Year : 2012
Genre : Industrial Dark Rock
Label : Cooking Vinyl, Hell etc.
Origin : United States
Rating : 9.0 / 10
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The new Marilyn Manson album is a visceral cultivation of infectious industrial rock passages pummeling through you with a brisk, constant 4/4 coated into myriad tints of inventive darkness. There are at least two essential ingredients - among others, logically - that I managed to pick up on this release, both being of primordial significance of how and why this album works with so fluent effortlessness. First and foremost, The Marilyn Manson, thank God & Co., already knows perfectly well that it is not at all mandatory nor necessary to deliver sounds all over the real estate of silence like there is no tomorrow, so he handles the institute of the sonic gap with considerable skill and a valiantly spirited will. The other sum of clever things is the differing intensity-extremes of the disc. The sheer - quite literal - volume-arcs of the sonic mass Manson tends to make his way through a given composition with.
The songs seek and find relevant pleasure by fooling you on a constant basis, first delivering fragile, elegant and dainty textures, - not too much of overkills directed towards Manson's yo ding dong man ding dong ding dong yo narrative now, though a more tolerable variant of said punishment rhetorics IS present - and they often explode into highly efficient sonic intimidation-sessions that are openly out there to facilitate a radical effect on your awareness. Manson says he implemented sounds that only dogs can hear, but make a human being kind of nauseous. I believe him. The consorting success rate is pretty radical, thank Manson and God for that, as result of the deeply differing volumetric extremes and the precisely planned gap-strategies the artist is employing. In other words : the intense parts will bitchslap you on spot with galvazined gloves, and this always is something a snob has to be grateful for. Guys, let's talk about the music.
Composition wise, I personally think the album has a funny/efficient vibe that weighs in as a blend of darkened, old school Brit pop on steroids and "inventively tormented" - sorry about that - quasi-goth mood packages - and lubricate all this with some cybernetic high octane motor oil you just took off from the intestines of a female android you happened to thrash accidentally. Think of a Depeche Mode that decided to go Power Lich for the momentary fun of it : the hook of the song "Children of Cain" sounds exactly like that, and it would be enough to bring down all Cathedrals to the ground if sung by Dave Gahan.
The hookcraft on this album never trades in fruitfully positioned BUT eventful accessibility for showoff-grade compositional wizardry and/or misplaced intricacy. The songs bring intact-, sometimes even tremendous charisma, - "Lay Down Your Guns" has a decent doomy electropop vibe, so doom fans will something to call treason for - and the atmosphere of modern day exploitation action figure-horror movie series "Saw" is still ubiquitous on the disc. I will be the first to admit that I'm not the premiere Knower of Manson, but he always seemed to keep an eye or two on said direction. You can even turn it around, and say that the Saw movies are reflections of Manson's "mere" artistic stance, a visual representation of the image of music he offers. At least according to my percepts.
Upon multiple listens, I personally find myself more and more on the hunt for stuff on the disc that I could safely kick in the ass incoming from a neighboring runway, and that seems to be a tame but informative indication that the album "simply is" strong and efficient for what it wants to accomplish. 4/4 kinetic pummeling varied with tasteful, sober intensity, orchestrated to dark-, darker, and darkest moods, exclusively. Even better/worse : Manson never takes her/himself AS seriously as you momentarily want her/him to, and that is a premiere part of the magic, I think.
All in all, the agenda of the release still is valiant and relevant. The music is successful and full musculature all the way through, - simply no places the disc loses steam on - the thoughts oftentimes are hilarious. "Breaking the Same Old Ground" is a funny one, for example. I especially am impressed with the production values of the LP. The album packs an exceptionally superb and well defined bite and there is exactly zero mud or fuzz or threshold-crossing to be heard. Regardless of the flame that the gesture might yield from Marilyn Manson haters, I will say this : I consider the production values of Born Villain impertinently flawless. The shapes of things on the disc are doubtless serious and meticulously constructed. Even if you think you know what Marilyn Manson is all about, or, if you are a random gimp, the disc remains highly recommended.
Rating : 9.0 / 10
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