Customer Reviews

Golden Age of Grotesque

5 star:		(266)
4 star:		(113)
3 star:		(59)
2 star:		(29)
1 star:		(59)

 

 

Anyone who calls themselves a fan of Marilyn Manson should be ashamed of themselves when they criticize the band for the "new direction" they're taking.

How many cds does the band have to release for you to realize every album is going to be different, stylistically, conceptually and aesthetically?

Portrait of an American Family was a candy-goth-industrial (almost pop-y) album. AntiChrist Superstar was the only truly dark gothic industrial album the band has released. Mechanical Animals was glam, 70s-era rock. Holywood was something close to Antichrist Superstar but not quite there. And now The Golden Age of Grotesque is a 1920's era American jazz and swing album with gothic industrial overtones.

You should be orgasmic that there are bands out there who have this kind of range and subtlety in their music. What do you listen to, Linkin Park, kids?

Who out there can go from disco-beats to gothic industrialism to swing three albums in a row? And make it sound good? Besides Marilyn Manson?

Older (real) fans of Manson will like this album for it's dark cynicism and impeccable songwriting. People who thought Marilyn Manson is a mindless hack with no musical ability whatsoever will find the songs on here catchy and entertaining. I have yet to get enough of "Doll-Dagga-Buzz-Buzz-Ziggety-Zag", and I'm not even a swing fan (or wasn't, maybe)!

This album will appear stale and non-technical--to anyone who won't listen to it. In point of fact, there is quite a lot going on with the music, particularly the guitars. I love the use of them as trombones and trumpets, really brings a big grin to my face.

I would go so far as to say this is Manson's best cd since Antichrist Superstar, tied maybe with Mechanical Animals. Which doesn't mean I think Holywood is bad (it is, in fact, one of my favorite cds that I own, below the aforementioned two only because it's his least original release).

Manson is unlike any other relatively-popular band out there in the mainstream. He's maintained his musical integrity, his focus and (at least my) admiration. I love the way he experiements with period music of the 20th century and incorporates it with industrial sounds to create his own unique interpretation of the style.

Anyone who can't see this should probably stick to the twelve-year-old lyrics, talent, concepts and general attitude of bands like Linkin Park. You're not wanted here.

This is a new Manson for a new era. This is definitly not a repeat of his past albums. This has been the first time in a long time that Manson has had to make an album that could stand on it's own. After finally completing the story he created with Anti-Christ Superstar and finished with 2002's Holy Wood, Manson has a chance to explore new musical ground as well as reinvent his image a bit. Manson explores 1930's Berlin-esque era in his lyrics and appearance. Throwbacks to the Swing dancing sensation, Nazism, and Dadaism are littered throughout the confrontational ("Use your fist and not your mouth")and cynical, sexually-doused lyrics in this CD, which fit well with the music. The music itself is the usual Manson-esque rock mixed with a large dose of synth and other effects, probably due to new bassist Tim Skold, which completely helps the album in almost all areas. These effects do a very good job of envoking pictures to accompany the music. Sometimes one can't help but picture Tim Burton claymation-esque characters marching along to anthems like the title track and the intro Thaeter. The also setup moods for such songs like "(s)aint" and "The Bright Young Things", both of which are sure to surprise the listener (but none like the track "Doll-Dagga Buzz Buzz Ziggety-Zagg", which is a loud galloping example of Manson-meets 30's era swing music. A treat for the ears, definitely).
Manson succeeds in making a frightful, rambunctious, powerful and wonderful album that can definitely stand on it's own. However, one must remember that Manson is not taking himself as seriously this time, but is still very clever with his lyrics (probably now more than ever). All in all, this is one of Manson's best, and definitely worth buying.

Marilyn Manson's new album "The Golden Age of Grotesque" isn't his strongest album, but it proves to be a really good listen. It has its weak points and flaws, but beyond that lies a really well-constructed album. Manson is always trying new things, which is one of the main qualities I like about his band; none of his CDs sound the same.

"The Golden Age of Grotesque" is a dark and angry album. It's heavy and melodic, and most of the songs flow nicely. This album isn't nearly as controversial or disturbing as his previous work, but I guess it'd get old real quick if he tried to be controversial on everything he does. It appears there's a lot of new guys in the band and they do a very excellent job.

The major weak point of the album is the lyrics. I think Manson is a much better writer than this when it comes to songs. He uses a lot of hip-hop jargon in some of his songs. Now, I don't have a problem with hip-hop influences, but it just doesn't fit well with Manson's stuff. Don't get the wrong idea and think that Manson has pulled a Fred Durst, because that is absolutely not the case. The lyrics are okay, I just think he could've come up with better ones.

All of the songs are good and it's one of those albums where you can listen to the whole thing without worrying about skipping tracks. My favorites are "this is the new [*]," "mOBSCENE," "use your fist and not your mouth," "(s)aint," "ka-boom, ka-boom," "para-noir," and "vodevil."

