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Thread: Marilyn Manson

  1. #3361
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    Quote Originally Posted by Triggermine View Post
    That's news to me. Didn't Trent take credit/blame for it in subsequent interviews?

  2. #3362
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    Quote Originally Posted by Sesquipedalism View Post
    That's news to me. Didn't Trent take credit/blame for it in subsequent interviews?
    I completely forgot about that project, and looked it up out of curiosity. So, I honestly don't know. As an executive producer, however, he probably heard a lot of the songs and provided feedback. Perhaps interviews misconstrued that?
    Last edited by Triggermine; Yesterday at 10:23 PM.

  3. #3363
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    Quote Originally Posted by Helpmeiaminhell View Post
    Portrait of an American Family is by far the biggest shitbomb of any Manson record ever and the one I spin least. Irony is Trent had a hand in that one (not nearly as much as ACSS which is basically a NIN record with Brian on vocals). I will take Eat Me Drink Me or High End of Low ANY day of the week over Portrait. Portrait is a cool scare mommy and daddy shock rock record when you are in 8th grade...Its basically like a GWAR record....I outgrew that album by the time I turned 14.....At least EMDM and THEOL he tried to stop shocking people and just focused on music...which is all I ever wanted from Brian Warner....Just focus on the music
    Portrait is still my favorite thing he's ever done, which is more than enough to get me burned on the cross with Manson purists, but I don't care. He'll never be as fun or as off the wall weird as he was on that record. Sure, Mechanical Animals and TGAOG have more than their share of irony, but on Portrait it actually sounded fresh and unlike anything of its time, or even since..

    This was that brief moment in time when the band was virtually poor and only had their talent and their live performance to get them over. But the songs are definitely there. Just one gonzo rock banger after another on that record. Everything that came after Portrait might be more accomplished and more noticeable, but Portrait still to this day engages me from its creepy start to its off-the-rails finish like none of his other records do. He never again sounded quite as nuts and anarchic as he did on that album..

  4. #3364
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    INCOMING HERETICAL OPINIONS ALERT

    Manson did his best work- MA thru and including EMDM - without Trent. Manson by no means requires Trent to work.

    What he does need is a musical right-hand man who he respects enough to keep him focused. I think Manson has ADHD or something, because all of his records since Sköld left have been stylistically all over the place, sans TPE. Manson definitely works best as a concept record band, bit it's hard to find a big concept if you can't commit to one sound on an album.

    It's like...

    POAAF is the White Zombie record. ACSS is the Skinny Puppy record. MA is the David Bowie record. HW is the... well, this one gets a pass from me because it owns. GAOG is the KMFDM record. EMDM is The Cure record.

    THEOL, BV and HUD don't have strong identities of their own, and are the worse for it.

    If I were Manson's manager, I'd recommend that he pick up the remaining crew from Type O Negative or something and do that. I'd love for him to do the Type O album, the Sisters of Mercy album, or whatever, as long as it was a consistent influence throughout the album.
    Last edited by Einzige; Yesterday at 09:30 PM.

  5. #3365
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    Quote Originally Posted by kas23 View Post
    This is a shot in the dark. But does anyone remember the music they played on the speakers between the acts? It was like spooky circus music or whatever. It has always stuck with me, but I have no idea what it was or if it was played at every venue of the tour.
    This can probably get answered in the “Random NIN questions/thoughts”. Threads. Or maybe ask @ninlive ???...

    EDIT: no way can I remember that. That was like 26 years ago, only remember bits and pieces of the concert at this point in time. Just know that entire night was awesome and blew me away as a 17 y.o.
    Last edited by Krazy; Yesterday at 09:34 PM.

  6. #3366
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    Quote Originally Posted by Prettybrokenspiral View Post
    You're missing the point. Trent would likely not be influenced by any of these albums, no..

    But, if he was, or had he produced any of them, people here who always complain about them would have a much different attitude towards them.

