is rather soft that can be a problem to some but can be overlooked by Prume's brilliant performance. Prume is a fantastic drummer who really knows how to take catchy riffs and make them even better. Prumes range is also something to be adored by any listener along with his brilliant tone.
Everyones favorite female bassist, Sean Yseult (sorry Jo Bench), returns and is actually audible on this recording unlike previous and future albums. Yseult does some solid work on this album that you can actually hear, most prominently on, "Black Sunshine". Though overrated, it is a good song with a great bassline that plays continuously throughout the track. Yseult doesn't do much else to stand out but she does some nice supporting on, "Soul Crusher" and "Spiderbaby" that gives the feeling that band is playing as one. The bass tone is bright and pretty standard when it comes to bass tones but is pleasant to the ear. Though Yseult's playing is solid and clean, I would have liked to hear more of the independent bass lines and fills she was trying on the previous album, Make Them Die Slowly. I feel this would have worked well with the rest of the groovy music but the work she did record is solid enough to satisfy.
In conclusion, La Sexorcisto is a must have for any stoner metal fan or fan of '70s psychedelic music. Full of catchy riffs, tight drumming, and an amazing vocal and lyric combination that range from multiple musical influences, this album should not be passed up by any metal fan.