hate every motherfucker
that's in your way
-- Marilyn Manson
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| there's a time to discriminate, hate every motherfucker that's in your way -- Marilyn Manson |
Marilyn Manson |
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"Perhaps the smartest thing
Trent Reznor ever did was sign Marilyn Manson and the
Spooky Kids to his label Nothing/Interscope as nobody has stirred up more
controversy than this self proclaimed Antichrist Superstar. Not even the
bat/bird biting Ozzy Osborne has pissed off as many conservative politicians
and concerned parents as much as Manson. In the case of Marilyn Manson, words
speak louder than actions as he uses his platform to write songs that are
politically incorrect. He has attacked Christianity and religion in general to
the dismay of the Christian Coalition and every TV evangelist on cable.
However, he hasn’t stopped there. Manson is also very much critical of
American Family Values, politics, prejudiced beliefs and the trappings of a
suburban lifestyle."
-- Tony Engelhart, Crud Magazine, 8/03
1994: Portrait of an American Family  Just click here! to send us your review of this album. 1995: Smells Like Children (EP) Just click here! to send us your review of this album.  ¾ 1996:
Antichrist Superstar "Boasting a fuller sound and a more focused sense of purpose, Antichrist Superstar is a substantial improvement on Marilyn Manson's debut album, 'Portrait of an American Family'. The band draws equally from schlock-metal, progressive metal, new wave, goth rock, and industrial rock, and with the help of producers Trent Reznor and Dave Ogilvie, the group creates a boiling, mockingly satanic mess of guitars, synthesizers, and ridiculously 'scary' vocals. Though the sonic details make Anitchrist Superstar an intriguing listen, it's not as extreme as it could have been -- in particular, the guitars are surprisingly anemic, sounding like buzzing vacuums instead of unwieldy chainsaws. Even with that considered, 'Antichrist Superstar' is an unexpectedly cohesive album from a silly shock-metal band and will stand as Marilyn Manson's definitive statement."
-- Stephen Thomas Erlewine, AllMusic.com
½ 1998:
Mechanical Animals
"For the follow up to Antichrist, Manson jettisoned ever-present Trent Reznor (Nine Inch Nails) as producer and, after a brief stint with the Dust Brothers, settled with Michael Beinhorn as producer. The end result is an album that does not try to be Antichrist, but is another (mechanical) animal altogether. 'Mechanical Animals' is a slick nightmare vision of an alienated, over-drugged, over-sexed society that leaves behind the heavy, distorted electronics of Antichrist for a more traditional, polished rock sound. It tells the story of Marilyn’s twin characters, an alien being of some sort that came down to earth, and the rock ‘n’ roll "dopestars" Omega and the 'Mechanical Animals', and their obsession with Coma White, which is alternately (or simultaneously ?) a woman and a drug. (...) On this album, Marilyn Manson show a willingness to change and evolve their sound, yet still manage to retain their sonic identity."
-- David Vandermeuse, music-critic.com
2000: Holy Wood (In The Shadow Of The Valley Of Death) "He's a marked man, held culpable for murderous teenagers and moral collapse. An army of right-wing zealots are fingering the holster on the Bible Belt, waiting for a clear shot at him. His choice: retreat or come out fighting at the risk of annihilation. It took Marilyn Manson three months of post-Columbine isolation in his Hollywood mansion to make a decision, then another year to polish his weapon to perfection. If he was going to throw America's hypocrisy back in its face, he knew there'd be hell to pay if he didn't get it right. 'Holy Wood...' is a relentless march through the Manson Manifesto - expanding the myth (and self-fulfilling prophecy) of the antichrist superstar to encompass JFK, Lennon and Jesus. The final chapter in Manson's "triptych" of albums, it follows a character who attempts revolution through music, but ends up killing himself when his revolution is exploited by society. It's Manson's own story, essentially, used as a framework to indict a culture that both celebrates and condemns violence. (...) 'Holy Wood...' puts Manson's critics and second division nu-metallers like Korn and Slipknot firmly in their place."
