无可救药的浪漫 Manson 张进翘

Antichrist Superstar performed its intended purpose – it made Marilyn Manson internationally famous, a living realization of his fictional "antichrist superstar." He had gained the attention of not only rock fans, but the public at large; however, many critics bestowed their praise not on the former Brian Warner, but on Trent Reznor, Manson's mentor and producer. Surely angered by the attention being focused elsewhere, he decided to break from Reznor and industrial metal with his third album, Mechanical Animals. Taking his image and musical cues from Bowie, Warner reworked Marilyn Manson into a sleek, androgynous space alien named Omega, à la Ziggy Stardust, and constructed a glammy variation of his trademark goth metal.

In 2000, Marilyn Manson not only was recovering from his fans' rejection of Mechanical Animals, he was scarred from Columbine and, worst of all, he was no longer America's demon dog. What was Brian Warner to do, standing on such uneasy ground? As a smart man and savvy marketer, he knew that it was time to consolidate his strengths, blend Omega with Antichrist Superstar, and return with a harsh, controversial, operatic epic: a vulgar concept album to seduce his core audiences of alienated teens and cultural cops. The resulting album, Holy Wood (In the Shadow of the Valley of Death), is intended as the third part of the trilogy beginning with Antichrist Superstar, and its convoluted story line is fairly autobiographical, but the amazing thing isn't the story - it's that he figured out to meld the hooks and subtle sonic shading of Mechanical Animals with the ugly, neo-industrial metallicisms of Antichrist…

Marilyn Manson returns with his eleventh studio album We Are Chaos via Loma Vista Recordings. Co-produced by Manson and Grammy Award winner Shooter Jennings [Brandi Carlile, Tanya Tucker], the ten-track opus was written, recorded, and finished before the global pandemic.

The first thing to strike the listener about these 2006 Avie recordings of Bach's Sonata for viola da gamba and harpsichord will be how loud they are. While neither instrument is noted for its power to project, the instruments are recorded so closely here as to be gargantuan in these recordings by Jonathan Manson and Trevor Pinnock. After adjusting the volume, the second thing to strike the listener will be how brilliantly played they are.

Returning to the scene after a lengthy absence – during which time the shock rocker began to see some of the consequences of numerous assault accusations – Marilyn Manson barreled headlong on the "innocent until proven guilty" route, lashing out at detractors and critics with his 12th studio album, One Assassination Under God: Chapter 1. Objectively, One Assassination is another strong late-era set that's packed with dramatic industrial-lite statements and rollicking spook-show anthems, where Manson's twisted wordplay, (no-longer-that-shocking) religious imagery, and cartoonish cult-master antics intersect.

Michael Manson is a highly gifted bass player. He already performed with Kirk Whalum, Brian Culbertson, George Duke or Oletta Adams to just name a few. Like most of the contemporary jazz artists he was on the search of a new label. Now he found his haven in NuGroove Records and presents his label debut Up Front (2008). Portions of this CD have been remastered from his previous album Just Feelin It.

The High End of Low is the seventh studio album by Marilyn Manson. Manson first began work on the album with guitarist Tim Sköld. However, Sköld left the band when the vocalist reunited with former bassist Twiggy Ramirez. The album was produced by Manson and Twiggy (who dropped the Ramirez moniker) along with former Nine Inch Nails co-producer and keyboardist Chris Vrenna, as well as Antichrist Superstar (1996) and Mechanical Animals (1998) co-producer Sean Beavan. It was the last album to feature the band's long-time drummer Ginger Fish. The record received mixed reviews from music critics, with several publications praising it as their best album since Mechanical Animals; although others were critical of both its length and more personal lyrical themes…

A year on from Portrait of an American Family, Marilyn Manson released the stopgap EP Smells Like Children. Where the full-length debut showed sparks of character and invention beneath industrial metal sludge, Smells Like Children is a smartly crafted horror show, filled with vulgarity, ugliness, goth freaks, and sideshow scares. Manson wisely chose to heighten his cartoonish personality with the EP. Most of the record is devoted to spoken words and samples, all designed to push to the outrage buttons of middle America. Between those sonic collages arrives one new song, retitled remixes of Portrait songs - "Kiddie Grinder," "Everlasting Cocksucker," "Dance of the Dope Hats," "White Trash" - and three covers ("Sweet Dreams," "I Put a Spell on You," "Rock 'n' Roll Nigger"), all given a trademark spooky makeover…