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Rock - Verschenen op 11 september 2020 | Loma Vista Recordings

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It's been nearly two decades since Marilyn Manson was the transgressive cultural figure he built his brand on. The 51-year-old rocker hasn't been shocking since MTV ruled the airwaves, and his stubborn reluctance to accept his waning position as America's metallic scapegoat led to some clunkers in the early 2010s. However, on his 11th album We Are Chaos, Manson sounds liberated from the notion that his music must offend or challenge his listener to be worthwhile. On the contrary, it sees Manson spending more time looking inward, reflecting on his own identity, and even engaging in self-criticism. Initially billed as his country album once outlaw icon Shooter Jennings was brought on to co-write and co-produce the 10-song affair (Manson had been dabbling with roots music since 2015's blues-leaning The Pale Emperor and also dropped a terrific cover of the Johnny Cash staple "God's Gonna Cut You Down" in 2019), in execution, We Are Chaos is only country in the sense that there are a few twangy lead guitar licks and a fiddle in the credits. Musically, the record is a hodge-podge of Manson's last decade of exploring slower, more musically rich, and less industrialized sounds. Most of the songs are power ballads that are melodic by his standards, and the ones that do kick up the dirt ("Red Black and Blue", "Perfume") are more hard rock than metal. Casual Manson listeners looking for the grit of his earlier work might be better off revisiting the classics, but loyal fans will be intrigued by his, dare I say wise, lyrical pennings. On "Keep My Head Together," he offers the advice, "Don't try to change for someone else, you'll just end up changing yourself," an eyebrow-raising suggestion to hear from someone who's been in the business of shaping teenage identities for nearly 30 years. On "Solve Coagula" he revokes his public identity and exposes his own perceived flaws: "I'm not special, I'm just broken/ And I don't want to be fixed." And lastly, on closer "Broken Needle," the best and most passionately delivered power ballad on the record, Manson sings with pained regret: "I am a needle/ Dig in your grooves / Scratching you up then I'll put you away." It's arguably the closest Manson has gotten to truly excavating the man behind the moniker, and it's moments like those that indicate that even without the anti-Christ pageantry, the Superstar himself still has compelling tales to tell. © Eli Enis/Qobuz
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Rock - Verschenen op 14 september 1998 | Interscope

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Rock - Verschenen op 1 januari 2004 | Marilyn Manson - Interscope

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Rock - Verschenen op 19 januari 2015 | Cooking Vinyl

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Op zijn negende studioalbum brengt de Amerikaanse muzikant Marilyn Manson zijn bekende mix van (hard)rock en metal, voor de gelegenheid aangevuld met blues-invloeden. In zijn teksten bezoekt Manson weer zijn favoriete onderwerpen als geweld, drugs en seks. Op de plaat is ook het nummer "Cupid Carries A Gun" te vinden, dat werd gebruikt als het titelnummer voor de televisieserie Salem. © TiVo
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Rock - Verschenen op 1 januari 2009 | Marilyn Manson - Interscope

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Rock - Verschenen op 11 november 2000 | Marilyn Manson - Interscope

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Rock - Verschenen op 6 oktober 2017 | Concord Loma Vista

