After a long stretch of uninspired, downbeat offerings, Marilyn Manson had a semi-comeback with 2012’s Born Villain.
Was that a late career fluke winner?
The followup, The Pale Emperor will be a good indication if he is truly back on track.
What really helps to shake this album up and what keeps it fresh is that Manson has collaborated with film/television/video game composer Tyler Bates for the music. A lot of the ensuing product has a rustic, bluesy vibe yet there are some nods to the heavy, nu-metal past (“Deep Six”). “The Mephistopheles of Los Angeles” seems to combine elements of the band’s early music with the direction they have taken over the last decade better than one could possibly hope.
New drummer Gil Sharone (Stolen Babies, Dillinger Escape Plan) provides surprisingly spare beats yet this also helps to keep the songs less cluttered and more propulsive. It creates a swagger than fans of the band’s 90s work could be surprised by.
On the downside, the album is definitely front-loaded with the more varied/memorable tracks comprising the first two-thirds of the collection. The last three songs are mostly boring numbers though “Cupid Carries a Gun” does have some moments.
Overall, The Pale Emperor seems to be proof that Manson is again focused on putting together worthwhile albums that aren’t mired in depression and a lethargic pace.
The years have changed him from what he once was, but you can also look at it as growth, spooky, spooky growth.
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When J.J. Ellis isn’t writing as the Allentown DVD Examiner, his Decent Exposure Radio can be heard on the air every Friday night from 10:30 to midnight (EST) on WXLV 90.3 FM or wxlvradio.com!
Just announced earlier today, the “Antichrist Superstar” himself Marilyn Manson will headline the Sands Bethlehem Event Center on Jan. 31st as part of his ‘Hell Not Hallelujah’ 2015 U.S. tour.
Manson is hitting the road right in time to promote his ninth album, ‘The Pale Emperor,’ which will arrive on Jan. 20.
Just before Halloween, Marilyn Manson release the first single, “Third Day of a Seven Day Binge,” from his upcoming album.
Check out Marilyn Manson’s list of 2015 tour dates below and pre-order ‘The Pale Emperor’ here.
Marilyn Manson ‘The Hell Not Hallelujah’ 2015 Tour:
01/21 – Washington, D.C. – The Fillmore
01/23 – Philadelphia, Pa. – Electric Factory
01/24 – Sayreville, N.J. – Starland Ballroom
01/26 – New York, N.Y. – Terminal 5
01/27 – Long Island, N.Y. – Paramount
01/28 – Boston, Ma. – House Of Blues
01/30 – Pittsburg, Pa. – Stage AE
01/31 – Bethlehem, Pa. – Sands Bethlehem
02/02 – Toronto, Ontario – Sound Academy
02/03 – Detroit, Mich. – Fillmore
02/05 – Chicago, Ill. – Riviera Theatre
02/06 – Prior Lake, Minn. – Mystic Lake Casino
02/07 – Milwaukee, Wis. – Eagles Ballroom
02/09 – St. Louis, Mo. – The Pageant
02/11 – Denver, Colo. – Fillmore
02/13 – Tempe, Ariz. – Marquee
02/14 – Las Vegas, Nev. – House of Blues
Marilyn Manson & Rob Zombie just announced that the two will be hitting the road together this fall on a co-headlining tour called the “Twins of Evil” tour. KoRn’s Jonathan “J Devil” Davis will provide support on many U.S. dates. It all begins September 28, when both Zombie and Manson co-headline the first day of the Desert Uprising Festival in Phoenix, AZ before wrapping in Dallas, TX on Halloween, October 31.
“Finally! Why did the most obvious tour take so long to happen? Who knows? Who cares? It’s happening now,” stated Zombie. “If good taste is the chief enemy of great art, then we should be able to fill the Louvre with this fucking tour. Be prepared for something wicked this way a-coming.”
“I have sympathy for the Whore of Babylon that gave birth to these twins of evil, and this abomination of a tour,” says Marilyn Manson. “There is no babysitter, and there is no repairing her womb. If Rob Zombie doesn’t fuck you up, than I surely will. Hide all drugs and firearms… I’m coming to town,” Manson stated.
J Devil, the DJ alter ego of KoRn’s frontman Jonathan Davis, will support the Manson/Zombie dates with his chaotic electro-metal. “I like to think of J Devil as the ‘anti-christ’ of EDM,” he said. “To play alongside Zombie and Manson is going to be a fucking sinister night all around, and an unbelievable theatrical experience. I can’t wait.”
September 28 – Phoenix, AZ
September 29 – Las Vegas, NV
October 01 – Salt Lake City, UT
October 02 – Denver, CO
October 04 – Topeka, KS
October 08 – Lincoln, NE
October 09 – Mankato, MN
October 11 – Chicago, IL
October 12 – Detroit, MI
October 13 – Bloomington, IL
October 15 – Youngstown, OH
October 16 – Rochester, NY
October 19 – Camden, NJ
October 20 – Uncasville, CT
October 21 – Manchester, NH
October 23 – Boston, MA
October 25 – Atlanta, GA
October 30 – Houston, TX
October 31 – Dallas, TX
November 26 – London, UK
November 27 – Manchester, UK
November 28 – Glasgow SECC, UK
November 29 – Birmingham, UK
December 01 – Luxembourg
December 02 – Bochum, Germany
December 03 – Amsterdam, The Netherlands
December 05 – Stockholm, Sweden
December 06 – Copenhagen, Denmark
December 08 – Vienna, Austria
December 09 – Munich, Germany
December 10 – Basel, Switzerland
December 12 – Bologna, Italy
Marilyn Manson is one of those rare figures in music who truly deserves the term “artist”. Since 1995’s platinum-certified Antichrist Superstar, Marilyn Manson – the man, and the band- have had great success creating dark and imaginative concept albums that seamlessly blended music and imagery into one cohesive whole.
