(Originally posted in August, before the release of We Are Chaos)
As if writing text bricks about Anne Rice and Sopor Aeternus wasn’t enough, I’m about to fully confirm myself as goth trash by writing about Marilyn Manson.
The last thirteen years, ever since the release of Eat Me, Drink Me in 2007, have been interesting for Marilyn Manson fans. Most of us were hooked by one of three albums that Manson has named the Triptych: Antichrist Superstar, Mechanical Animals or Holy Wood (In the Shadow of the Valley of Death). In fact, I originally thought of this post as a review of Marilyn Manson’s post-Tryptich material, since a lot of us can’t help but wonder when the next big, crazy-ambitious project was coming.
But when people talk about recent Marilyn Manson material, they typically mean the material generated between 2007 and now. One reason why the last thirteen years feel different is that he never seems to integrate the new material into new setlists equally with the nineties material. The vast majority of Marilyn Manson concerts will feature a generous amount of music from the most recent album and a lot from Antichrist Superstar through The Golden Age of Grotesque.
Stuff from 2007 through whatever the prior album is never seemed to make the cut. Almost as if each new album is meant to be the real follow-up to Golden Age and replace the others. I mean, what would a setlist consisting of nothing but new material look and sound like? Absolutely nothing from before 2007? Can the material from the last thirteen years stand on its own, independent of anything older? The insecurity visible in how he has treated his current “new” album as existing alongside the older material with nothing intervening does not inspire confidence. I don’t think it’s impossible, though. In anticipation of the upcoming album We Are Chaos, let’s go through the list!
Any current Marilyn Manson fan probably remembers what the release of Eat Me, Drink Me was like in 2007. The polarized response to it, though, caused some of the album’s more subtle virtues to be overlooked. For example, how well Tim Sköld incorporated the influence of British glam rock from the early seventies. Especially after the years he spent honing the unique industrial sound of KMFDM and the rhythmic, electronica-influenced instrumentation on The Golden Age of Grotesque. Perhaps the memory of Twiggy Remirez never would have allowed the fan base to give him a chance, but no other Marilyn Manson albums sound like the ones Tim Sköld worked on.
The song from this album I listen to the most these days is Are You The Rabbit? Honestly, I’m surprised it was never a single. Especially since it has such a distinct personality that would make it stand out compared to many of the more famous singles (The Dope Show, The Beautiful People, etc). If I Was Your Vampire is also undeniably memorable.
Sadly, Eat Me, Drink Me also has one of Manson’s most grating, mind-numbing mistakes ever (You and Me and the Devil Makes 3).
The High End of Low catches more hate than any other Marilyn Manson album since 2007. Both the lyrics and the vocal delivery are probably the most uninhibited and experimental since the Spooky Kids.
You know how I said You and Me and the Devil Makes 3 is “one of” Marilyn Manson’s biggest mistakes? Unkillable Monster is the biggest, with I Want to Kill You Like They Do In the Movies getting an honorable mention. I Want to Kill You… is saved by some decent instrumentation and creative mixing, but I can’t think of a single redeeming feature of Unkillable Monster.
With those weaknesses out of the way, The High End of Low has some truly different and powerful material. I know this is probably in no way related to what the lyrics are actually talking about, but I listened to WOW frequently around the time I started to come out to people as trans. Four Rusted Horses probably has the best lyrical use of imagery on the whole album. Manson’s use of Americana started with that song as well, which I think has turned out for the best.
Without a doubt, this is my least favorite Marilyn Manson album. There were songs on Eat Me, Drink Me and The High End of Low that were painful to listen to, but those records had enough originality and creative risk-taking to make them memorable. Born Villain was the very first Marilyn Manson record to be just “meh”. As in so many other situations, it is always better to experiment and stumble then to play it safe with blandness.
Still ain’t all bad, though. Overneath The Path of Misery is as good as his best material. No Reflection has a cool back-and-forth between imagery and the cadence of syllables and word placement.
You’re So Vain is also probably my favorite out of the songs from other artists that Manson has covered. (If anyone cares, my other favorite covers are Cat People, Five To One, Working Class Hero and Down In The Park)
The Pale Emperor is my current favorite from Manson’s post-2007 material. I hear these songs in my head probably more often than any other recent album of his. First pick is Slave Only Dreams to be King. It makes me think of the version of Oswald Cobblepot from the show Gotham. (Which is funny, because not long after it was released there was an FMV uploaded to YouTube using the song Killing Strangers and Cobblepot footage)
The Mephistopheles of Los Angeles balances emotional catharsis with camp in a way that really reminds me of the lyrics of Queen. Which meshes beautifully with the ass-kicking rockabilly syncopation of the drumming. Back when I was considering writing the script for a “fan-fic” Batman comic, I would hear this song in my head when thinking about either Batgirl or Red Hood. Having mentioned that comic twice in reference to The Pale Emperor, it’s clear that the album, for me, evokes the feeling of being in a dream-like, paranoid, fantasy city in the mid-twentieth century. Perhaps this stands to reason since Manson wrote and recorded this album with the film composer Tyler Bates.
I also cannot get enough of the cover of the Bowie song Cat People (Putting Out Fire) that Manson did with Shooter Jennings. That’s one of those songs where every version except the one from the Bowie album is great. I mean, the song appeared on Let’s Dance, but that was a version that was recorded specifically for the genre experiment that Let’s Dance explored.
My feelings are mixed on Heaven Upside Down. It takes occasional risks and Tyler Bates continued to be an asset. Familiar sounds were used creatively as well, though: the album swings between Tyler’s familiar blues-rock and some nuances that almost sound like very early Marilyn Manson. Revelation 12 and Je$u$ Cri$i$ both remind me of the Spooky Kids music. Saturnalia sounds like some of the best material from Antichrist Superstar. Tattooed In Reverse is catchy, beat-driven industrial metal, which is a familiar genre for Manson, but still sounds different.
The influence of seventies glam rock on Marilyn Manson is well-documented and Threats of Romance is the best expression of it in a while. It’s exactly what a modern, metal interpretation of Bowie, Roxy Music, etc. should sound like.
Imaginary set list with nothing but material from the last thirteen years:
Are You The Rabbit?
Tattooed In Reverse
Blank And White
Overneath The Path of Misery
Four Rusted Horses
The Devil Beneath My Feet
If I Was Your Vampire
The Mephistopheles of Los Angeles
Threats Of Romance
Cat People (Putting Out Fire)
Heart-Shaped Glasses (When The Heart Guides The Hand)
I Have to Look Up Just to See Hell
Slave Only Dreams to be King
Heaven Upside Down
Cupid Carries A Gun
You’re So Vain
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