    Let's say, for instance, Trent had produced Born Villain and said at the time "We set out to strip ourselves of any fears or inhibitions of what the audience might think and came up with this gloriously challenging record that's not very immediate and really forces you to spend time with it, peeling back the layers and getting in touch with the heaviness and the violence of the music and the lyrics we achieved here. Me and Brian are really proud of this work and it exceeded our expectations. We hope someone out there hears this and feels what we felt when this was being made.."

    People would touting that record like it was ACSS for the modern era. Guaranteed..
    Okay but you're describing a record that doesn't exist. You can put that on a sticker and slap it on the cover but nothing from that quote is accurate. Manson didn't "set out to strip himself of any fears" on Born Villain. He was a drunk and sloppy mess who didn't give a shit about the material and lazily repeats 3 or 4 of the same phrases ad nauseam on every song. Born Villain is not a "goriously challenging record" that requires patience and time. It's a vapid slog with no rewards. It's not heavy (in fact, it's quite subdued and the tempo is painfully boring). It's not violent (unless you consider accidently breaking your absinthe glass in a drunken stupor towards the bathroom a "violent act"). And if you consider the lyrics "you're just a ring tone that happens when you get sick enough to call the one with bullet holes, bullet holes for eyes" anything other than drivel, then there's no hope articulating how fucking amateur and pathetic Manson's lyrical content has become through the years.

    The problem isn't the producer or attaching a respected artist's endorsement. It's Manson! Plain and simple. He doesn't care anymore and it's obvious from the quality of his recent works. Otherwise, this discussion wouldn't come up time and time again. So I vehemently disagree with the assumption that Trent or anyone else's involvement would have any positive or negative perception of the record. Born Villain fucking sucks.

  7. #3367
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    Quote Originally Posted by Einzige View Post
    THEOL, BV and HUD don't have strong identities of their own, and are the worse for it.
    This is it. If Manson would return to each record having a distinct character, theme, design, etc., it would make a huge difference.

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    Quote Originally Posted by rampface View Post
    This is it. If Manson would return to each record having a distinct character, theme, design, etc., it would make a huge difference.
    I've always wanted him to fully embrace the goth shit and get a violinist on-board for a record. He toured with Rasputina once; dark, medieval music isn't necessarily outside of his wheelhouse.

    Always wanted a dark wave Manson album, too, ala.Ego Likeness or Blutengel. Hell, grab his good friend Billy Corgan, lock them in a room with the Adore record and see what develops from there.

    If he cuts back on the alcohol, I'd suggest that he has a good decade of musical longevity left. I don't see a reason he can't become kind of a King Diamond-like figure, telling spooky fables through music.

    Finally, I think his fifteenth record should be his last (WAC will be his eleventh LP). Marilyn Manson, a double album. The first half, Marilyn should be Mechanical Animals-esque, full of ballads, acoustic work, and synths, and should be produced by Billy Corgan. The second half, Manson, would be full of ACSS-style bangers and creepy noise interludes, and produced by Trent Reznor. Full circle. Maybe even close on the boat ride chant from Willy Wonka.

    Hey, a boy can dream
    Last edited by Einzige; Yesterday at 11:39 PM.

  9. #3369
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    Quote Originally Posted by rampface View Post
    Okay but you're describing a record that doesn't exist. You can put that on a sticker and slap it on the cover but nothing from that quote is accurate. Manson didn't "set out to strip himself of any fears" on Born Villain. He was a drunk and sloppy mess who didn't give a shit about the material and lazily repeats 3 or 4 of the same phrases ad nauseam on every song. Born Villain is not a "goriously challenging record" that requires patience and time. It's a vapid slog with no rewards. It's not heavy (in fact, it's quite subdued and the tempo is painfully boring). It's not violent (unless you consider accidently breaking your absinthe glass in a drunken stupor towards the bathroom a "violent act"). And if you consider the lyrics "you're just a ring tone that happens when you get sick enough to call the one with bullet holes, bullet holes for eyes" anything other than drivel, then there's no hope articulating how fucking amateur and pathetic Manson's lyrical content has become through the years.

