Marilyn Manson Album: “Mechanical Animals”

The fall of 1998 saw the release of Marilyn Manson's third studio album "Mechanical Animals." The follow-up to "Antichrist Superstar" (1996), and proceeded by "Holywood" (2000), "Mechanical Animals" is the second album in Manson's grand industrial Goth-opera.

Although it debuted at number one on the charts and quickly went platinum, it was something of a commercial disappointment. Unfortunately, rather than gain fans and expand their fan base with the new release, Marilyn Manson lost ground. And while "Mechanical Animals" didn't torpedo the band's career, (i.e. "Van Halen 3," released the same year) it did throw a wrench in the band's momentum.

Nine Inch Nails mastermind Trent Reznor had been instrumental in the band's success and sound. Reznor had produced Manson's debut, "Portrait of an American Family" (1994) and the classic "Antichrist Superstar."

Wanting to get out of Reznor's shadow and not wanting to remake "Antichrist Superstar," Manson went for a new look and sound. With "Mechanical Animals," Manson chose to eschew a Goth-metal image in favor of a Bowie-like glam one. Billy Corgan (Smashing Pumpkins) and former Soundgarden producer Michael Beinhorn helped Manson in achieving his artistic vision. The cover of the album is indicative of its sound-clean, white, bright, and crisp.

Some have commented that "Mechanical Animals" isn't as "dark" as "Antichrist Superstar." I don't feel this is entirely accurate. While "Mechanical Animals" is certainly popier and more polished, it deals exclusively with dark themes.

The general theme of the album is a sci-fi epic, sometime in the not-so distant future. It describes a world of dehumanization and indifference. Narcissism, nihilism, and complacency are the prevailing ideas. It tells of a world in which people are doped into submission. Manson's (then) girlfriend Rose McGowan proved some inspiration as heartbreak and broken relationships was also an underlining theme. For his sci-fi concept album, Manson created the androgynous character "Omega" and his band of "Mechanical Animals." The title "Mechanical Animals" can also be seen as an analogy to human beings in this sci-fi world-mechanical and heartless.

Manson didn't completely abandon their sound on this new disc. They still sounded like Marilyn Manson, but the new sound was distinctly popier, glossier, and more polished. The industrial-metal was at times tinged with disco-like beats and female backup singers. The sound was noticeably cleaner, which I believe some to mistake for being lighter.

Although guitarist Zim Zum had left the group prior to the album's release, he played on a majority of the album. The band is rounded out by longtime Manson collaborator and bassist Twiggy Ramirez, Ginger Fish (drums), and M.W. Gacy (keyboards).

From the beginning chords of "Great Big White World" the tone is set for the album. This mid-tempo number stands in sharp contrast to "Superstar's" opener "Irresponsible Hate Anthem." The title of the song is self-explanatory of its theme. It's one of the album's strongest tracks and makes for a good opener.

The album's big hit "The Dope Show" can be best described as "industrial disco-metal."

The album's infectious title track "Mechanical Animals," show's Manson's more melodic side.

"Rock is Dead" is one of the more rocking and straight-forward songs on the album.

The album slows down for the next few songs. "Dissasssociative" is a beautifully morose plea which tells of wanting to be set free from this hellish world. The almost psychedelic "The Speed of Pain" sounds (as others have commented) akin to Pink Floyd.

The pace picks up a bit with the frantic "posthuman," which if reworked slightly, could have been used for "Superstar."

The hurried "I Want to Disappear" is a bratty, nihilistic submission into indifference.

"I don't like the drugs (but the drugs like me)" is both a highlight and low point for the album. This funky disco-tinged rocker is quite catchy-but the lyrics are a little clichéd. It's as though Manson were trying a little too hard on this one to be controversial, but was also too lazy to think up something more original. Still, the lyrics in the verse are quite clever and it's a good song none-the-less.

The hard-hitting "New Model No.15," has a lot of bite and although not a hit, is one of the album's strongest songs.

The mid-tempo "User Friendly" describes the self-centeredness and lack of caring or consideration in a relationship. This could have been used as a single, as it is one of the catchiest songs on the album.

"Fundamentally Loathsome" boarders on sounding like cabaret. Indeed, it sounds a bit like something The Dresden Dolls would pen.

"The Last Day on Earth" is probably the closet Manson will approach to composing a love song. It's probably my personal favorite on the album. It has a cool sci-fi introduction and tones, and is thoroughly infectious.

"Coma White" is the perfect way to conclude the album. This downbeat number is this album's "Man That You Fear," which was the closing epic on the "Superstar" album. "Coma White" wraps up the album hopeless and concluding that numbness through medication is what will be our fate.

While "Mechanical Animals" is an excellent album and a worthy follow-up to "Superstar," it will probably always be in the shadow of its predecessor. Some of Manson's fans were just unwilling to accept the new look and sound of the band.

Non-music related factors are also in play for "Mechanical Animals" taking the backseat to "Superstar." In 1996, Manson was a lighting rod for social critics and a daily subject on any TV talk show. In 1996 concerned parents and fanatical, right-wing, bible-thumping evangelicals were all up in arms over Manson, and "Superstar" serves as a token of that era. By the time "Mechanical Animals" was released, some of the frenzy had died down.

All of this is unfortunate because while "Mechanical Animals" isn't quite the masterpiece that "Superstar" is, it's still a great album and a worthy successor. Manson should be applauded for his willingness to reinvent himself and take some creative and artistic risks. It would have been a lot safer and easier for him to have just made another "Superstar."

In conclusion, although not fully appreciated upon its release, "Mechanical Animals" is a superb album that has stood the test of time. Hopefully, future generations will discover this lost gem and fans that rejected it the first time around will come back and give it another listen.