Born Villain is the title of the new album and it is as fitting a title as Manson has ever had for an album or even himself for that matter, having always identified with the anti-hero in movies and books. Manson has always taken the antagonistic approach to get his point across and it’s worked for him –as long as he didn’t get too personal. His previous two albums Eat Me Drink Me and The High End of Low were neither commercially successful nor fan-favorites, having focused more on conveying his feelings to others rather than just speaking his mind or concentrating on the music without caring what others thought. Manson has stated that on these previous albums “I was trying to make people feel what I was feeling—which wasn’t a good idea, especially because I was feeling like shit. Check mark number one: don’t do that. Don’t make records that make people feel bad.”
Starting with Eat Me Drink Me Marilyn Manson has become less of a five-piece band and more of a one-man show, mostly thanks to the departure of many key members, especially guitarist John 5. Marilyn Manson himself is extremely talented, and once had the added benefit of having equally talented musicians at his side, which has now been whittled down to a new crew with only Twiggy Ramirez (an original member) left with him.
Born Villain is a joy to listen to, particularly in those moments where you can hear the influence from past albums. This album has a punchiness to it that gives me confidence that Manson is returning to form even if the entire album isn’t a masterpiece. The album begins on a high note with “Hey Cruel World…,” intentionally misleading you into thinking you’re about to hear another dreary slow-churned intro before turning into a sped-up punkish anthem. It’s followed by the album’s first single “No Reflection” which is easily enjoyable for its steady beat and rhythm but isn’t anything too memorable. “Slo-mo-tion,” “The Gardener,” and “The Flowers of Evil” make up a nice act which contrasts really well with the rest of the album. There are some nice changes vocally and musically, starting with the slow but catchy dirge of “Slo-mo-tion” leading into a steady and almost upbeat melody offset by Manson reciting the lyrics as if they were poetry for most of “The Gardener,” which I thought was a fun break. Rounding these out is the almost poppy (for Manson) “The Flowers of Evil,” which has the kind of chorus in it that you could easily imagine a new-wave band borrowing from.
Out of the fourteen tracks, two-thirds of them are solid and at that fraction should be considered an easy purchase for fans. A few songs here and there wore out their replay value after a few listens but the final three from the album (not counting the bonus) again make a great set. Listening to the brash “Murderers Are Getting Prettier Every Day,” the gloomy blues of “Born Villain,” and the doom-laden “Breaking the Same Old Ground” it’s hard not to wonder what they might be like in the context of a greater concept-driven album. They actually feel like they could easily be outtakes from Antichrist Superstar and that gives us hope.
Many longtime fans are probably on the fence as far as buying Born Villain or not. While it doesn’t achieve the same heights of past glories, it does offer some hints that he could be back on the right path. Try not to judge the quality of the music to the scope of his other albums and you will be pleasantly surprised.
It’s also worth mentioning that the bonus cover of Carly Simon’s “You’re So Vain” is not only perfectly tongue-in-cheek for Manson and guest guitarist Johnny Depp, but it’s also a simplistically cool rock song to top off the album.
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These days, people treat music as a disposable commodity. People only seem to care about the singles and not so much of the ‘album.’ But every Saturday night, a group of friends gather together and listen to some records and down a few spirits. They actually listen to and talk about their love of music. Tonight’s Theme: Concept Records
- Will’s Pick: The XX – XX
- Josh’s Pick: Marilyn Manson – HolyWood (In the Shadow of the Valley of Death)
- JJ’s Pick: Coheed & Cambria – Good Apollo, I’m Burning Star IV, Volume One: From Fear Through the Eyes of Madness
If you have never heard of Tim Sköld, surely you have heard his work. From touring with ohGr to remix and production work for Front Line Assembly and 16Volt, to his stints in KMFDM, MDFMK and Marilyn Manson, to scoring the Resident Evil soundtracks, nearly every fan of industrial music has been exposed to his work in some way.
After 15 years since his self-titled debut, producer/songwriter/guitarist/bassist Tim Sköld returns with Anomie. Though his debut is still held in high regard, his sophomore release feels unfocused. Anomie is less of a cohesive album than a collection of songs he’s written since his first release. Sonically, the album is inconsistent with differing musical styles with no central theme in the writing.
It feels as if you can listen to each song and guess which era of collaboration it was written in. “Suck” the album’s first single is very reminiscent of KMFDM (during his tenure) as well as “Blackout” and the extremely heavy “Angel of Noise.” “And Then We Die” and “The Hunger” sounds like it could have been off of Marilyn Manson’s Eat Me Drink Me. “Tonight” is a much more upbeat song and it might actually be one of his best things he has written, to date. While “Polka Dot Dress” and “Deserve,” only available on the Deluxe Edition, felt like it could have been a b-side from the 2009 Skold Vs. KMFDM release.
This album starts off hard and heavy but unfortunately, the momentum slows down by the latter half. There were songs on here that should have definitely been left out. If “I Will Not Forget,” “A Dark Star,” and “Bullets Ricochet” which were released on iTunes with the “Suck” single EP as well as the bonus tracks from the Deluxe Edition would have been mixed in, it might have helped ‘Anomie’ for the sake of consistency.
Overall, Anomie is a decent release but lacks coherence. If you treat this as a collection of songs he has written over the years and less of an album, then you will have a much more enjoyable time listening to this. Is it better than his previous solo work? No. But the good songs here outweigh the weaker ones. Fans of any type aggressive electronic music will definitely enjoy this.
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When Henry‘s not busy working for the corporate machine, updating this page and speaking in third person, he’s busy shooting and editing pictures from concerts, designing logos for bands, setting up interviews and trying to develop a podcast