MARILYN MANSON
Industrial Metal • United States

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Marilyn Manson (born as Brian Hugh Warner on January 5, 1969) is the lead singer of the Fort Lauderdale, Florida, USA based shock rock group of the same name. Warner chose the name, a combination of Marilyn Monroe and Charles Manson, to illustrate what he considered to be the extreme dualism of late 20th century American culture. The stage names of each band member were originally created by combining the first name of an iconic female sex symbol and the last name of an iconic mass murderer or serial killer, though this naming convention has not extended to new band members after the mid-90s. Along with Rob Zombie and Eric Burdon he is one of the main performers of the shock rock genre.

Formed in 1989 in Fort Lauderdale, Florida, as Marilyn Manson & The Spooky Kids, the band's uniquely theatrical performances gathered a local cult following that developed over
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Marilyn Manson : Smells Like Children CD (1999) Marilyn Manson : Smells Like Children CD (1999) USD $4.59 (0 bids)
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Lest We Forget: The Best ofLest We Forget: The Best of
Nothing 2004
Audio CD$4.59
$3.00 (used)
Holy Wood (In The Shadow Of The Valley Of Death)Holy Wood (In The Shadow Of The Valley Of Death)
Nothing 2000
Audio CD$4.98
$0.78 (used)
Mechanical AnimalsMechanical Animals
Explicit Lyrics
Nothing 1998
Audio CD$5.39
$1.75 (used)
Antichrist SuperstarAntichrist Superstar
Nothing 1996
Audio CD$5.00
$0.02 (used)
Born VillainBorn Villain
Downtown 2012
Audio CD$4.67
$2.75 (used)
Portrait of an American FamilyPortrait of an American Family
Explicit Lyrics
Nothing 1994
Audio CD$5.39
$1.88 (used)
The Golden Age Of GrotesqueThe Golden Age Of Grotesque
Explicit Lyrics
Nothing 2003
Audio CD$6.21
$0.57 (used)
Smells Like ChildrenSmells Like Children
Explicit Lyrics
Nothing Records / Interscope Records 1995
Audio CD$2.48
$0.01 (used)
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MARILYN MANSON Discography

MARILYN MANSON albums / top albums

.. Album Cover 4.10 | 12 ratings
Portrait Of An American Family
Industrial Metal 1994
.. Album Cover 2.36 | 9 ratings
Smells Like Children
Industrial Metal 1995
.. Album Cover 4.28 | 24 ratings
Antichrist Superstar
Industrial Metal 1996
.. Album Cover 4.43 | 27 ratings
Mechanical Animals
Industrial Metal 1998
.. Album Cover 4.54 | 12 ratings
Holy Wood (In the Shadow of the Valley of Death)
Industrial Metal 2000
.. Album Cover 3.24 | 9 ratings
The Golden Age of Grotesque
Industrial Metal 2003
.. Album Cover 2.51 | 6 ratings
Eat Me, Drink Me
Industrial Metal 2007
.. Album Cover 2.50 | 7 ratings
The High End of Low
Industrial Metal 2009
.. Album Cover 3.98 | 7 ratings
Born Villain
Industrial Metal 2012

MARILYN MANSON EPs & splits

.. Album Cover 4.00 | 1 ratings
Remix & Repent
Industrial Metal 1997
.. Album Cover 0.00 | 0 ratings
The Fight Song: Rare Tracks
Industrial Metal 2001

MARILYN MANSON live albums

.. Album Cover 4.98 | 4 ratings
The Last Tour on Earth
Industrial Metal 1999

MARILYN MANSON demos, promos, fans club and other releases (no bootlegs)

MARILYN MANSON boxset & compilations

.. Album Cover 3.83 | 3 ratings
Lest We Forget: The Best Of
Industrial Metal 2004

MARILYN MANSON singles (20)