-- April Long, NME
2003: The Golden Age of Grotesque "'The Golden Age Of Grotesque' falls far short of 'Holy Wood' and 'Antichrist Superstar', an album regarded in certain circles as Manson's finest hour to date. For someone who is known to be one of the most articulate figures in rock, speaking candidly and thought-provokingly on religion, sexuality and drugs, Manson sounds like a hackneyed has-been on This Is The New Shit delivering such profound lyrics as 'Devil Devil Bitch Bitch Rebel Rebel Party Party'. As entertainment goes, it's about as exciting as watching paint dry. It's a good job then that 'The Golden Age of Grotesque' has its fair share of stomp factor. Notably the snarling dance-floor grooves of mOBSCENE and the call to arms air-punching anthem Use Your Fist and Not Your Mouth. This doesn't quite make up for the atrocious mess that is Ka Boom Ka Boom though, nor the fact that the best track here is a cover, Manson's dark electro-rock take on Tainted Love."
-- Catherine Chambers, bbc.co.uk
¾ 2004:
Lest We Forget (Best of) Tracklisting: 1. The Love Song 2. Personal Jesus 3. mOBSCENE 4. The Fight Song 5. Tainted Love 6. The Dope Show 7. This Is The New Shit 8. Disposable Teens 9. Sweet Dreams (Are Made Of This) 10. Lunchbox 11. Tourniquet 12. Rock Is Dead 13. Get Your Gunn 14. The Nobodies 15. Long Hard Road Out Of Hell 16. The Beautiful People 17. The Reflecting God " Marilyn Manson has secured his place in music history through graphic imagery and shock tactics. It would be nice to assume his plethora of hits played a part in that too, but seeing his "best of", you realise how many hits he hasn't had. (...) There is one new tune on here, a cover of Depeche Mode's Personal Jesus. Typical to Manson's covers, he manages to twist the song into his own. Suddenly the chorus 'reach out and touch faith' has a whole new meaning. Manson may have a loyal following of fans, and let's face it - he's a smart guy. But when it comes down to it, his career is on the downslide, and if this is the "best of", then maybe it's time to gracefully step aside and let someone else have their moment."
-- Tim Cashmere, Undercover, 9/04
2007: Eat Me Drink Me Tracklisting: 1. If I Was Your Vampire 2. Putting Holes In Happiness 3. The Red Carpet Grave 4. They Said That Hell’s Not Hot 5. Just A Car Crash Away 6. Heart-Shaped Glasses (When The Heart Guides The Hand) 7. Evidence 8. Are You The Rabbit? 9. Mutilation is the Most Sincere Form Of Flattery 10. You And Me And The Devil Makes 3 11. EAT ME, DRINK ME "Manson's new 'Eat Me, Drink Me' is nothing new. It's a modernized version of Marilyn Manson: heavier guitar, a touch of neo-thrash, and some metalized Bravery-style new-wave pop. The songs are still burdened with silly titles like Putting Holes In Happiness and Mutilation Is The Most Sincere Form of Flattery—Manson is probably laughing just as hard as you—and there are high doses of a still-developing, ill-defined agenda of L.A. noir, burlesque fashion, O.G. goth rock (45 Grave, Christian Death), autopsy photos, and poor-man's Saw-sequel serial-killer aesthetics. But the subtle glue holding all this nonsense together also serves as a key contributor to Manson's relative staying power. The continuing trick of adding T. Rex, Alice Cooper, early-'80s Ozzy, and Bowie (think Tin Machine) nuances always felt lost on most true fans, meaning the 14-year-olds trying to piss off their parents. But his frame of reference is one key reason why the media is currently talking more about Marilyn Manson than Fred Durst."
-- Andrew Earles, avclub.com, 6/07
2009: The High End of Low Tracklisting: 01. Devour 02. Pretty As A Swastika 03. Leave A Scar 04. Four Rusted Horses 05. Arma-goddamn-motherfuckin-geddon 06. Blank And White 07. Running To The Edge Of The World 08. I Want To Kill You Like They Do In The Movies 09. WOW 10. Wight Spider 11. Unkillable Monster 12. We're From America 13. I Have To Look Up Just To See Hell 14. Into The Fire 15. 15 "Manson's tranny-android-from-Pluto routine already felt corny when he dropped his first album in 1994, but that hasn't stopped him from selling boatloads of CDs since then. Not surprisingly, High End finds him still prattling on about swastikas, hell, and Armageddon, oblivious to how silly it all sounds. Musically, the new tunes mostly evoke warmed-over Nine Inch Nails crossed with mediocre '70s metal, and occasionally, the results can be fairly satisfying. But unless you're a very impressionable 15-year-old, Manson's safe as milk doom metal is unlikely to leave even a superficial cut."
-- Tom Sinclair, Entertainment Weekly, 5/09
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