Born Villain

Marilyn Manson | Format: Vinyl

Product Details

• Vinyl (July 17, 2012)
• Number of Discs: 1
• Label: Downtown
• ASIN: B007KL8WAM
• Also Available in: Audio CD  |  MP3 Music
• Average Customer Review: 4.0 out of 5 stars  See all reviews (164 customer reviews)
• Amazon Best Sellers Rank: #130,998 in Music (See Top 100 in Music)

Track Listings

1. Hey, Cruel World

2. No Reflection

3. Pistol Whipped

4. Overneath The Path of Misery

5. Slo-Mo-Tion

6. The Gardener

7. The Flowers of Evil

8. Children of Cain

9. Disengaged

10. Lay Down Your Goddamn Arms

11. Murders Are Getting Prettier Every Day

12. Born Villain

13. Breaking The Same Old Ground

Editorial Reviews

Vinyl LP pressing. 2012 album from the Gothic Shock Rock icon. Marilyn Manson has had astounding success across the globe including three albums being certified platinum and three more certified gold in the USA, in addition to three Top Ten albums and two #1 albums (Mechanical Animals and The Golden Age of Grotesque).

Most Helpful Customer Reviews

60 of 68 people found the following review helpful

5.0 out of 5 stars Manson's "Comeback" Album May 1, 2012

By Josh Nolan

Format:Audio CD|Amazon Verified Purchase

I am and have been a long time fan of Marilyn Manson. This is the album that we the fans- and the Man himself- have been waiting for since his 2003 release, the Golden Age of Grotesque (and for many, since 2000's Holy Wood). His last release was the High End of Low (called by many fans The High End of LOL), which struggled to have an "album" feel, as much of THEOL felt like it was a bunch of songs put together with no semblance or context. That issue does not exist on Born Villain, as it is certainly worthy of being on a list that includes works such as Mechanical Animals and Antichrist Superstar.

The music of this album is absolutely lovely; every instrument is placed and played with care and each song has a lush attention to detail that you can't find on most of MM's work, and stands beside Antichrist Superstar when it comes to musical strength. Manson himself wrote the most music for this album then he ever has, and it does well at giving a fresher sound that he's needed. This is really the culmination of his previous work, as the industrial, heavy aspects of Antichrist Superstar, the electro-industrial sense of the Golden Age of Grotesque, and the glam aspects of Mechanical Animals are all in play. It really sounds better than almost anything he's made, and really brings something familiar and something fresh to the table all at once. Manson's voice is far better than on his last few records, as it sounds much more certain and much less broken. On songs like Lay Down Your Goddamn Arms, it even soars. On Murderers Are Getting Prettier Every Day, it proves that, yes, Manson can still pull of his heavy metal screams and screeches (something we've not heard in 12 years).... The mixing and production quality is the best since Antichrist Superstar, as each song has an industrial crunch, the guitars all stand out, and Chris Vrenna's drums shine on songs like Overneath the Path of Misery (which is my favorite song from the album, and a demo version was featured in the Born Villain short film last year).

Lyrically, it's something of typical Manson, and really a return to form. There is the word play, the social commentary, the personal side, and the right amount of his dark/gothic tone that it keeps away from feeling over-played (a complaint many had about Eat Me Drink Me), rather as familiar and suitable. He sings with a certainty that we haven't heard since Holy Wood, with each lyric feeling sincere. Many verses are repeated, and there is less lyrical diversity, but he sings them differently each time and with new inflection, emotion, and intensity that it keeps itself from feeling repetitive or monotonous. He touches on relationships and love (songs like the Gardener and Pistol Whipped), without ever coming across as whiny or over-done as he did on THEOL, and returns to subjects like religion (Children of Cain) and society, without any of the subjects feeling stale. It really feels like he had things he wanted to say.

That said, the only real complaint I have is that the album artwork- something that has always stood out with Manson's work- is fairly lacking. There is no booklet (the lyrics are on the official album site instead), and there are only two photographs in the packaging, with a graphic on the back (both photos are a little underwhelming). There are even two black panels, which really leaves you wondering why there wasn't more artwork (it just doesn't stand out like the covers for Mechanical Animals or Holy Wood do). However, any fans familiar with the Celebritarian Corporation, Marilyn Manson's art movement, will recognize the Cross of Loraine on both the disc and new logo. However, the artwork really isn't the point of an album and because of that, I really don't think it negatively impacts the actual music in any way.