.. Album Cover
0.00 | 0 ratings
Get Your Gunn
Industrial Metal 1994
.. Album Cover
0.00 | 0 ratings
Lunchbox
Industrial Metal 1995
.. Album Cover
0.00 | 0 ratings
Sweet Dreams
Industrial Metal 1996
.. Album Cover
0.00 | 0 ratings
Long Hard Road Out of Hell
Industrial Metal 1997
.. Album Cover
0.00 | 0 ratings
The Beautiful People
Industrial Metal 1997
.. Album Cover
0.00 | 0 ratings
Tourniquet
Industrial Metal 1997
.. Album Cover
0.00 | 0 ratings
The Dope Show
Industrial Metal 1998
.. Album Cover
0.00 | 0 ratings
Rock Is Dead
Industrial Metal 1999
.. Album Cover
0.00 | 0 ratings
I Don't Like the Drugs (but the Drugs Like Me)
Industrial Metal 1999
.. Album Cover
0.00 | 0 ratings
Disposable Teens
Industrial Metal 2000
.. Album Cover
0.00 | 0 ratings
The Nobodies
Industrial Metal 2001
.. Album Cover
0.00 | 0 ratings
The Fight Song
Industrial Metal 2001
.. Album Cover
0.00 | 0 ratings
Tainted Love
Industrial Metal 2002
.. Album Cover
0.00 | 0 ratings
This Is the New Shit
Industrial Metal 2003
.. Album Cover
0.00 | 0 ratings
mOBSCENE
Industrial Metal 2003
.. Album Cover
0.00 | 0 ratings
Personal Jesus
Industrial Metal 2004
.. Album Cover
0.00 | 0 ratings
Putting Holes in Happiness
Industrial Metal 2007
.. Album Cover
0.00 | 0 ratings
Heart-Shaped Glasses (When the Heart Guides the Hand)
Industrial Metal 2007
.. Album Cover
0.00 | 0 ratings
We're From America
Industrial Metal 2009
.. Album Cover
0.00 | 0 ratings
Arma-Goddamn-Motherfuckin-Geddon
Industrial Metal 2009

MARILYN MANSON movies (DVD, Blu-Ray or VHS)

.. Album Cover
0.00 | 0 ratings
Marilyn Manson - The Early Years
Industrial Metal 2007
.. Album Cover
0.00 | 0 ratings
Live Trash
Industrial Metal 2008
.. Album Cover
4.05 | 2 ratings
Guns, God And Government Live In L.A.
Industrial Metal 2009

MARILYN MANSON Reviews

MARILYN MANSON Portrait Of An American Family

Album · 1994 · Industrial Metal
Cover art Buy this album from MMA partners
siLLy puPPy
These rabble-rousers hit the world with a vengeance pissing off everyone from the prudish elite and Christian right to the music community itself with endless debates about if they were metal or not. Also engaging in controversial antics on and off stage that got them banned and persecuted but certainly not ignored! In fact none other than Mr. Trent Reznor caught their show and saw a quality act that he took on making this debut album a major hit in the production department as well as with the totally catchy over-the-top pop metal tunes that also score highly in the vitriolic lyrical department. Despite shortening their name to simply MARILYN MANSON, album #1 finds them with the same initial line-up that went under the name Marilyn Manson & The Spooky Kids prior to being signed to Reznor's Nothing Records label.

MANSON really knew how to borrow a little here and a bit from there to create a totally new yet somewhat familiar concoction that really struck a chord in dysfunctional America, the subject of his scorn that would peak on the following album. After many years I have decided to dust off my MANSON albums and see if they held up after all this time and I have to give a gleeful affirmative for an answer. This debut album just plain rocks like few others did at the time. Tracks like “Cake And Sodomy” and “Dope Hat” are just amazing and achieved the foulest of poetic expression accompanied by somewhat simple yet distinct metal instrumentation. Although I hear influences ranging from W.A.S.P. To Jane's Addiction in the mix, MANSON did a great job to keep the influences toned down and dressed up in their own outrageous regalia. I find I still love this album as much as I did the first time I heard it and only a couple lesser tracks keep me from giving this a full 5 star rating.