    The problem isn't the producer or attaching a respected artist's endorsement. It's Manson! Plain and simple. He doesn't care anymore and it's obvious from the quality of his recent works. Otherwise, this discussion wouldn't come up time and time again. So I vehemently disagree with the assumption that Trent or anyone else's involvement would have any positive or negative perception of the record. Born Villain fucking sucks.
    And yet, you're so passionate in your dislike for it, which would probably tickle Brian Warner pink. Nearly 10 years after that horrendous record that's got you so emotional, and you're still following the guy. This dude has a hold on his fan base -- for better or for worse -- unlike any other I've seen, with the exception of Axl Rose..

  10. #3370
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    Quote Originally Posted by Prettybrokenspiral View Post
    And yet, you're so passionate in your dislike for it, which would probably tickle Brian Warner pink. Nearly 10 years after that horrendous record that's got you so emotional, and you're still following the guy. This dude has a hold on his fan base -- for better or for worse -- unlike any other I've seen, with the exception of Axl Rose..
    If anything, I'm passionate because I was a huge fan and grew up on his music. I started listening to Manson in 1995 when I was 10 years old. My teenage years were peak fandom. My emotional connection to Manson's music has long since faded but I still keep up with him for the nostalgia (also, it's not a difficult task to add someone on instagram so I hardly put any effort into "still following the guy"). And I would hope that if Brian, for whatever reason, decided my opinion was important to his career that he would be embarrassed he released something so half-assed and get his shit together to start making music that matters. You're probably right though and it would "tickle him" and that's the problem: he no longer gives a shit.

    *this comment was written while lying in bed holding a phone near my face and seething in rage. Ugh I'm sooooo mad and emotional right now

  11. #3371
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    Quote Originally Posted by rampface View Post
    He was a drunk and sloppy mess who didn't give a shit about the material and lazily repeats 3 or 4 of the same phrases ad nauseam on every song. Born Villain is not a "goriously challenging record" that requires patience and time. It's a vapid slog with no rewards. It's not heavy (in fact, it's quite subdued and the tempo is painfully boring). It's not violent (unless you consider accidently breaking your absinthe glass in a drunken stupor towards the bathroom a "violent act"). And if you consider the lyrics "you're just a ring tone that happens when you get sick enough to call the one with bullet holes, bullet holes for eyes" anything other than drivel, then there's no hope articulating how fucking amateur and pathetic Manson's lyrical content has become through the years.
    So, all this talk about Born Villain made me wonder if maybe I'd overlooked something. I haven't listened to it front to back since 2012. I took the album and lyric sheet and sat with it for an hour tonight. I think I maybe like it less than I'd previously believed.

    The music is pretty stripped back, but it doesn't feel raw, it feels...plain? Indistinct? High End had a lot more going on than this record. The instrumentals are largely credited to Twiggy, with some Manson co-writing credits, and an unclear "assist" from Chris Vrenna on almost everything. I was a fan of his work in Tweaker, so I feel like either his musical language changed or the "assist" wasn't all that big. A lot of my favorite Manson instrumental moments seem to come from the people who aren't Twiggy—the solo in "Fundamentally Loathsome"; John 5's "Count to Six"; the guitars of Eat Me; Daisy's riffs on "Misery Machine" and "Tourniquet"—so maybe I'm just not the biggest fan of his compositional skills. Largely, I find the music on this record pretty uninteresting and not really a thing I'd hear a few seconds of and say, "Well, that's got to be Manson."

    Also, why do like half of the songs on the album have an extremely uninteresting slow burn start? Weird choice.