Many fans have not enjoyed his last few albums, but honestly, Born Villain validates them. When listening, you really get this feeling that this is the record he could have never made before in his career. It's very unique, very fresh, and very, very good. If you hated the last few albums, this is for you. If you are like me, and enjoyed them, you'll still love this. It blends the best parts of his previous work with new additions and a new confidence that blends into an amazing, wonderful ride for fans and non-fans alike. It stands side by side with the Triptych (concept trilogy of Holy Wood, Mechanical Animals, and Antichrist Superstar) as one of Manson's greatest works. It is a maturation of everything Manson used to be, and the birth of what he now is. Read more ›

14 of 17 people found the following review helpful

4.0 out of 5 stars Finally a Manson album worth it's namesake May 18, 2012

By C. Burnett

Format:Audio CD

To tell you the truth, I nearly gave up waiting for the next great Marilyn Manson album. After 2003's The Golden Age Of Grotesque was released my appreciation for the band had started to wane. It felt as if Manson had moved from being the creepy musical genius to a commercial rock star. It just seemed as if the shock and awe factor that made the band so great in the the 1990's had gave way to a generic industrial rock band in the early 2000's. Then after a four year hiatus, the dreary goth rock Eat Me Drink Me was concieved to subpar fanfare. Don't get me wrong, the album had it's moments (e.g. If I Was Your Vampire, Are You the Rabbit?, and You and Me and the Devil Makes 3), but it really just fell flat when set up against other Manson albums. It just seemed to be more pop-orienated in it's approach rather then the rock sound that graced the previous endeavors. Then, in 2009, the return of Twiggy Ramirez as a full time band member brought the sense of relief that the band was truly whole and back again. Hell, the band interviews hinted at an album that could rival Antichrist Superstar in it's ferocity. So of course fans expected to see the Marilyn Manson of old. Instead, we were given a stripped down album that felt and sounded more like a compilation of songs then a "whole" album. The only tracks on the album that really stood out to me were Four Rusted Horses, Running to the Edge of the World, Unkillable Monster and I Have to Look Up Just to See Hell.So as you can see, it was understandable that I was somewhat sceptical about the newest Manson title.... I was just about ready to give this album up without listening to it when I heard No Reflection on my way to college. It was as if I was hearing someting that would have came out during the Mechanical Animals era. Oh, it didn't blow me away like some of the better Manson numbers had, but it defintely brought back the nostalgia. It brought me back to the days that I was the run of the mill misunderstood youth trying to find my place in the world. With little to no thought, I went out to buy my copy of Born Villian and have to say that I am impressed so far. From start to finish this album does not disappoint. There is a bit of a slowdown in the middle of Born Villian, but the album picks the pace back up quite quickly. If I were to describe the the feel of this album, I would say that it is a mix between Antichrist Superstar's creepiness and Mechanical Animals' polished production. Don't get me wrong, this album is not without it's own flaws, but they are less noticeable when compared to the last two Manson efforts. My track by track rating would look like this.

Hey, Cruel World...-A blistering opener that kicks you in the teeth. Defintely a fav 5/5
No Reflection-The lead single of the album. If you haven't heard it by now, your not missing a lot 3.5/5
Pistol Whipped-Took a few listens due to the slow start, but defintely a cool track 4/5
Overneath the Path of Misery-Brings back the creepy factor we have all missed since Holy Wood and defintiely a highlight 5/5
Slo-Mo-Tion-Could have been on Mechanical Animals as a single. It's just that good 5/5
The Gardener-Anyone else feel that Manson was channaling his inner Iggy Pop? Pretty good track 4/5
The Flowers of Eden-My least favorite track on the album that slows it down to a draw 2/5
Children of Cain-Wouldn't be a Manson album without some referance to the bible. a bit slow but an overall good song 4/5
Disengaged-I felt this song was a tad bit erratic and unmemorable 3/5
Lay Down Your Goddamn Arms-I can defintely tell the blues inspired this track. Love it 4.5/5
Murderers Are Getting Prettier Every Day-Fast and angry,enough said 4/5
Born Villian-Best track on the album 5/5
Breaking the Same Old Ground-A bit repetitive but still good 4/5
You're so Vain-One of Manson's best cover songs as of late and a good way to end the album 4.5/5

Overall: 57.5/70 = 82/100 = B Read more ›

6 of 8 people found the following review helpful

5.0 out of 5 stars This IS Evolution... May 1, 2012

By Qbicle

Format:Audio CD

To say that Born Villain is a return to form for Manson would not accurately represent what the artist is all about. Born Villain is fresh, raw, personal (though much less so than Eat Me, Drink Me), and brutal. It is unlike anything he has produced before, despite Bassist/writer Twiggy's comparison to Mechanical Animals. It seems as though Manson has moved away from concept albums in favor of a broader net approach. The intellect behind his lyrics (with references to Persephone and Macbeth) remains unmatched from any metal/alternaindie-whatever band. The songs are tight, pack the immediate punch they need to when necessary, and let you breath just whenj it all feels overwhelming. Manson never "lost" anything, despite poor performance ratings on his last two albums (which I personally disagree with)... He just continually evolves and is never Ever predictable. Recommended.

