http://www.rhapsody.com/goto?rcid=art.36787&rws=%2Fwhite-zombie%2Fmusic-videos.rssRob Cummings and Shauna Reynolds realized their dream of combining tawdry B-movie aesthetics and rock 'n' roll (just as Kiss, the Misfits and the Cramps had before them) by forming White Zombie in 1985. Taking the band's name from a Bela Lugosi movie and changing their own names to Rob Zombie and Sean Yseult, the two recruited a lineup with backgrounds in heavy metal and electronica. <I>La Sexorcisto</I>, their 1992 Geffen debut, offered listeners a bump-and-grind horror show of the occult and borderline blasphemous. White Zombie excelled at turning dance beats into brutal dance beatings interspersed with unbreakable guitar submission holds. <I>Astro Creep: 2000</I> (1995) was this now-defunct band's finest hour -- a vision of sex and technology nearly as apocalyptic as J.G. Ballard's "Crash," while nearly as campy as <I>Mars Attacks</I>. The ramparts dividing Industrial and Metal had again been breached, and adult entertainers everywhere learned to remove their scanty habiliments to a whole new tune. - Chad DriscollAlt Metalen720Mon, 23 Nov 2009 13:37:05 -0800 http://static.realone.com/rotw/images/logo_rhapsody_113x22.gif http://www.rhapsody.com/goto?rcid=art.36787&rws=%2Fwhite-zombie%2Fmusic-videos.rss Rob Cummings and Shauna Reynolds realized their dream of combining tawdry B-movie aesthetics and rock 'n' roll (just as Kiss, the Misfits and the Cramps had before them) by forming White Zombie in 1985. Taking the band's name from a Bela Lugosi movie and changing their own names to Rob Zombie and Sean Yseult, the two recruited a lineup with backgrounds in heavy metal and electronica. <I>La Sexorcisto</I>, their 1992 Geffen debut, offered listeners a bump-and-grind horror show of the occult and borderline blasphemous. White Zombie excelled at turning dance beats into brutal dance beatings interspersed with unbreakable guitar submission holds. <I>Astro Creep: 2000</I> (1995) was this now-defunct band's finest hour -- a vision of sex and technology nearly as apocalyptic as J.G. Ballard's "Crash," while nearly as campy as <I>Mars Attacks</I>. The ramparts dividing Industrial and Metal had again been breached, and adult entertainers everywhere learned to remove their scanty habiliments to a whole new tune. - Chad Driscoll