    But the biggest irritant here is absolutely those lyrics. And I don't recall being specifically annoyed by the repetition everyone mentioned today, but I don't see how I wouldn't have noticed. My god. And what's being repeated isn't great material; it's not like he found one golden line and decided to build around it. Everyone was shitting on "Pistol Whipped" the other day and I now remember why. The one song off this LP I really liked was "Overneath," but I haven't listened to it in a few years. And listening while actually reading the words...well, there's a scene in an old season of The Simpsons where Homer is getting boudoir photos taken, and the photographer closes curtain and greases the lens saying "light is not your friend."

    If this record works for you, cool. I'd have to take another gander at Heaven and run the same experiment, but I think this may actually take the cake now to me as his low point. While Heaven was exceptionally disappointing for coming on the heels of Pale Emperor, this record was merely uninteresting to me on the heels of an LP with some very good moments, and I had been content to let it fade away. Revisiting didn't improve its standing. Which sucks. In cases like this, it's always nice to turn out wrong.
    Last edited by Sesquipedalism; Today at 01:35 AM. Reason: More.

  12. #3372
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    Surprised to see some negative opinions about "Portrait" around here...
    That album is awesome.

    It's fun, cheesy rock 'n roll at it's finest.
    The record doesn't take itself seriously. It's goofy, it's fun. It's an easy listen. Not to mention Lunchbox is probably in my top 5 Manson songs of all time.
    I still have my Lunchbox CD single. I used to be a mad Manson collector, but I sold off everything except the first 4 records and the lunchbox single. Those are the definitive Manson records.
    If I was forced to add 1 and only 1 "post Holywood" record to my collection, it would hands down be The Pale Emperor. But the rest are not worth taking up shelf space.

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    Born Villain has one of his absolute best tracks on it, and that's "The Flowers Of Evil". It's complete and total Sisters of Mercy worship, but I adore Andrew Eldritch and have never expected Manson to sound original anyway. (I'm still pulling for Mazza to record an "Under The Gun" or "Temple of Love" cover.)

    The title track is killer, too. It sounds like it could have been on Holy Wood, maybe after "Valentine's Day".

    These two and "No Reflection" are the only things I really like from the record. Though "The Gardener" is a much better as a spoken word piece than "Wow", which a lot of you seem to enjoy and which I don't get.

    I'd murder for a Manson record that sounded like "Flowers Of Evil" and "Saturnalia" front-to-back. Total 80s goth rock.

    Edit: I guess EMDM was a bit of a goth rock record, but I mean the more Sisters of Mercy/Christian Death postpunk side of goth and less the frilly romanticism of The Cure.
    Last edited by Einzige; Today at 03:13 AM.

  14. #3374
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    Quote Originally Posted by Einzige View Post
    Born Villain has one of his absolute best tracks on it, and that's "The Flowers Of Evil".
    Though "The Gardener" is a much better as a spoken word piece than "Wow", which a lot of you seem to enjoy and which I don't get.
    Both those songs are awesome. 2 very under appreciated songs on Born Villain. I feel like those 2 songs get glanced over a lot for some reason.

    Quote Originally Posted by Einzige View Post

    Finally, I think his fifteenth record should be his last (WAC will be his eleventh LP).
    You are being incredibly generous thinking Manson has 4 more records in him after he releases Chaos.
    I'd be surprised if we get 1 more, maybe 2 at the absolute most after this.

  15. #3375
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    I dunno. A lot of people treat Manson like he's on death's door, and have since THEOL. If he is trying to get to fifteen records,and we discount SLC and LWF, that leaves four records. At an average of two years per album, he'd 'only' be 58 by the time he hit it.

    Lessee... I have a post up at Provider Module about this.