8 of 11 people found the following review helpful

5.0 out of 5 stars Born Again Villain May 1, 2012

By The Disintegrator

Format:Audio CD

Marilyn Manson / BORN VILLAIN: I will make this brief so we can get into a track-by-track breakdown. Born Villain moves along like a raw murder spree. The 8th Marilyn Manson release contains some of the best driving guitar riffs MM and Co. have ever composed. No tricks or gimmicks this time kiddies, just good old fashioned, brass-knuckled rock. As always the lyrics are tight but the music arrangements are what really shine on this release. I hear elements of several of the previous records without being predictable, whether it be a singular sound or an entire riff, you can definitely tell Mr. Manson has not lost sight of the roots of his band. Eat Me Drink Me and High End of Low took some time to grow on me but Born Villain encapsulated me immediately and has me in a sonic stranglehold I cannot and will not escape. Let's speak of the tracks individually.

Hey, Cruel World - If there's one thing Manson has done consistently, its open each album with a great track. Born Villain is no exception. Hey, Cruel World is a great album opener. What starts as a simple sample and moves into a mild verse (much like many tracks on Eat Me, Drink Me) and then comes the hard hitting chorus, so reminiscent of The Suck For Your Solution and that era of Manson's arrangements. Great guitar riffs and a driving composition thrust you into the throws of Born Villain's Side 1.

No Reflection - The first official single from the album and another catchy, guitar-driven track that to me, is reminiscent of late 80's/early 90's rock (which I adore). The pounding beat is what first straps you in while the main guitar riff bolts in through the door of guitar noise and simultaneously punches you in the gut while entrancing you with a wicked smile.... After two listens I couldn't get this melody out of my skull.

Pistol Whipped - Yes the title leaves little to be desired but there are some great elements in this track, beginning with the sample of a spinning revolver cylinder (instantly reminded me of Count to Six and Die, a Holy Wood favorite of mine). Once the echoing cylinder sounds descent, a fuzzy muted guitar comes droning in. This song screams modern day Joy Division to me. Maybe it's the simplistic riff with the repetitive lyrics, but it's not a bad thing at all. The chorus is a crescendo of noise with a classic Manson chorus, "You're a little pistol and I'm ____ing pistol whipped." The title seems less silly now. Very Antichrist Superstar sounding guitars here; which is a priceless bonus.

Overneath the Path of Misery - Easily one of my favorite tracks and not just because of the Macbeth quote in the synthesized spoken word opening, although it is a tasty little nugget for us literary junkies. I love the grinding guitar that kicks the spoken words out of the way like a maniac who won't share the road. The riff is very reminiscent of a White Zombie/Rob Zombie style riff (like I said 90's rock). The style of the vocals is classic Manson; stylish, clever and through gritted teeth. The way he screams "I" in the chorus for some reason reminds me of the way Kurt screamed "Get Away" in the chorus of Scentless Apprentice. This is a very simple yet impactful, standout track.

Slo-Mo-Tion - This track begins with a bone-rattling bass line and live drum kit. A fuzzy guitar soon enters as well as Manson's vocals. This is another favorite track of mine off of the album. Another view from Manson's seeming obsession with TV/film. Another well constructed track with a great duo of guitar riff and bass line. You don't even notice the electronic beat until the second verse which is then followed closely by a guitar solo reminiscent of the guitar sound from the Portrait or Antichrist Superstar eras.

The Gardener - I am still on the fence when it comes to this track. It contains one of the most profound lines on the record, "I'm not man enough to be human, but I'm trying to fit in, and I'm learning to fake it," yet at the same time the poetry-jam delivery of the verse is semi off-putting. The beat and bass line are solid, and accompanied well with the background noises and sounds. The guitar seems to grow as the song progresses, becoming more predominant as we ascend to the chorus. However, overall the track is just okay for me and I seem to be skipping it as of late.

