Post by Chickensoupcheese on May 31, 2003 17:43:37 GMT -5
Yeah, I know what most of your thinking: Manson, wasn't he like, last century? To some extent, he indeed was: what people love one decade, people seem to hate another decade. Suppose that's what fashion is. Theoretically, Manson's not giving a d**n about anything is out of date. Does he give a d**n? Of course not.
1 - Thaeter:
The intro to the album, although just a lot of keyboard and not a lot else, is quite spooky, and a little retro, and is a fine introduction to the album. No intro can beat the one on Manson's debut album, though
.
8/10
2 - This Is The New S**t:
Ah, here we are, the first song. Although it does sound a lot like the old s**t, it's still bloody good s**t nonetheless. Going back to his industrial-istic sounds, although ending up sounding more like Rob Zombie, Manson's opener is a corker of a tune, and has a way of ripping into the chorus so expertly produced it leaves you startled as well as soiled.
10/10
3 - mOBSCENE:
The first single (out on Monday in the UK) off the album. Admittedly I wasn't too impressed with the song to begin with, but it grew on me a lot. Although basically pop all the way through, it was extremely catchy, and once it starts, there's no escaping until the final chord. You want commitment, put on your best suit indeed.
8/10
4 - Doll-Dagga Buzz-Buzz Ziggety-Zag:
Okay, stupid title when you look at it, but in my opinion the best song on the album. This is possibly the best example of Manson's new style, incorporating 1930s cabaret with up to date heavy metal. And it works a charm. The song simultaneously rocks your socks and grooves your ....hooves. Fantastic.
10/10
5 - Use Your Fist Not Your Mouth:
Probably The Fight Song II, this song rocks like a b*****d, and, like mOBSCENE, is a catchy little number. The tried and tested formula doesn't work quite so well here, but it's still a good song.
7/10
6 - The Golden Age of Grotesque:
The title track is ironically one of the weakest songs. As an intro piece it would have worked, but as a song it seems more like a chant. Fits in with the context, but not one for the hits list.
5/10
7 - s(AIN'T):
Awful pun, I know, and there's a worse one in the lyrics, but still this song is a piece of cheese that smells and tastes quite nice. More pop than metal really, but hooks-a-plenty render this one of my faves.
8/10
8 - Ka Boom, Ka Boom:
Silly titles worked before, but not a second time unfortunately. This is a little bit like a ten year old version of Use Your Fist: seems to be missing a little something, which the rocking riffs in Use Your Fist partially disguised. A little disappointing.
6/10
9 - very *friendly* persongarden:
A little like s(AIN'T), luckily this less than modest titled one works just as well, delivering a spot on piece of sweet-smelling cheese with hooks a plenty. Another good track.
8/10
10 - Spade:
This one wins in some departments, fails in others. Overall though, it's one that I'd listen to again, but not one of the stronger tracks on the album. A little quieter than the rest.
6/10
11 - Para-Noir:
The only song that brings up some old methods of metal that work, Para-Noir is a fantastic 6 minute piece of music that seems to be the only track that takes itself seriously on the album. Some may find it repetitive, but I found it to be one of my favourite tracks on the album.
10/10
12 - The Bright Young Things:
Back to the heavier stuff, but this one seems to be lacking in a little something. Still a good track, but not much to say about it. Amiable.
7/10
13 - Better Of Two Evils:
Another slice of poppy metal which is, again, a little like Use Your Fist, but works just as well to give an overall decent track.
8/10
14 - Vodevil:
The last song is normally a slow-paced epic, but Manson decides to go out with a bang. Quite a loud bang, too. When this rockets into the chorus, the effect is similiar to that of the first track: this is again one of my favourite tracks off the album, and is played regularly.
9/10
15 - Obsequy (Death of Art):
The outro is, like Thaeter, a reasonably decent bit of outro, although the emphasis is on piano as opposed to keyboard/organ.
8/10
Overall Percentage: 118/150 = 79%
Although nothing particularly ground-breaking, Manson's past that stage now. He realises that, like his influences (Alice Cooper anyone?), in a few years he's going to be shoved into the background whilst newer metal gets shoed forward. And this new album shows that he's happy with making metal that, although is not giving anyone intellectual lyrics (he makes sure of that from the first track), is giving people Manson how he likes it. One of the things that I adore about Manson is the fact that his albums always seem to have a certain "theme" to them. Manson's choice of 1930s and cabaret for this album may come across as an odd choice, but he makes it work. As well as bringing back the style of music, he also seems to bring back a little more from the 30s: when people saw music, although they dressed up nicely, they watched the music for entertainment; to have fun. They didn't bother idolising the singers (out of performance hours), they didn't rush to Woolworths the next day to buy a single, they watched the music and listened to the music for fun. And that's what this album is, pure fun. If you think you take your music seriously, then go listen to Linkin Park who also think they're making serious music. Serious was soooo last century, it looks as if even Staind are going happy-happy with their new album. So has Manson come back with the times, unlike I said before? Nope, because all he's done is brought back something good from the past. Before I confuse myself, I'm gonna melt my brain with no-frills heavy metal, such acts as Ozzy Osbourne, Judas Priest, Alice Cooper, and Marilyn Manson. Ready to drop out of the new line of acts and become one of those guys in the background making solid, simple music? Could be, but who needs to make a masterpiece today?