    Including only studio album releases, and accounting only for the official U.S. release dates:


    Portrait Of An American Family -> Antichrist Superstar: 812 days [July 19, 1994-October 8, 1996]

    Antichrist Superstar -> Mechanical Animals: 707 days [October 8, 1996-September 15, 1998] <- Shortest wait

    Mechanical Animals -> Holy Wood (In The Shadow Of The Valley Of Death): 791 days [September 15. 1998-November 14, 2000]

    Holy Wood (In The Shadow Of The Valley Of Death) -> The Golden Age Of Grotesque: 910 days [November 14, 2000-May 13, 2003]

    The Golden Age Of Grotesque -> Eat Me, Drink Me: 1,484 days [May 13, 2003-June 5, 2007] <- Longest wait

    Eat Me, Drink Me -> The High End Of Low: 721 days [June 5, 2007-May 26, 2009]

    The High End Of Low -> Born Villain: 1,071 days [May 26, 2009-May 1, 2012]

    Born Villain -> The Pale Emperor: 994 days [May 1, 2012-January 20, 2015]

    The Pale Emperor -> Heaven Upside Down: 990 days [January 20, 2015-October 6, 2017]

    It's been a shorter wait for Heaven Upside Down than it was for Eat Me, Drink Me, Born Villain or, barely, The Pale Emperor.

    Oh, yeah: it'll have been 8,482 days between the release of Portrait Of An American Family and Heaven Upside Down.

    The discography ranked by wait time, shortest to longest, and treating Portrait as a non-entity:

    Mechanical Animals
    The High End Of Low
    Holy Wood (In The Shadow Of The Valley Of Death)
    Antichrist Superstar
    The Golden Age Of Grotesque
    Heaven Upside Down
    The Pale Emperor
    Born Villain
    Eat Me, Drink Me




    Yeah, I can see him hitting fifteen records. Especially if he condenses one into a double album. I think that's probably what he's aiming for - the fifteen records part - because then he gets to kick back and look like a bit of a mad genius again for "predicting" it.
    Last edited by Einzige; Today at 03:29 AM.

  16. #3376
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    Quote Originally Posted by Einzige View Post
    Born Villain has one of his absolute best tracks on it, and that's "The Flowers Of Evil". It's complete and total Sisters of Mercy worship, but I adore Andrew Eldritch and have never expected Manson to sound original anyway. (I'm still pulling for Mazza to record an "Under The Gun" or "Temple of Love" cover.)...Though "The Gardener" is a much better as a spoken word piece than "Wow", which a lot of you seem to enjoy and which I don't get.
    Quote Originally Posted by ManBurning View Post
    Both those songs are awesome. 2 very under appreciated songs on Born Villain. I feel like those 2 songs get glanced over a lot for some reason.
    Those were actually the two to which I paid the most attention during this listen because I remember people really digging them, if they were apologists for Villain. "Gardener" really sounds to me like a slightly embarrassing tribute to the already more or less ill-advised An American Prayer, but it's at least got some word-meat to it, which is rare for the LP. I'm not really a fan of the verse as it's written and spoken, but I'm glad it's there.

    As for preferring "Wow," well, I think it probably mostly comes down to taste. I prefer the instrumental of "Wow" by far; it reminds me of glam-era Manson—"Dope Show," "Wormboy." Lyrically, it's 100% cogent, and feels like one of the few breakup songs he ever executed well, albeit totally in his idiom. It feels very much Manson and very real as a kiss-off, without putting on more airs than Manson naturally puts on. There's silly but decent late-game wordplay, some vicious digs, and a groovy tune. And the whole thing feels like it's got that sense of semi-seriousness, of play, that Portrait does?

    "Flowers of Evil" has one of those weird thirty-second dead opens that makes me wonder why. I remember being excited for this track because, as a teen, I got really into Baudelaire and Rimbaud. But it doesn't do it for me. The music is the epitome of that "plain" kind of simplicity I was bothered by. I don't care for the repetitive lyrics or the vocal performance—though I will say this: at least for five fucking minutes he pared back on that pentagram grumble tone he's been digging into hard beginning with Antichrist.

    It should be mentioned, though, if this is a Sisters of Mercy fan piece, I am totally unfamiliar with their music. I might appreciate it more if I knew the referent?

