Antichrist Superstar

Marilyn Manson started out as a depraved, marginally talented group of freaks that played a caustic but undeveloped brand of metallic industrial noise. Then Trent Reznor stepped into the studio for seven months with the band, and Manson emerged with the most intense, visceral, mechanical metal album since The Downward Spiral. Antichrist Superstar is a horror-house of grisly atrocities that stains as indelibly as a bathful of warm blood. Brooding rhythms collide with corrosive samples and buzzsaw guitar riffs, while vocalist Marilyn croons irresistible melodies in the voice of a vagrant regurgitating broken light-bulb shards. Essential listening, regardless of how much input Reznor had.

Perhaps to prepare fans for their next release, Marilyn Manson have decided to release a five-track EP of dance remixes and live songs. The group does show that they have what it takes to come up with sometimes interesting dance makeovers of popular songs (such as "The Horrible People," a reworking of their hit "The Beautiful People"), but the originals are better and definitive. You'll also find a pair of live tracks, "Dried Up, Tied and Dead to the World" and "Antichrist Superstar," which catch the band in all of their shock-rock glory. And closing the mini-album is a mellow acoustic piece (consisting of just guitar and voice, with a few sound effects here and there) entitled "Man That You Fear," which is a departure from their usual sound.

When 15 year old prodigy Christofer Johnsson founded THERION as a death metal band in 1987, little did he know that exactly 30 years later he would put the final touches to a project that will go down in history as symphonic metal’s most ambitious release. While ‘rock operas’ are no longer an unusual concept, this term will now receive a new meaning when the curtain opens for Johnsson’s lifelong creation: »Beloved Antichrist« is the title of his spectacular brainchild, consisting of 3 full-length CDs. It is more than just a concept album; it’s a complete rock opera unveiling a sweeping story inspired by Vladímir Soloviov "A Short Tale Of The Antichrist".

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…

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.

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…