Blab Music
White Zombies Final Remix Album Marks End of an Era
White Zombie’s 11‑track remix collection Super … hit shelves on 17 September 1996 under Geffen Records, and it would become the last official release under the band’s name. The album reworks songs from the group’s 1995 studio effort Astro‑Creep : 2000 and adds a cover of KC and the Sunshine Band’s “I’m Your Boogie Man.” It climbed to No. 17 on the Billboard 200 and No. 49 on Australia’s ARIA Albums chart, while also charting at No. 29 in New Zealand and No. 54 in Sweden.
The remix project followed Astro‑Creep : 2000, which had been White Zombie’s highest‑charting album, peaking at No. 6 on the Billboard 200 and selling over 2.6 million copies in the United States. Astro‑Creep introduced a heavier industrial‑metal sound that blended heavy guitar riffs with programmed elements, samples and Rob Zombie’s horror‑themed imagery. Super … takes those same tracks and re‑imagines them with club‑oriented, electronically manipulated arrangements. The remixers include Charlie Clouser, John Fryer, The Dust Brothers, Mike “Hitman” Wilson, P.M. Dawn and The Damage Twins, each contributing a distinct style that moves the original songs away from their studio versions.
Terry Date produced the album, the same engineer who had handled Astro‑Creep, and Stephen Marcussen mastered the final product. The band’s lineup on the record was Rob Zombie (vocals), Sean Yseult (bass), Jay Yuenger (guitar) and John Tempesta (drums). Yseult and Zombie shared visual duties, with Yseult credited for art direction and Zombie for illustrations and art direction.
Super … emerged at a moment when White Zombie was winding down. The group played its final live dates in 1996, including a North American tour with Pantera, and officially disbanded in September 1998. As such, the remix album serves as a closing chapter of the band’s recorded catalogue before Rob Zombie pursued a solo career.
The cover art of Super … sparked controversy. The original sleeve featured model Merci Montello nude; a “clean” edition distributed through major U.S. retailers replaced the image with Montello wearing a blue bikini. Rob Zombie’s official site confirms that the alternative cover was created following objections from retailers such as Walmart.
Track highlights include Charlie Clouser’s “Electric Head Pt. 2 (The Ecstasy)” (Sexational After Dark Mix) and “More Human Than Human” (Meet Bambi In The King’s Harem Mix), P.M. Dawn’s “Blood, Milk and Sky” (Miss September Mix), John Fryer’s remix of “Super‑Charger Heaven” (Adults Only Mix), and The Dust Brothers’ cover of “I’m Your Boogie Man” (Sex On The Rocks Mix).
Despite the rarity of remix albums charting as high as original studio releases, Super … entered the top 20 of the Billboard 200 and achieved respectable positions in several international markets. Its success reflects the popularity of Astro‑Creep at the time and the growing interest in industrial‑metal remixes in the mid‑1990s.
Since its release, Super … has been cited as a document of White Zombie at the intersection of metal, industrial and remix culture. It also marks the final point at which the band’s name appeared on a commercial release, before the group dissolved and Rob Zombie transitioned to his solo work and film projects. The album’s legacy is therefore tied both to its remix content and to the moment it represents in the band’s history.
The remix project followed Astro‑Creep : 2000, which had been White Zombie’s highest‑charting album, peaking at No. 6 on the Billboard 200 and selling over 2.6 million copies in the United States. Astro‑Creep introduced a heavier industrial‑metal sound that blended heavy guitar riffs with programmed elements, samples and Rob Zombie’s horror‑themed imagery. Super … takes those same tracks and re‑imagines them with club‑oriented, electronically manipulated arrangements. The remixers include Charlie Clouser, John Fryer, The Dust Brothers, Mike “Hitman” Wilson, P.M. Dawn and The Damage Twins, each contributing a distinct style that moves the original songs away from their studio versions.
Terry Date produced the album, the same engineer who had handled Astro‑Creep, and Stephen Marcussen mastered the final product. The band’s lineup on the record was Rob Zombie (vocals), Sean Yseult (bass), Jay Yuenger (guitar) and John Tempesta (drums). Yseult and Zombie shared visual duties, with Yseult credited for art direction and Zombie for illustrations and art direction.
Super … emerged at a moment when White Zombie was winding down. The group played its final live dates in 1996, including a North American tour with Pantera, and officially disbanded in September 1998. As such, the remix album serves as a closing chapter of the band’s recorded catalogue before Rob Zombie pursued a solo career.
The cover art of Super … sparked controversy. The original sleeve featured model Merci Montello nude; a “clean” edition distributed through major U.S. retailers replaced the image with Montello wearing a blue bikini. Rob Zombie’s official site confirms that the alternative cover was created following objections from retailers such as Walmart.
Track highlights include Charlie Clouser’s “Electric Head Pt. 2 (The Ecstasy)” (Sexational After Dark Mix) and “More Human Than Human” (Meet Bambi In The King’s Harem Mix), P.M. Dawn’s “Blood, Milk and Sky” (Miss September Mix), John Fryer’s remix of “Super‑Charger Heaven” (Adults Only Mix), and The Dust Brothers’ cover of “I’m Your Boogie Man” (Sex On The Rocks Mix).
Despite the rarity of remix albums charting as high as original studio releases, Super … entered the top 20 of the Billboard 200 and achieved respectable positions in several international markets. Its success reflects the popularity of Astro‑Creep at the time and the growing interest in industrial‑metal remixes in the mid‑1990s.
Since its release, Super … has been cited as a document of White Zombie at the intersection of metal, industrial and remix culture. It also marks the final point at which the band’s name appeared on a commercial release, before the group dissolved and Rob Zombie transitioned to his solo work and film projects. The album’s legacy is therefore tied both to its remix content and to the moment it represents in the band’s history.
