White Zombie Let Sleeping Corpses Lie

I have bootlegs and low-quality copies of their early material. It's nothing like the sexorcisto. The most of it is just loud, garage, raw sound. The words are difficult to grasp, and it is not as experimental as their previous two major albums. That material is still amazing, if not better than their two popular albums.

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Psycho-Head Blowout, the band's third EP, was released in 1987.

[6] Later that year, the band released their first full-length album, Soul-Crusher, which was their first release to use movie sound snippets in the songs,[6] a hallmark that would continue for the rest of the band's career.

[7]In 1988, the band joined with Caroline Records, thereby ending their own independent label. Tom Guay was asked to quit the band after their first U.S. tour in June 1988. [6] In July 1988, he was succeeded by John Ricci. [8] Make Them Die Slowly, their second album, was released in February 1989. [7] The album marked a stylistic departure for White Zombie. While their earlier recordings were primarily punk-influenced noise rock, Make Them Die Slowly clearly has a heavier metal vibe. [6] This is also the first album to have the moniker "Rob Zombie" rather than his former stage name, "Rob 'Dirt' Straker."

Though they went on to become a very popular heavy metal band, few White Zombies fans are aware of their roots in New York City's late-'80s pigf**k scene. White Zombie, like its gritty contemporaries Pussy Galore, performed an extreme brand of noise rock drenched in distortion and feedback, greatly influenced by both No Wave and hardcore. Their first two albums, SOUL-CRUSHER and MAKE THEM DIE SLOWLY, used the approach but have remained in the background for over two decades. LET SLEEPING CORPSES SLEEP LIE finally gathers those albums, as well as early EPs and the massively popular platinum LPs LA SEXORCISTO and ASTRO CREEP: 2000. Despite eventually adopting cleaner, high-tech production and more traditional metal guitars, White Zombie has remained a grindhouse-movie focused throughout. Thematically, raw punk like Shack of Hate is congruent with later, more polished monster rock like Soul-Crusher and the massive radio smash More Human Than Human.

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