1 - Thaeter:
The intro to the album, although just a lot of keyboard and not a lot else, is quite spooky, and a little retro, and is a fine introduction to the album. No intro can beat the one on Manson's debut album, though
.8/10
2 - This Is The New S**t:
Ah, here we are, the first song. Although it does sound a lot like the old s**t, it's still bloody good s**t nonetheless. Going back to his industrial-istic sounds, although ending up sounding more like Rob Zombie, Manson's opener is a corker of a tune, and has a way of ripping into the chorus so expertly produced it leaves you startled as well as soiled.
10/10
3 - mOBSCENE:
The first single (out on Monday in the UK) off the album. Admittedly I wasn't too impressed with the song to begin with, but it grew on me a lot. Although basically pop all the way through, it was extremely catchy, and once it starts, there's no escaping until the final chord. You want commitment, put on your best suit indeed.
8/10
4 - Doll-Dagga Buzz-Buzz Ziggety-Zag:
Okay, stupid title when you look at it, but in my opinion the best song on the album. This is possibly the best example of Manson's new style, incorporating 1930s cabaret with up to date heavy metal. And it works a charm. The song simultaneously rocks your socks and grooves your ....hooves. Fantastic.
10/10
5 - Use Your Fist Not Your Mouth:
Probably The Fight Song II, this song rocks like a b*****d, and, like mOBSCENE, is a catchy little number. The tried and tested formula doesn't work quite so well here, but it's still a good song.
7/10
6 - The Golden Age of Grotesque:
The title track is ironically one of the weakest songs. As an intro piece it would have worked, but as a song it seems more like a chant. Fits in with the context, but not one for the hits list.
5/10
7 - s(AIN'T):
Awful pun, I know, and there's a worse one in the lyrics, but still this song is a piece of cheese that smells and tastes quite nice. More pop than metal really, but hooks-a-plenty render this one of my faves.
8/10
8 - Ka Boom, Ka Boom:
Silly titles worked before, but not a second time unfortunately. This is a little bit like a ten year old version of Use Your Fist: seems to be missing a little something, which the rocking riffs in Use Your Fist partially disguised. A little disappointing.
6/10
9 - very *friendly* persongarden:
A little like s(AIN'T), luckily this less than modest titled one works just as well, delivering a spot on piece of sweet-smelling cheese with hooks a plenty. Another good track.
8/10
10 - Spade:
This one wins in some departments, fails in others. Overall though, it's one that I'd listen to again, but not one of the stronger tracks on the album. A little quieter than the rest.
6/10
11 - Para-Noir:
The only song that brings up some old methods of metal that work, Para-Noir is a fantastic 6 minute piece of music that seems to be the only track that takes itself seriously on the album. Some may find it repetitive, but I found it to be one of my favourite tracks on the album.
10/10
12 - The Bright Young Things:
Back to the heavier stuff, but this one seems to be lacking in a little something. Still a good track, but not much to say about it. Amiable.
7/10
13 - Better Of Two Evils:
Another slice of poppy metal which is, again, a little like Use Your Fist, but works just as well to give an overall decent track.
8/10
14 - Vodevil:
The last song is normally a slow-paced epic, but Manson decides to go out with a bang. Quite a loud bang, too
. When this rockets into the chorus, the effect is similiar to that of the first track: this is again one of my favourite tracks off the album, and is played regularly.9/10
15 - Obsequy (Death of Art):
The outro is, like Thaeter, a reasonably decent bit of outro, although the emphasis is on piano as opposed to keyboard/organ.
8/10
Overall Percentage: 118/150 = 79%
Although nothing particularly ground-breaking, Manson's past that stage now. He realises that, like his influences (Alice Cooper anyone?), in a few years he's going to be shoved into the background whilst newer metal gets shoed forward. And this new album shows that he's happy with making metal that, although is not giving anyone intellectual lyrics (he makes sure of that from the first track), is giving people Manson how he likes it. One of the things that I adore about Manson is the fact that his albums always seem to have a certain "theme" to them. Manson's choice of 1930s and cabaret for this album may come across as an odd choice, but he makes it work. As well as bringing back the style of music, he also seems to bring back a little more from the 30s: when people saw music, although they dressed up nicely, they watched the music for entertainment; to have fun. They didn't bother idolising the singers (out of performance hours), they didn't rush to Woolworths the next day to buy a single, they watched the music and listened to the music for fun. And that's what this album is, pure fun. If you think you take your music seriously, then go listen to Linkin Park who also think they're making serious music. Serious was soooo last century, it looks as if even Staind are going happy-happy with their new album. So has Manson come back with the times, unlike I said before? Nope, because all he's done is brought back something good from the past. Before I confuse myself, I'm gonna melt my brain with no-frills heavy metal, such acts as Ozzy Osbourne, Judas Priest, Alice Cooper, and Marilyn Manson. Ready to drop out of the new line of acts and become one of those guys in the background making solid, simple music? Could be, but who needs to make a masterpiece today?
