Born Villain-Marilyn
Manson
Admittedly, I came late to the game when it comes to Marilyn
Manson. Aside from the random radio
friendly versions of songs and news articles about his “horrible effect on the
human race” I did not actually listen to much Manson when I was younger and,
arguably, in his heyday. My first album
of his (and still one of my favorites) was Mechanical Animals, but even
then I think I bought it used, many years after it was released. You see, Marilyn Manson was forbidden in my
home, much like Alice Cooper may have been in a previous generation. Instead of sneaking Manson records home
inside a Pat Boone case though I just went with the flow, and my parent’s
wishes. I didn’t think I was missing
much, and definitely not anything that couldn’t be rectified upon my emigration
from my childhood home.
While Manson started out as a prototypical “shock rocker”
that seemed to generate more headlines for what he did on stage than his actual
music, he has quietly graduated to a musician that seems to be getting better
musically. Now there is a fine line with
changing your musical style as you mature as a person. It can go horribly wrong, think St. Anger
era Metallica, or it can be completely unnecessary, think Motorhead, who has
pretty much sounded the same for around thirty years now.
Sometimes though, changing things up and finding a different
direction can be a good thing, and Manson has done a lot of that in his
career. From being loud and intrusive on
his earlier releases to more subdued works such as Mechanical Animals,
to more of a poppier sound on Golden Age of Grotesque, Manson has run
the gamut of appropriate musical styles.
With the return of his collaborator Twiggy on Eat Me, Drink Me he
got back to his old ways while incorporating a little more hookiness throughout
the album (as opposed to one or two songs that screamed radio hit, ie Disposable
Teens). While Eat Me, Drink Me was
good, and got Manson back into his groove of the quiet-to-loud musical dynamic that he and Twiggy have damn near perfected,
it was not until the follow up The High End of Low that he really got a
consistent effort and a consistent album that was both heavy but also
understated at points to provide respite, however brief, for the
listeners.
I will admit that “Tourniquet” is my favorite Manson tune,
ever since I first heard it on the radio, but after hearing the much more
understated “Four Rusted Horses” on The High End of Low, “Tourniquet” is
getting a run for its money. It is this
ability to have a slower song in the middle of your album with basically just
Manson and a guitar, without any overproduction that shows that he has matured
as an artist.
This brings us to Born Villain. After The High End of Low I was
definitely anticipating the release of this album just to see where Manson was
going to go. While he did not completely
blow me away, he did not disappoint. The
entire album seemed like a throwback to the “old days” while still heading in
this newer direction of growth that he has shown recently. It really picks up on the second song and
does not let up in terms of quality until about midway through. When I first listened to this album I figured
that it would be one of those albums that you only play half of and then switch
out to something else. That would be
doing a complete disservice to the final two songs on the album (not including
the bonus track, we’ll get to that) that are phenomenal pieces in their own
right. I can definitely see putting
those songs last to keep interest in the entire album (not that I think it
matters much in this digital music age, but the planning and forethought on
Manson’s part were appreciated).
We already know that Manson is not a vocal powerhouse and I
am sure he will admit to that himself if you ask him. No one is comparing him to Bruce Dickinson or
Robert Plant, but when he tries to actually sing it can have surprising results
(as previously mentioned in the song “Four Rusted Horses”). He brings a lot of vulnerability to his songs
because of the strain you can tell he puts on his voice. The only real problem that I have with Born
Villain is the absence of this on many of the songs in the middle of the
album. I understand that a good portion
of Marilyn Manson the artist is screaming and making sure everything is louder
than everyone else, but to follow up an album like The High End of Low,
which balances the two aspects perfectly in my mind with an album that tends to
focus a little too much on that louder part of his music is a bit of a
disappointment.
If there is one thing that Manson can do better than most
anyone, it is cover a song. From “Sweet
Dreams” to “Tainted Love”, he has always been able to keep his signature sound
while still staying true to the source material. He doesn’t disappoint with his cover of Carly
Simon’s “You’re So Vain”. While it is
not as good of a cover as the abovementioned tracks, it is still a quality
song. Oftentimes we equate “covers”
albums from artists not known for doing covers with the end of an artist’s
career, almost like they are out of their own ideas. Two of these albums that immediately spring
to mind are Queensryche and Ozzy’s cover albums, which while both well done,
were nothing special to write home about.
I have a feeling if Manson did a cover album it would be the exact
opposite just because of how he approaches his covers.
While this album is by no means perfect, it starts out very
strong and finishes even stronger, with a very solid cover thrown in at the end
for good measure, but has a few weak points in the middle where Manson
regresses too far to his old habits of just screaming every word; the album as
a whole is very good. I will definitely
be keeping it in the regular rotation for quite a while and suggest that you
give it a chance too.
No comments:
Post a Comment