MARILYN MANSON The Last Tour on Earth

Live album · 1999 · Industrial Metal
Cover art Buy this album from MMA partners
Warthur
Who'd have thought that the chilly, spacey faux-glam Mechanical Animals sound would translate so well into rip-roaring live performances such as the ones captured on The Last Tour On Earth? As things go, the live contexts adds some steel to the Mechanical Animals material, whilst the band's years of experience adds new nuances to old material from Antichrist Superstar, Smells Like Children and Portrait of an American Family. The set-list for the album is superb, to the point where it flows more or less like a full concert, and enough of Manson's interactions with the crowd are preserved to underscore just what a brilliantly rabble-rousing and exciting frontman he was at his prime.

MARILYN MANSON Born Villain

Album · 2012 · Industrial Metal
Cover art Buy this album from MMA partners
Kingcrimsonprog
2012’s Born Villain is the eighth full-length studio album by Marilyn Manson. As with the previous two albums it was self-produced, mixed by Sean Beavan and no living drummer is fully credited throughout. The line-up features Manson, Vrenna & Ramirez like the previous album, only now with Fred Sablan on bass. Interestingly though, Vrenna left the band before the album’s release.

For many fans, the band’s golden period is considered to be The Triptych (Antichrist Superstar, Mechanical Animals & Holywood), a trilogy of three interlinked concept albums that were released at the height of Manson’s fame, critical acclaim, cultural relevance and commercial success. Ever since then; after a decade of line-up instability, notably poor live performances and albums that didn’t meet many fan’s expectations, the band’s stock has diminished considerably in the eyes of the media and a large portion of the fanbase.

After hearing the best moments here, many people may rush to proclaim this a return to form and excitedly declare that he is back to his old standard again, just like they did last time around, only to lose enthusiasm pretty quickly. I wouldn’t go so far as to call this new record a comeback, but it is undeniably strong and consistent. I’d urge you to forget any pretentious interviews or music videos associated with it and give the music a fair and honest chance.

If you have liked the last three Manson albums, then Born Villain is certainly worth trying out. The album has some seriously enjoyable songs that would fit well into a live set or compilation album, and isn’t overly full of ballads or slow tracks that don’t go anywhere. It isn’t just a dull dirge… It is louder, more bombastic and more confident than any of the last few records. Even the rhythmic ‘Overneath The Path Of Misery’ when separated from its pretentious music video is hugely catchy and surprisingly heavy in album-context.

Stylistically, It seems that Manson is going for a mix between trying new things and delving into his back catalogue as well. Opening track ‘Hey, Cruel World…’ for example has a nice catchy chugging riff, and even some double-kicks at one point, but there is also a section towards the end that sounds like it would have fit well on Portrait Of An American Family. Then the album version of ‘No Reflection’ has a whole build-up section in it that is reminiscent of Holywood’s heavier tracks and there are even a few allusions to Mechanical Animal’s style in ‘Flowers Of Evil’ and ‘Breaking The Same Old Ground.’

There is also some material that is totally new for the band as well; ‘Slo-Mo-Tion’ is unlike any of his older material, ‘Lay Down Your Goddamn Arms’ borders on Stoner-Rock territory at times and ‘Murders Are Getting Prettier Every Day’ is deliberately in-your-face-heavy.

Overall, I think the right balance has been struck between innovation and giving the fans what they want. The album covers a lot of ground, but crucially doesn’t sound confused for all the diversity. There are loads of little moments like the hi-hat being way louder in the chorus or an effect on the vocals coming in the third time around etc that really give the tracks a power and ‘umph’ that has arguably been missing for a while.

In my own personal opinion Born Villain is my favourite Manson album since Holywood. That being said however, this album does not meet the same artistic height as any of the individual parts in the aforementioned Triptych and I suspect that if you only enjoy those albums, this probably won’t win you back.

To be absolutely fair, if the band’s career consisted of only their debut and then the albums from Golden Age Of The Grotesque onwards, then Born Villain would be readily considered a great album as it such a solid, creative and well-made album in its own right. It is only because it has the unfair expectation of having to compete with three albums that have been absolutely beloved by millions of fans for over a decade as well as having to redeem, excuse and justify the aforementioned decade of decline that Born Villain unfortunately doesn’t measure up.

In summary; if you try and be objective then the album will seem a lot better than you probably expect it to be, but at the same time there is no getting around that Marilyn Manson has made better albums than this in the past and this record isn’t up to the highest standards that the band have set for themselves.