    Quote Originally Posted by Einzige View Post
    The title track is killer, too. It sounds like it could have been on Holy Wood, maybe after "Valentine's Day".
    I see where you're going here with the instrumental feeling Holy Wood-ish. It absolutely does, which is why, I think, this song lets me down a little. It sounds like it's about to be awesome, but doesn't fully deliver in my opinion. Same thing happens with "Breaking the Same Old Ground" (but worse). That being said, I absolutely like "Born Villain" more than anything else other than "Overneath." Lyrically, it's certainly better than "Overneath," though it's still so repetitive.

    MID-POST EDIT: Listening again right now. You know what? I like this track more than I'm disappointed by it. I'll give you the win. Thanks!

  17. #3377
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    Quote Originally Posted by Einzige View Post
    The discography ranked by wait time, shortest to longest, and treating Portrait as a non-entity:

    Mechanical Animals
    The High End Of Low
    Holy Wood (In The Shadow Of The Valley Of Death)
    Antichrist Superstar
    The Golden Age Of Grotesque
    Heaven Upside Down
    The Pale Emperor
    Born Villain
    Eat Me, Drink Me

    Damned if that doesn't seem to me like a study of market potential. Of course Mechanical Animals had to be quick out of the gate—they had to capitalize on the success of Antichrist. And Eat Me being at the bottom isn't a surprise either, since apparently everyone was wondering if he was still relevant before making that record. I don't know what to say about High End other than he was apparently in a writing frenzy at that point, as he said many times, and was moving to a new label where I assume he was expected to produce.

    This could totally be a case of his own waning interest, or life getting in the way (he's got a lot more on his plate now), or even simple logistical difficulties since, after Grotesque, he kinda started "outsourcing" the instrumentals rather than working in a band. But it makes me wonder if what would help him produce tight records is maybe not being allowed any time to fuck around and someone tapping on the clock.

    Quote Originally Posted by Einzige View Post
    Yeah, I can see him hitting fifteen records...I think that's probably what he's aiming for - the fifteen records part - because then he gets to kick back and look like a bit of a mad genius again for "predicting" it.
    You know, I thought this was a weird statement when you made it before, because why bother trying to predict something like that. Then you said this and I was like, "Oh. Yeah. Absolutely, he'll do this."

  18. #3378
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    Quote Originally Posted by Sesquipedalism View Post
    [/I]

    You know, I thought this was a weird statement when you made it before, because why bother trying to predict something like that. Then you said this and I was like, "Oh. Yeah. Absolutely, he'll do this."
    Yeah, up until they made that counter-point about the "15" thing, I didn't think too much into it either. At first, I thought it was a random number just pulled out of thin air, and then it makes more sense now remembering it's his favorite number.

    God, I'm bored. I'm talking about Marilyn Manson on a web forum at 2:16am. What year is this?
    Last edited by ManBurning; Today at 04:16 AM.

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    His whole career has been foreshadowing that number. It was prominent on MA and again on THEOL. It'd kill his legacy if he didn't end his career on his fifteenth record. Antichrist Superstar came from the future, after all.

    Now, knowing how lazy Manson can be, I recommend making one of them a double album. That would only require three more recording/touring sessions, and I'm sure he has that left in him. Fuck, I'm pretty sure he could get Trent on board with him for the finale if he went to him with the idea. I'm a strong advocate of the glammy Marilyn/clammy Manson double album as a career finale.
    Last edited by Einzige; Today at 04:25 AM.

  20. #3380
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    Quote Originally Posted by Einzige View Post
    INCOMING HERETICAL OPINIONS ALERT

    Manson did his best work- MA thru and including EMDM - without Trent. Manson by no means requires Trent to work.

    What he does need is a musical right-hand man who he respects enough to keep him focused.
    Mechanical Animals, for me, is Manson at his absolute best. I was in junior high and newly into rock music when it came out, so I was VERY skeptical of his new image and sound because I wanted to look like a little hardass all the time, but MA hooked me immediately anyway.