Marilyn Manson didn't simply change his style, and he didn't "sell out". Manson evolved. The best bands evolve...Nine Inch Nails and Tool for example. Mechanical Animals is the next step forward in the evolution of Manson the man and Manson the band. This album doesn't fail.

I'll admit, I don't like Manson's new style as much as his style in Antichrist Superstar. Sometimes I wish he had stayed the same, but then I realize I'm being selfish, just like the Manson fans that ripped down all their posters of him when this album came out. Change is good. Although Antichrist Superstar still gets more play time in my stereo than Mechanical Animals, I still love this album a whole lot.

Mechanical Animals differs from Antichrist...it's not a story for one thing. It's more of a collection of songs rather than a storyline. And in that sence, the album is more well rounded. "Rock Is Dead" is amazing, "Coma White" is a great change of pace from the harder Antichrist which shows that Manson knows how to make slower music too, and my personal favorite, "New Model No. 15", is very well done.

My advice? Well there's no doubt that many fans of the Antichrist Superstar Manson will be let down by this drastic change, but as for me, I'm fine with it. I'm happy that Manson didn't rehash and re-release The Beautiful People and make another Antichrist Superstar. Mechanical Animals is awesome, and it'll tide me over until his next album.

When i first began listening to Marilyn Manson, it was because of the moshing beat and the goth appeal. But after awhile, I began to concentrate on the lyrics and was stunned. in this cd, manson even more demonstrates the philospher genius he exhibits.Being backed up with inventive and catchy guitars, he churns out vocals spewing with very questioning lyrics. The media, christians, the whole lot of them judge him by his image, but never really take the time to LISTEN. He is questioning athourity, observing the media, culture, and the american life,and doing it in an amazing way. This cd, though different from his goth/death rock Antichrist Superstar, is far better musicwise and lryicwise. Yes, there are some heavy songs like the dope show and rock is dead, but the band slows down in coma white, dissassociative,and fundumentally loathsome. Dont listen to the christians or the media.the christians dont know what they are talking about. yes he makes comments, but he doesnt have to be banned fromliving! and THEY make up those sick rumors, so who's the sinner now?trust me, pick this cd up, head bang, swoon, sing along, and have something to think about. all from the greates man on earth, Brian Warner,(marilyln manson). one note:dont hate goths, theyre not all bad.dont judge on appearance,but the inside.im a goth,and am hated.marilyn manson forever

Now, most of my musical reptoir consists of artists like The White Stripes, The Strokes, Blur, Weezer, The Cranberries, The Rolling Stones, The Who, and so on. In other words, I normally despise many goth/metal/shock genres. But there is something so beautifully poetic about Manson that stands out to me in a way that no musician - genre regardless - has ever been able to do before. I tend to dislike the more typical Manson songs, some examples being "This is the New *hit", "The Beautiful People", and other songs that are more shock than anything else. But his deep, emotional, painful ballads such as "The Speed of Pain", "Disassociative", and "Mechanical Animals" move me in such a way with their beautiful instrumentals, soul-flooding lyrics, and passionate vocals that I can honestly say they are among the most beautiful songs I've ever heard. Particularly "The Speed of Pain", which starts out as nothing but vocals and an accoustic guitar and builds up until it reaches a full-fledged symphony of lovely echoing, enchanting sounds. That one five-minute song is an intense emotional experience in itself.

Mechanical Animals is most definitely my favorite Manson album. I find it comforting when I'm in a dismal, desperate, depressing state of being. It's almost as if Manson himself is whispering words of comfort to someone he's never even met. He describes the pain everyone feels so perfectly in his lyrics and instrumentals. It's incredible, he's a genius. A true artist.

On first hearing this album the day of its release, several words sprung to mind; innovative, inspiring, original, landmark. Many people hated this at first glimpse, claiming Manson had "sold out", "gone commercial", and lost his edge. I would have to disagree on all points. Did the band suddenly sign with Virgin? Did they make an album garunteed to sell billions and hit the top 10? Are the songs weaker or more "pop"? NO. They took a huge risk with this album. They risked their fan base, they alterred the image and the politics of the band, with no guarantee of success. But luckily, it paid off. While a large proportion of the fan base were repulsed by this album, turning on the band, forgetting the principle of a band evolving and maturing, a whole new fan base opened up. Suddenly a branch of older listeners began tuning in to the new, improved, mature Manson.

I have to admit, I did not love Antichrist, I found some of the racism and prejudice which Manson screeched about quite offensive. And credit where credit's due, the band changed all that for me. Mechanical Animals reverses some of the negative aspects of Antichrist, laying the cards on the table, saying "Hey look, Antichrist was just to get some attention, this is what I really think..." "Coma White" and "The Great Big White World" take the racism back, telling things the way they are. It is indeed a great big white world, and we ARE drained of our colours... This album launches the band away from metal resting them comfortably inbetween darkwave and industrial, with all the best bits of both integrated into one magnificant whole. The pounding of the anthemic "Rock is Dead" and "New Model No. 15" compliment nicely the slow, painful resonance of "I Want To Disappear" or "The Last Day on Earth". An even more magnificent combination than "Beautiful People" and "Cryptorchid". At last, something you can really let loose and dance to in a club, music with vitality and enthusiasm, music that sounds like the band enjoyed themselves creating it.

While lacking some of the playfulness of Portrait, and some of the squeeks and groans of Antichrist, Mechanical Animals does something different and insightful that no one has done since Trent Reznor recorded "The Downward Spiral". The influence of David Bowie and Marc Bolan hold a strong presence, but Manson is doing something new with his influences, rather than mimicking them, he is bringing them head first into a new era, to a new audience. This album truely reminded me of why I love music so passionately.

This album is a MUST HAVE for anyone who enjoys contrast in their music, because it offers a bit of everything you need from a band.