I feel that this is easily his strongest non-Triptych album and if you have given up on Manson in recent years, it is good enough to at least warrant a cautious test-listen. If you have stayed a fan all along however, this will doubtless be an immensely enjoyable album indeed.

MARILYN MANSON The High End of Low

Album · 2009 · Industrial Metal
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Kingcrimsonprog
The High End Of Low was the seventh full-length studio album by Marilyn Manson. It was released in 2009 and saw Twiggy Ramirez rejoin the band after a two-album absence.

The album was met with mixed reviews, some happy that Ramirez was back and the music was more upbeat than on the previous record and some negative about that the music and lyrics not being up to standard.

In my own opinion The High End Of Low is actually an enjoyable album and there are some great moments on it. It is however let down by a few problems, and also in comparison to some of his other albums. The main problems are track sequencing, album duration, stylistic inconstancy and some of the same lyrical misfiring that has been present on every album after Holywood.

For the most part, the album feels a little confused and overlong. For one; the track order seems a little too scattered, as though the songs were hastily rearranged out of the correct order at the last minute and consequently several tracks don’t seem really to fit well between the songs the follow or precede.

Secondly, the album is 72 minutes long and the copious material within is in a wealth of different styles to the point where it almost feels as if it is trying too much at once. Variety is usually a good thing and it is often nice to have an album that doesn’t end too early, but The High End Of Low unfortunately doesn’t get the balance just right.

For example, there are a few up tempo heavy tracks in ‘Pretty As A Swastika’ ‘We’re From America’ and ‘Blank And White’ which sit alongside dark pop like ‘Devour’ and ‘Unkillable Monster’ as well as ballads like ‘Four Rusted Horses’ ‘Into The Fire’ and ‘15’ and even a trippy hypnotic number called ‘I Want To Kill You Like They Do In The Movies’ that lasts for nine minutes and feels like an album closer but bizarrely sits at the halfway point.

After a hypnotic nine-minute album closer the rest of the album seems a little bit like a drag, especially when thereafter tracks are generally slower and less dynamic. This makes the album difficult to digest and it almost feels as if you need to take it in across two separate sittings each time.

Despite these problems, there are quite a few highlights and there is a lot to enjoy on the album. Some of the tracks are very enjoyable, it grows on you with repeat listens and despite taking it too far, the variety on offer does give the album a much less one-dimensional feel than the two albums which preceded it. Should you wish to only listen to the best moments or to take it in across two sittings then you will find enough moments to enjoy without risking being overwhelmed in an avalanche of conflicting ideas.

In summary, The High End Of Low is a flawed album but ultimately it is still a decent album despite these flaws. It may seem a little lacking on first listen, but closer inspection will reveal hidden quality. While it isn’t up to the extremely high standards of the band at their absolute peak, it is still of a high enough standard to be worth a listen for both die-hards who like everything Manson does and casual fans who don’t just care about the three best albums.

MARILYN MANSON Eat Me, Drink Me

Album · 2007 · Industrial Metal
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Kingcrimsonprog
I don’t think anybody expected this album. After the musically catchy but disappointingly shallow Golden Age Of Grotesque it seemed as though Marilyn Manson had given up on being artistic and had decided to concentrate on his image, as if he had chosen the superficial side of his music and given up on creating deep and dense albums that were better than the sum of their parts.

This shift in focus, coupled with the band falling apart and what were generally regarded as poor live shows all along the way made it seemed like he would settle into a one-dimensional comfort zone of knowingly iconic imagery, enjoyable but simple songs and lyrics full of puns and wordplay but little valid artistic content.

Eat Me, Drink Me was a surprising follow-up that defied this expectation while also refusing to return to the previous style either. The actual content is mostly emotional, slow and dark, and not really conceptual in any way. It is stripped down to the basics. It still isn’t an important piece of music and it doesn’t have anything informative to say, but it isn’t just a set of obvious singles either. It is the sound of raw and wounded emotion, mixed in with a renewed interest in making music that sounds dark. Manson’s voice is the focus and he tries a lot of different things that aren’t present on previous records while ditching a lot of things that were on previous albums too.