    His lyrical wordplay is clever without being too cheesy and try-hard. The songs are catchy without sounding cheap or shallow. His voice sounds fantastic, and he manages to hit all the right emotional notes with it. There are no skips for me on that album. I love Trent's work on Antichrist, but I'm glad that he didn't end up producing MA. I wouldn't want anything on that album to change.

    HW is fantastic, but too long IMO. GAOG is enjoyable, but it's also where the wheels start to fall off a little for me. I think it's the first time I realized that Manson can be very, very cheesy if left to his own devices, and that's a hard thing for me to overlook unless the music is just an absolute ten. So you are right, he needs somebody who has good taste, that he respects, who can push back on those impulses.
    Last edited by eachpassingphase; Today at 10:01 AM.

  21. #3381
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    Quote Originally Posted by eachpassingphase View Post
    Mechanical Animals, for me, is Manson at his absolute best. I was in junior high and newly into rock music when it came out, so I was VERY skeptical of his new image and sound because I wanted to look like a little hardass all the time, but MA hooked me immediately anyway.
    MA is my favourite record as well. My biggest regret is selling off my signed copy of that. Got it signed by the Holy-Wood lineup in 2000 at a Much Music meet and greet. flash forward a few years (around GOAG) I was going through an anti-Manson phase and sold all my stuff, including my signed copy of that record. Kind of regret that.

    Also sold a t-shirt that John and Twiggy signed after walking into them on the side of the road.

    Actually, here... I went out of my way to fish up the photo. This was from November 2000 during the Holy Wood release tour. Damn... this photo is just a couple months shy of being 20 years old. I feel old!


  22. #3382
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    Kick ass @ManBurning , you look just like I did in 2000

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    Quote Originally Posted by Einzige View Post
    I've always wanted him to fully embrace the goth shit and get a violinist on-board for a record. He toured with Rasputina once; dark, medieval music isn't necessarily outside of his wheelhouse.

    Always wanted a dark wave Manson album, too, ala.Ego Likeness or Blutengel. Hell, grab his good friend Billy Corgan, lock them in a room with the Adore record and see what develops from there.

    If he cuts back on the alcohol, I'd suggest that he has a good decade of musical longevity left. I don't see a reason he can't become kind of a King Diamond-like figure, telling spooky fables through music.

    Finally, I think his fifteenth record should be his last (WAC will be his eleventh LP). Marilyn Manson, a double album. The first half, Marilyn should be Mechanical Animals-esque, full of ballads, acoustic work, and synths, and should be produced by Billy Corgan. The second half, Manson, would be full of ACSS-style bangers and creepy noise interludes, and produced by Trent Reznor. Full circle. Maybe even close on the boat ride chant from Willy Wonka.

    Hey, a boy can dream
    Unless he makes some changes, Manson's not going to make it to a fifteenth album.

    Also, since we're all doing it, here's my hot take.

    Best to Worst
    Antichrist Superstar
    Portrait of an American Family
    Mechanical Animals
    Golden Age of Grotesque
    Holy Wood
    Heaven Upside Down
    Smells Like Children
    The High End of Low
    Born Villain
    The Pale Emperor
    Eat Me, Drink Me

    I reviewed music for a while and, after GOAG, starting with Eat Me, I began described my fandom of Manson as being in an abusive relationship. He releases some ridiculous hype about his new "world-changing/genre-redefining/earth-shattering" new album and tells us to "prepare/pray to our gods?lock up our daughters" and I think "dude made some good stuff once, so I know what he's capable...maybe THIS time...". Then: wet shit. A few years go by and the process repeats itself. I liked a lot of HUD. As for WAC, I think this is a new direction for him, at least for a lead single, and I'm looking forward and hoping for something interesting.

    P.S. I saw Rasputina and Helmet open for Manson in 1997 in Florida. God damn.

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