The Golden Age of Grotesque

by

Marilyn Manson

Edit

This is a new Manson for a new era. This is definitly not a repeat of his past albums. This has been the first time in a long time that Manson has had to make an album that could stand on it's own. After finally completing the story he created with Anti-Christ Superstar and finished with 2002's Holy Wood, Manson has a chance to explore new musical ground as well as reinvent his image a bit. Manson explores 1930's Berlin-esque era in his lyrics and appearance. Throwbacks to the Swing dancing sensation, Nazism, and Dadaism are littered throughout the confrontational ("Use your fist and not your mouth")and cynical, sexually-doused lyrics in this CD, which fit well with the music. The music itself is the usual Manson-esque rock mixed with a large dose of synth and other effects, probably due to new bassist Tim Skold, which completely helps the album in almost all areas. These effects do a very good job of envoking pictures to accompany the music. Sometimes one can't help but picture Tim Burton claymation-esque characters marching along to anthems like the title track and the intro Thaeter. The also setup moods for such songs like "(s)aint" and "The Bright Young Things", both of which are sure to surprise the listener (but none like the track "Doll-Dagga Buzz Buzz Ziggety-Zagg", which is a loud galloping example of Manson-meets 30's era swing music. A treat for the ears, definitely).

Manson succeeds in making a frightful, rambunctious, powerful and wonderful album that can definitely stand on it's own. However, one must remember that Manson is not taking himself as seriously this time, but is still very clever with his lyrics (probably now more than ever). All in all, this is one of Manson's best, and definitely worth buying.

It's very hard to find the right number of stars when rating Manson's fifth full length album, "The Golden Age of Grotesque." Am I somewhat disappointed with it? Yes. And do I enjoy listening to it? Well, yes, actually. This disc doesn't have the sharp impact that its predecessors had, mostly because the lyrics are a big disappointment. Manson regurgitates his same subject matter (religion, sex, profanity, and killing your parents, etc.), unfortunately many of these words come across sounding like Manson is trying too hard to live up to his infamous name. It's sort of surprising when he tells his fans, on the third track, to "Be obscene!" But halfway through the C.D., as when he shamelessly states "Hold the `S', `cuz I'm an ain't," he sounds a little too predictable. And when he proclaims "We're five middle fingers on one motherf-cking hand" on track 13, whatever shock value has worn off and he now sounds somewhat contrived.

In addition to puffing his chest, Manson takes one too many swipes at the media. The ironic laundry list of controversial terms ("babble babble, b-tch b-tch, rebel rebel, party party, sex sex sex, and don't forget the violence") on "This is the New Sh-t" is somewhat entertaining, but after that, the pop culture jabs grow tiresome.

Finally, lyrically but also musically, nothing new is brought to the table with "The Golden Age of Grotesque." I'm not expecting John 5 to rip off a great guitar solo, but the music on this album is simply recycled from past albums (the same Nine Inch Nails meets nu-metal riffs and drum beats).

But, those complaints aside, "TGAoG" is still a fairly enjoyable listen. The album's second single (and second track) "This is the New Sh-t" is a personal favorite. This song, which is very catchy, begins in a very Manson-esque way, with ominous techno sound effects and a vocal synthesizer. The chorus is the aforementioned "babble babble..." line, and it ends with a few eerie whispers. Track three, the lead single, "mOBSCENE," is even catchier than its predecessor and it might be one of the catchiest songs Manson has ever written. The beginning techno noises are flattened when the crunchy guitars kick in. The chorus, which is a shout-along with a group of female cheerleaders, should be popular in live shows. Next, "Use Your Fist and Not Your Mouth" has an almost Tool-esque riff (which changes to a bobbing riff in places), but this song is a highlight because of its very catchy chorus, in which the volume level jumps. This chorus seems tailor made for getting mosh pits swirling. Finally, "The Bright Young Things" has a wall of electronica over which a woman talks, then Manson whispers, then Manson utters a few spoken words. Some parts are heavy but this song is, more-or-less, a techno.

Most of the rest of the album is a mixed bag. Sometimes it's the overly evil lyrics that drag a song down. Such is the case with track seven, "sAINT." It's very catchy, but Manson keeps repeating lines that begin with "I am..." (i.e. "I am not an artist, I'm a work of art.") Plus, this song has a memorable, but ultimately rather lame sounding refrain: "I've got an `f' and a `c' and I got a `k', too; the only thing that's missing is a b-tch like you." The very next track, "Ka-Boom, Ka-Boom," has stop-start, humming guitars, but a song with the word "ka-boom" in the title should be explosive; and this song is not. Also, "Better of Two Evils" is equally as catchy, but it isn't anything new. Manson's vocals are the exact same on this song, and this song, like most others on here, follows the same soft-loud song structure. Plus, Manson declares here that he is "the better of two evils." That line might have been shocking and controversial... if this song was written eight-or-so years ago. Unfortunately, this song now blurs the line between being a bad ass and being a self parody.

Some songs really fall flat. "Para-noir" simply fails to detonate; whereas "Vodevil" does have an entertaining, fist-pumping chorus, but it ultimately sounds too similar to tracks two and five.

Since many of these songs get by on a big, mosh-worthy chorus, I think Manson might have written this album just so he could have a batch of fresh, exciting songs to take on tour. Or maybe he has simply run out of ideas. Whatever the case, I think he should have spent more time on this album. His devout fans will stay with him forever, but to hold everyone else's attention, M.M. needs to find a new way to shock the listener. This album proves that simply regurgitating past lyrics won't make the listener's jaws drop to the floor.

I recommend "TGAoG" to all of Manson's fans, and you should definitely check this album out if you're an industrial-metal fan. To me, however, "The Golden Age of Grotesque" is a mostly enjoyable listen, but I think it ultimately does not show Marilyn Manson in his prime (in his "golden age"). It just lacks the sharp impact, originality, and intelligent lyrics that its predecessors had.