Who is still afraid of the big bad wolf Manson? Not many people, it seems, but you have to admit that, since his jaw-dropping début almost twenty years ago, and his avalanche of controversies, lots of things have changed. Music like his, as well as that of other extreme groups or artists, has lost its power to terrify the masses. Over the course of 25 years, the man has tried almost everything, following the example of his good friend Trent Reznor, another stage villain from the old days. He has tried to be more consensual here and more avant-garde there, but he seems to have paid a high price for his years of provocations. There are only a few stinkers in his imposing discography, but it is a fact that he tends to get less of a respectful hearing than the majority of musicians of the same genre, with Reznor out in the lead. Nonetheless, The Pale Emperor (2015) returned him to the top of the heap, and this tenth album drives in the nail even further (into the cross?). Although it's a difficult balance to strike, the major pitfall is returning to a "futuristic music from the past", without giving the impression of warming up a dish that's long past its sell-by date. It is clear that the self-proclaimed God of Fuck wants, above all, to recall, in the most shrill and vindictive way he can, the real revolution that he carried out with Portrait Of An American Family and Antichrist Superstar. About half of Heaven Upside Down, with JE$U$ CRI$I$ or We Know Where You Fucking Live, which are of the same calibre as other Manson classics, could just as well have featured on his first productions. As for the rest, he returns, almost humbly, to his first, more rock-influenced musical instincts (Tattooed In Reverse, Blood Honey, Threats Of Romance) or carries out some – too-rare – experiments (Saturnalia, SAY10). But overall, and more even than its predecessor, Heaven Upside Down is an album by a more human Manson who is in control. Over the past ten years, that has not always seemed to be the case. We could even add "more balanced", although he might well take that as an insult. His accomplice Tyler Bates certainly has a big hand in this successful update: the composer-guitarist has brought his solid experience with audiovisual work (we owe to him the soundtracks on a whole host of series, video games or films, including Killer Joe, Punisher, Guardians Of The Galaxy, John Wick, Californication, Salem…). Manson seems to be in good hands, and long may this continue. © JPS/Qobuz
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Pop - Verschenen op 1 januari 2003 | Marilyn Manson - Interscope

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Rock - Verschenen op 1 januari 2009 | Marilyn Manson - Interscope

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Rock - Verschenen op 18 oktober 2019 | Loma Vista Recordings

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Rock - Verschenen op 1 januari 1999 | Marilyn Manson - Interscope

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Rock - Verschenen op 1 januari 1994 | Marilyn Manson - Interscope

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Alternative en Indie - Verschenen op 1 januari 2007 | Marilyn Manson - Interscope

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Rock - Verschenen op 19 januari 2015 | Cooking Vinyl

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Op zijn negende studioalbum brengt de Amerikaanse muzikant Marilyn Manson zijn bekende mix van (hard)rock en metal, voor de gelegenheid aangevuld met blues-invloeden. In zijn teksten bezoekt Manson weer zijn favoriete onderwerpen als geweld, drugs en seks. Op de plaat is ook het nummer "Cupid Carries A Gun" te vinden, dat werd gebruikt als het titelnummer voor de televisieserie Salem. © TiVo
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Rock - Verschenen op 1 mei 2012 | Cooking Vinyl

With their eighth studio album, Born Villain, Marilyn Manson return from the depths of their mid-2000s limbo with almost an hour of the type of evil industrial and glam-infused metal they made their name on in their earliest days. While the band's blazingly controversial public profile died down tremendously since their late-'90s heyday, legions of devoted fans followed them through the next decade's bevy of changes. The departure of founding member Twiggy Ramirez coincided with a few of the band's weakest albums, and even his return to the fold on 2009's The High End of Low couldn't redeem a substandard record from what seemed like a flailing band past its prime. Born Villain sheds some of the more introspective leanings of prior offerings and accentuates all the throbbing rhythms, metallic guitars, and bilious disgust that defined the band's best work. Lead single "No Reflection" screams "comeback," with Manson channeling a Sisters of Mercy vocal over the sinister pulse of the verses before huge choruses explode in darkly catchy bursts. "Children of Cain" draws again on the later-period Bowie influence that defined much of the band's glammy Mechanical Animals album, and an unlisted cover of Carly Simon's "You're So Vain" turns the FM staple into a gruesomely churning romp. Moments like these are the aural equivalent of a knowing smirk from the band, acknowledging that even the princes of darkness might have a lighter side. "Lay Down Your Goddamn Arms" finds the band working in a curiously grunge-tinged mode, with sludgy riffs meeting huge distortedly melodic choruses that would fit in nicely with Badmotorfinger-era Soundgarden. All of these songs find Manson himself in typically depraved form, with lyrical content as sexually, morally, and socially devious as it's been since 2000's devilish Holy Wood (In the Shadow of the Valley of Death). "Pistol Whipped" tells a tale in great detail of a sadomasochistic relationship and song titles like "Murderers Are Getting Prettier Every Day" speak for themselves. Even while Born Villain is a return to form for the band, the album becomes tedious at right about the halfway mark. The songs are overly long and all rely on similar dynamics to propel their crunchy angst. Though sounding inspired and sonically rejuvenated in its best moments, as the album wears on one gets the sense of a band trying a little too hard to revisit its former glory. Without remaking "The Beautiful People," there's still a feeling that they're reaching to remember how to make a Marilyn Manson record and put the purgatory of their past few efforts behind them. All told, Born Villain is as valiant and exciting an effort as the group has come up with in years. While not reaching the dizzying heights of Marilyn Manson's early material, it suggests a band getting its legs back after a long period out to sea, and could lead the way to even brighter future wickedness. © Fred Thomas /TiVo
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Rock - Verschenen op 1 mei 2012 | Cooking Vinyl