If you were feeling harsh you could say that it is a bit repetitive and whiney. Whenever I think of this as a Marilyn Manson album I always think of it negatively but whenever I am actually listening to it, I find that I do enjoy the experience despite myself. The biggest problem however is just that he has made much better albums before and while this is good on its own level, that level isn’t the same level on which his better material exists.

Stylistically, The two most noteworthy things about the album are firstly that the tracks are mostly slow, brooding dirges based primarily on vocals, jangly chords and piano, with little in the way of metal riffs or industrial touches and secondly there is some interesting lead guitar work worked in as well. There are still a few up-tempo tracks and allusions to his earlier work, but in much smaller quantity than ever before. It is one step closer to the dark pop record that he talked about writing in his book all those years ago.

Highlights include the slow and powerful ‘They Said That Hell’s Not Hot,’ and the brilliant and brooding Title Track as well as the catchy, if shallow rocker ‘Mutilation Is The Most Sincere Form Of Flattery.’

Overall; Eat Me, Drink Me isn’t for everyone and may be too morose and dull for a lot of fans. The lack of either intelligent political messages inside dense conceptual music or indeed catchy fun rock songs with amusing lyrics will make it uninteresting for the vast majority of his oddly polarized fanbase. I personally enjoy this odd, curve-ball album and have listened to it much more than I ever expected to, but would still concede that it isn’t anywhere near as good as Antichrist Superstar, Mechanical Animals or Holywood.

MARILYN MANSON Movies Reviews

MARILYN MANSON Guns, God And Government Live In L.A.

Movie · 2009 · Industrial Metal
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Kingcrimsonprog
Marilyn Manson may divide opinion, he may be taken too seriously by some and not seriously enough by others and it just makes sense that if you don't already like Marilyn Manson then this Blu Ray isn't something you should buy. I'm not going to get into a debate with anyone about whether or not Marilyn Manson albums have been declining in quality over the years but I will say that if you think they have, then the track listing of this concert is perfectly suited to you, with all the material dating before the divisive 'The Golden Age of Grotesque' album.

You may already know this; but for those who don't, this Blu Ray is not a simple transfer of the previously released DVD 'Guns God And Government,' which featured footage from all around the world on different nights. The Blu Ray is taken entirely from one concert in LA during the same tour but also features the same bonus features as the original DVD (chiefly a documentary/montage entitled 'The Death Parade')

The concert is just over and hour and a half in length and features sixteen tracks, including the unreleased 'Astonishing Panorama of the End Times,'as well as seven tracks from the then new Holywood album in addition to a selection of live favorites from older albums. The band features John 5, Twiggy Ramirez, M.W. Gacy and Ginger Fish, in what many fans have come to consider the classic line up.

The video quality is pretty incredible and its surprising just what a huge improvement this is over the previously released DVD, especially when the house lights are up. When the lights are up, this 2002 concert looks better than many live Blu Rays filmed as recently as last year and the team behind this Blu Ray have clearly done an excellent job. In addition to the sterling video quality, the sound is utterly fantastic and as with the video it honestly rivals the majority of modern concerts on Blu Ray.

The performance is excellent, right from the start you know you are in for a theatrical and over the top experience as Manson arrives on stage in a chariot pulled by bikini girls to a stage featuring huge backdrops of crucified fetuses, crucifixes made of various rifles and revolvers, a tonne of dry ice and even naked dancers. The set also contains the infamous slit walk and 'growing,' as well as several costume changes for Manson and one or two minor costume enhancements for the rest of the group.

If you didn't already know, while the band do perform live Marilyn himself sings over a prerecorded live vocal track when he is doing anything theatrical such as the stilt walk or standing behind the pulpit and from repeat viewings I have begun to think that while he sang live over the track on the night, these vocals were erased from the mix and replaced with the live track entirely although I am not 100% certain.

The Blu Ray specs are as follows: 1080i HD Widescreen (1.78:1) LCPM Stereo, Dolby Digital 5.1, DTS HD Master Audio.

In summary this is an absolutely excellent product in and of itself, doubly so if you prefer this period in Manson's history, and an extra star is warranted if you aren't put off by the vocal track not matching up to Manson's mouth movements.

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