Disco de Marilyn Manson: “Golden Age of Grotesque [Bonus DVD]”

Anyone who calls themselves a fan of Marilyn Manson should be ashamed of themselves when they criticize the band for the "new direction" they're taking.

How many cds does the band have to release for you to realize every album is going to be different, stylistically, conceptually and aesthetically?

Portrait of an American Family was a candy-goth-industrial (almost pop-y) album. AntiChrist Superstar was the only truly dark gothic industrial album the band has released. Mechanical Animals was glam, 70s-era rock. Holywood was something close to Antichrist Superstar but not quite there. And now The Golden Age of Grotesque is a 1920's era American jazz and swing album with gothic industrial overtones.

You should be orgasmic that there are bands out there who have this kind of range and subtlety in their music. What do you listen to, Linkin Park, kids?

Who out there can go from disco-beats to gothic industrialism to swing three albums in a row? And make it sound good? Besides Marilyn Manson?

Older (real) fans of Manson will like this album for it's dark cynicism and impeccable songwriting. People who thought Marilyn Manson is a mindless hack with no musical ability whatsoever will find the songs on here catchy and entertaining. I have yet to get enough of "Doll-Dagga-Buzz-Buzz-Ziggety-Zag", and I'm not even a swing fan (or wasn't, maybe)!

This album will appear stale and non-technical--to anyone who won't listen to it. In point of fact, there is quite a lot going on with the music, particularly the guitars. I love the use of them as trombones and trumpets, really brings a big grin to my face.

I would go so far as to say this is Manson's best cd since Antichrist Superstar, tied maybe with Mechanical Animals. Which doesn't mean I think Holywood is bad (it is, in fact, one of my favorite cds that I own, below the aforementioned two only because it's his least original release).

Manson is unlike any other relatively-popular band out there in the mainstream. He's maintained his musical integrity, his focus and (at least my) admiration. I love the way he experiements with period music of the 20th century and incorporates it with industrial sounds to create his own unique interpretation of the style.

Anyone who can't see this should probably stick to the twelve-year-old lyrics, talent, concepts and general attitude of bands like Linkin Park. You're not wanted here.

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.

I base this review on the evolution and creativity of Marilyn Manson and NOT in comparison to his past efforts. I thought, after hearing mOBSCENE, that TGAOG was going to be your typical boring commercialized album. But this album Shocked me the first time I listened to it, as Manson has successfully done for me with every other album he has released! If you are a Manson fan and you have an open mind about creativity and new directions, then this album is for you. Heavy-retro riffs mixed with a funky rhythmic hip hop feel is what gives this album individuality. Not to mention the explicit nature of Manson's lyrics staying strong and solid through this entire record!

This Is The New Sh** --> 10/10, that's right, I don't think anybody could do a song like this any better. Retro-like hip hop rhythms with a heavy industrial chorus. When you hear this you KNOW that Manson is serious about what direction he is taking this album. But I can see how this is a 50/50 song. Either you like it or you dont, and it could very well sum up your decision with the rest of the album.

mOBSCENE --> 7/10, this song screams SINGLE, as it should. But the heavy industrial feel and familiar Manson lyrics make up for the repetitiveness of this downright party-atmospheric song!

Dolla-Dagga Buzz-Buzz Ziggety-Zag --> 9/10, this song has great lyrics and catchy rhythms n riffs! It reminds me of old-school Manson (Portrait, Antichrist). It fits nicely with the rest of the album and it's as if Manson is glancing over his shoulder and honoring the great sound he had starting out!

Use Your Fist And Not Your Mouth --> 10/10, this song just sounds great everytime I listen to it. It's heavy, it's rhythmic, but the lyrics are what really stand out in this masterpiece. To me, this song shows off just how well these guys can put their ideas together and keep the industrial metal world alive.

The Golden Age of Grotesque --> 9/10, this song really brings the listener into the concept of Manson's art and admiration for expression in the early 1900's. I think this one will put a smile on the faces of true Manson fans.

(s)AINT --> 8/10, this could possibly be a single; it keeps the flow of the album with that retro-industrial feel, but I can't say any more than this song is a great Manson tune.

Ka Boom Ka Boom --> 8/10, at first this song gives you the impression that it's going to be repetitive and boring, but then it quickly switches into a nice smooth funky flow and leads up to a rockin' 'bling bling' chorus.

Slutgarden --> 10/10, this song is absolutely groovin' in every aspect - I think the evolution of Manson's music is really shown off here in this track. It kind of has a Mechanical Animals feel to it, but it's heavier.

Spade --> 11/10, there is nothing wrong with this song. This is definetely an evolved Manson sound - it's that song on the album that seeps with a dark industrial sound and is accented beautifully by the metallic industrial chorus. Manson wisely omits screaming in this song. I kind of have a feeling this song could go acoustic as well.

Para-noir --> 9/10, this song is the one that brings you into a swirling mass of dark rave-like sounds. It flows very nicely with Manson's voice, and the drums and distorted guitar are pieced in almost perfectly. Reminds me somewhat of older Nine Inch Nails material.

The Bright Young Things --> 10/10, this song, lyric-wise, gives me the sense that it's a continuation of 'The Fight Song'. This is definetely another 'show off' song to show just how together Manson and the boys are with their composition. Killer guitars, solid rock drums and that good ol' background distortion make this track a favorite of mine. Definetely going to be a riot when they play this one live!

Better Of Two Evils --> 8/10, it's about time Manson came out with a song like this one! The lyrics shine the most, but not without the rockin' industrial music that successfully blends distorted guitars with a solid hiphop beat!

Vodevil --> 10/10, an automatic favorite. I couldn't think of a better closing track for this album. The band really comes together in this one, music-wise and lyric-wise. This is a great rhythmic song that explodes into an authentic heavy chorus. Very nice connection between bass and drums here. I find that when this song ends it just makes me want to skip to the very first song and listen to the whole album all over again!

After Mechanical Animals, Manson lost quite a few fans. Many weren't happy with his change in style from dark industrial goth rock to the glam rock sounds of MA. Holy Wood gained him back some of his fan base, but nothing could prepare us for the musical mosaic that is "Golden Age of Grotesque." Completely unlike anything we've heard previously, TGAOG manages to combine all the elements that make Manson great, from his creative music to his cynical yet surprisingly relevant lyrics, while at the same time taking a completely new direction. Songs like "This is the New Sh*t" and "Doll-Dagga Buzz Buzz Ziggety-Zag" I could almost imagine being played at dance clubs. Yet they still possess Manson's heavy lyrics and ear-pounding sound. This album is a MUST BUY for any Manson fan, and I think many people that have never cared for Manson before this will love this album as well. Its got something for everyone.

Every one who is calling mansons latest effort crap..pull your head outta your ass if you claim to have liked manson then why not now what has changed o big deal they got a new bassist who cares the changed there sound a bit? so you want the same stuff everytime?