With their eighth studio album, Born Villain, Marilyn Manson return from the depths of their mid-2000s limbo with almost an hour of the type of evil industrial and glam-infused metal they made their name on in their earliest days. While the band's blazingly controversial public profile died down tremendously since their late-'90s heyday, legions of devoted fans followed them through the next decade's bevy of changes. The departure of founding member Twiggy Ramirez coincided with a few of the band's weakest albums, and even his return to the fold on 2009's The High End of Low couldn't redeem a substandard record from what seemed like a flailing band past its prime. Born Villain sheds some of the more introspective leanings of prior offerings and accentuates all the throbbing rhythms, metallic guitars, and bilious disgust that defined the band's best work. Lead single "No Reflection" screams "comeback," with Manson channeling a Sisters of Mercy vocal over the sinister pulse of the verses before huge choruses explode in darkly catchy bursts. "Children of Cain" draws again on the later-period Bowie influence that defined much of the band's glammy Mechanical Animals album, and an unlisted cover of Carly Simon's "You're So Vain" turns the FM staple into a gruesomely churning romp. Moments like these are the aural equivalent of a knowing smirk from the band, acknowledging that even the princes of darkness might have a lighter side. "Lay Down Your Goddamn Arms" finds the band working in a curiously grunge-tinged mode, with sludgy riffs meeting huge distortedly melodic choruses that would fit in nicely with Badmotorfinger-era Soundgarden. All of these songs find Manson himself in typically depraved form, with lyrical content as sexually, morally, and socially devious as it's been since 2000's devilish Holy Wood (In the Shadow of the Valley of Death). "Pistol Whipped" tells a tale in great detail of a sadomasochistic relationship and song titles like "Murderers Are Getting Prettier Every Day" speak for themselves. Even while Born Villain is a return to form for the band, the album becomes tedious at right about the halfway mark. The songs are overly long and all rely on similar dynamics to propel their crunchy angst. Though sounding inspired and sonically rejuvenated in its best moments, as the album wears on one gets the sense of a band trying a little too hard to revisit its former glory. Without remaking "The Beautiful People," there's still a feeling that they're reaching to remember how to make a Marilyn Manson record and put the purgatory of their past few efforts behind them. All told, Born Villain is as valiant and exciting an effort as the group has come up with in years. While not reaching the dizzying heights of Marilyn Manson's early material, it suggests a band getting its legs back after a long period out to sea, and could lead the way to even brighter future wickedness. © Fred Thomas /TiVo
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Rock - Verschenen op 1 januari 1995 | Marilyn Manson - Interscope

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Rock - Verschenen op 15 juni 2018 | Concord Loma Vista

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Pop - Verschenen op 1 januari 1994 | Marilyn Manson - Interscope

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Pop - Verschenen op 1 januari 2003 | Marilyn Manson - Interscope

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Marilyn Manson in het magazine