Marilyn Manson Album: “Mechanical Animals”

Description :

Marilyn Manson: Marilyn Manson (vocals, vocoder, guitar, ARP synthesizer); Twiggy Ramirez (guitar, bass, synthesizer); John5 (guitar); M.W. Gacy (piano, Mellotron, keyboards, synthesizer); Ginger Fish (drums). Additional personnel: Zim Zum (guitar, beinhorn, synthesizer); Dave Navarro (guitar); Danny Saber (strings, Clavinet, programming); DJ Neil Strauss (scratches); Kobi Tai, Dyanna Lauren, John West, Lyn Davis, Nikki Harris, Alexandra Brown (background vocals). Producers: Michael Beinhorn, Marilyn Manson, Sean Beavan. "The Dope Show" was nominated for the 1999 Grammy Award for Best Hard Rock Performance. Marilyn Manson: Marilyn Manson (vocals, vocoder, guitar, ARP synthesizer); Twiggy Ramirez (guitar, bass, synthesizer); John5 (guitar); M.W. Gacy (piano, Mellotron, keyboards, synthesizer); Ginger Fish (drums). Additional personnel: Zim Zum (guitar, beinhorn, synthesizer); Dave Navarro (guitar); Danny Saber (strings, Clavinet, programming); DJ Neil Strauss (scratches); Kobi Tai, Dyanna Lauren, John West, Lyn Davis, Nikki Harris, Alexandra Brown (background vocals). Producers: Michael Beinhorn, Marilyn Manson, Sean Beavan. "The Dope Show" was nominated for the 1999 Grammy Award for Best Hard Rock Performance. All tracks have been digitally mastered using HDCD technology. Approaching the new millennium, Marilyn Manson shows himself to be standing squarely at the crossroads of the past and future of popular music. MECHANICAL ANIMALS takes the crunch and shock of '70s glam rock and mates it with the automated pings and electronic sheen of artists such as the Dust Brothers and Danny Saber (who both appear on this album). Manson's knack for going light years beyond Alice Cooper's brand of shock rock starts with the packaging itself. On it, the freaky Floridian appears as an asexual being with flaming red eyes and hair (whose appearance is not unlike a cross between David Bowie's Aladdin Sane and Diamond Dogs characters). The music itself not only assaults the senses but a variety of targets as well. Naturally enough, the Religious Right is a convenient whipping boy ("Rock Is Dead"), as are back-stabbers ("Speed Of Pain") and the beast that is the media ("New Model No. 15," "The Dope Show"). When Manson isn't smashing you in the mouth with a crashing wall of guitars and new wavey synths, his instincts lead him into late-Floydian nihilism ("The Speed Of Pain") and hi-NRG ditties tailor-made for an imaginary sci-fi disco ("Posthuman," "I Want To Disappear"). Approaching the new millennium, Marilyn Manson shows himself to be standing squarely at the crossroads of the past and future of popular music. MECHANICAL ANIMALS takes the crunch and shock of '70s glam rock and mates it with the automated pings and electronic sheen of artists such as the Dust Brothers and Danny Saber (who both appear on this album). Manson's knack for going light years beyond Alice Cooper's brand of shock rock starts with the packaging itself. On it, the freaky Floridian appears as an asexual being with flaming red eyes and hair (whose appearance is not unlike a cross between David Bowie's Aladdin Sane and Diamond Dogs characters). The music itself not only assaults the senses but a variety of targets as well. Naturally enough, the Religious Right is a convenient whipping boy ("Rock Is Dead"), as are back-stabbers ("Speed Of Pain") and the beast that is the media ("New Model No. 15," "The Dope Show"). When Manson isn't smashing you in the mouth with a crashing wall of guitars and new wavey synths, his instincts lead him into late-Floydian nihilism ("The Speed Of Pain") and hi-NRG ditties tailor-made for an imaginary sci-fi disco ("Posthuman," "I Want To Disappear").

This album is Manson's best yet (in my esteemed opinion). However, I would like to comment on the overwhelming amount of material in the album that was, in a nutshell,recycling David Bowie's Ziggy Stardust character. Throughout the album, there are many references to early Bowie material. One example being Manson's referring to a "space man" and a "dead astronaut in space" (Major Tom reincarnate?). Some of the music heavily borrows from such Bowie classics as Fame, Fashion, and Space Oddity amongst others. Bowie is the originator of Glam, and this phase of Manson cements the idea of the sequels being disappointing compared to the originals. Bowie is still the greatest example of Glam while Manson is merely impersonating.

Marily Manson!!! He is one of this decades greats musicans, weather you enjoy his music or not you must addmit this simple fact. Although he is one of the most contraversial band that is in the music secne. I recently went to the Detorit concert and I must say that he has a great prefromance and he sounds get live. People dis his ways because they don't understand them, some times I don't either. Some people think he is a fake, some don't. I have all his CDs, imports too, and every CD has a different sound to it. MECHINICAL ANIMALS is just another on of his many sounds. Some think that he is a sell-out because this CD is total different than the previous CD. I enjoy both of them, it just depends on what mood I'am in. Overall a really like this CD; it shows imagination and creativeness.

MARILYN MANSON FAN FELIX DETORIT MICHIGAN