The Flowers of Evil - Another less than stellar song title, in my opinion, and sadly I feel the same about the track in general. The Smells Like Children style sound bites as an intro and the closely following bass line start the ignition of this slow going roadster of a track. A howling guitar riff in the background while Manson sings the verse makes the whole track just okay for me at this point. Similar to how They Say That Hell's Not Hot made me feel, this chorus is just okay as well. Nothing really special or innovative on this track almost seems like a filler track. I'm not even thrilled with Manson's vocals on this song either.

Children of Cain - A Manson record wouldn't be complete without a Bible reference. One of the more electronic tracks on the record, it starts off with some synth lines, a decent beat and the first verse. This is one of those cleverly crafted lyric tracks. The musical arrangements are mid-range but the vocals are sharp, intelligent, and witty- the way a classic Manson song should be. I am particular fond of the vocals in this song, another case in point where less is more.

Disengaged - To be brutally honest, I just don't like this track. Maybe it will grow on me and maybe it won't. Either way, it's a skippable track and I have very little to say about it other than it's mediocre at best in every aspect. The chorus is the word "Disengaged" repeated several times and the verses are meh. Very reminiscent of Eat Me, Drink Me (album).

Lay Down Your Goddamn Arms - This is where the album picks up again for me. One of my favorite guitar riffs on the album but what really did it for me is the metal pounding percussion sample in the background. Great vocals and great passionate lyrics make this a sleeper favorite for me.

Murderers are Getting Prettier Every Day - One of the heavier tracks on the album once the chorus kicks you in the jaw. A pulsing guitar riff opening that bleeds into a fantastic up-tempo drum beat kicks this track off. Abrasive vocals/lyrics piercing your brain and scarring your mind that build into a brutal chorus, reminiscent of the days of the Antichrist Superstar record. Let's not forget the spastic guitar solo straight from the fingers of a psychopathic, driving the track home to a panting Manson who closes the song with a big F___ it!

Born Villain - As an audiophile, I am instantly drawn to expecting something big out of title tracks. This one kicks off with a great clean guitar riff and composed electronic beat while Manson croons in that signature death-blues way he so beautifully does. Another great guitar riff kicks in for the chorus "Become, Become, Become..." with just the right touch of distortion and pizzazz and then fades as quickly as it arrived. The first real keyboard breakdown can be heard after the second chorus, eerily creepy and complimentary to the underlying guitar riff. One of the best tracks on this record by far, thus living up to the title track rule of excellence.

Breaking the Same Old Ground - The song starts with an eerie music box melody playing over heavy static soon accompanied by a Pogo-esque keyboard arrangement. Manson's vocals once again in top form over the melody allowing the song to swell into a mid-tempo death march of desperation and beauty. There are many sample/keyboard elements within the walls of this track that are riddled between the riffs and vocals. The lyrics can be semi-repetitive but the sullen mood of the track makes this song irrisistable. On a sorrowful note, this track makes me long for the keystrokes of Madonna Wayne Gacy (Pogo).

You're So Vain - Yes, an incredible cover of the Carly Simon classic makes this a true Bonus Track. From the pounding bass, to the crunching guitars (provided by Johnny Depp), and of course the perfectly crafted vocals puts this right up there with Personal Jesus and Tainted Love. This is a perfectly crafted and heavy cover of an iconic song with less synth than live instruments, which is a great thing! The harmonizing backing vocals "You're so vain," behind Manson's lead is so Mechanical Animals-esque, it's uncanny. This being a song I grew up hearing on my parents stereo, I think this to be the perfect album closer, even if it is not a cohesive part of the album.

Overall, an exceptional record and a peak for Manson coming out of the valley that was his last couple of albums. Don't get me wrong, while I thoroughly enjoyed tracks off of Eat Me, Drink Me and High End of Low, there were a limited amount I listen to habitually. I currently only skip two tracks on this album and I've only owned the record for a day and a half. Twiggy and Manson sure hit the nail on the head, this is some of the best material they've ever written and recorded in their lengthy careers, bravo!

Some clown dared to question why I gave this record 5 stars when I don't three songs in the middle. I'll tell you why... For one, the other tracks are so outstanding that they make up for any shortcomings on the record. Hell, Overneath the Path of Misery, Born Villain, Children of Cain, and Murderers are Getting Prettier Everyday could carry this entire record. Second, I may end up liking the other songs in time. It's true I got this record a week before it was released but I have never liked an entire record right off the bat. There has always been a period of lesser songs growing on me. Read more ›