"The Golden Age of Grotesque" is a great effort from Manson, despite some of the album's weak points and flaws. If you're a fan of his earlier work, chances are you will enjoy this one as well. While it's not perfect, it is something that will be in my CD player for a long time.

Marilyn Manson's music has always been the some of the most esoteric, thought-provoking music out there. His albums are his social commentaries on everything from drugs, to celebrity worship, to religious hypocrisy, and none of it was ever meant to be easy to understand. Manson has always been about finding deeper understanding by thinking for yourself and making your own journeys of discovery, which is EXACTLY what his songs are. Those who found AntiChrist Superstar superficially Satanic and a strong advocator of drug-use and violence, or those who found Mechanical Animals to be a homosexual ripoff of David Bowie obviously never took the time to actually LISTEN to the album. No, Manson isn't a Satanist, no he isn't gay, no he's not telling you to kill yourself. Songs like "Get Your Gunn" off of his first LP ('Portrait')made millions of parents along with anti-violence groups criticize his deadly lyrics (I eat innocent meat/The housewife I will beat/The pro-life I will kill/What you won't do, I will), while the song is really a sarcastic critique on anti-abortion fanaticism. And that's just what his music is: sarcastic. It pokes fun at people too uptight to take a joke, and he does it in a way that feeds off of their own close-mindedness. After all, none of us would have been interested in Manson if he hadn't had caused so much of an uproar so many times. If you take any of his music at face value, then you are TRAGICALLY making a waste of great art. I find it amusing every time I read reviews from some of his more negative "critics". It always seems like they feel frustrated at their very lack of understanding, and it bleeds out of the type in the form of some verbally-abusive desperation. It's very sad when the "angst-filled, suicidal punk teens" who are his fans can write better, more thought-provoking reviews than those who claim to be the "morally-attuned".

Manson's music is an absolutely perfect example of true, pure art. His entire discography offers a very exclusive (since only a few step up to the challenge of trying to understand them) and personal look into the mind of the artist. Through songs of uncontrollable vicious hatred to those of desperate, irrational love, we find a way to wash away the makeup and find just another man in this world wanting to express himself. We feel his emotions through the music, even if they are portrayed in the form of the fictitious characters Adam, Omega, Wormboy and, yes, Marilyn Manson. They are tragic individuals trying to make sense out of a world of pain, rejection, and hypocrisy...sound familiar? We also see him pay tribute to those who have influenced him, for good or ill, and he makes no effort to hide it at all, making less-than-subtle references in his lyrics as well as his image. He's one of the only artists out there COMPLETELY unafraid to tell us all how he feels about someone or something, and he does it in a way that forces you to think about it before you speak. If there's anything Satanic about Manson, it's his independent, un-flinching search for understanding, and his music tries to bring that out in us, the listeners. Unfortunately, some of us are just too stupid, really, to accomplish that. In the end, though it's not always pretty, Marilyn Manson's music is undoubtedly brutally honest both to the listener and the artist himself, and that's more than one can say about a lot of societies preferred "role-models".

The Golden Age of Grotesque is an equal to all of Marilyn Manson's previous albums in terms of hard-hitting sonic brilliance, its dark, yet strangely-illuminating imagery, as well as its cleverly inventive style. Once again, Manson is covering new territory through what seems like almost flawless sonic experimentation. The only difference is, he has chosen not to hide (NOT a criticism) behind the persona of some centralized character in a strange world (in fact, his three previous albums actually all took place more or less in Hollywood, which is strange enough of a place as it is). In a way, this is the first time we have seen Marilyn Manson since the Spooky Kids era, coming out the other end of the cold vaccuum of Hollywood stardom, and he's more than willing to tell us how he feels about a couple things. He's sick of putting up with the bullsh*t of the media and having to constantly explain things that are so clear that even teenager could figure it out (NOT a criticism either), and bashes the mindlessness of the entertainment industry, which tells us all how to live so we don't have to figure it out on our own. Wanna be spoonfed like a child? Let me shove this f*cking spoon down your throat!

This is summed up by the first track of the album, 'This Is The New Sh*t' (I consider Thaeter more of an intro), both through its memorable opening lines as well as the lines "Everything's been said before/Nothing left to say anymore/When it's all the same you can ask for it by name..." He's given up on all these idealistic one-sided mechanical animals and tells it like it is. This is his most straightforward album ever, which is probably why it wasn't received so well by his closest fans. "Be obscene!" goes the cheerleader-like chant in 'mOBSCENE'. And he doesn't fail to do so. Songs like 'Slutgarden' and 'Para-noir' are fueled by dark, depraved sexual feelings. 'Ka-boom Ka-boom' and 'Use Your Fist And Not Your Mouth' show how callous and truly selfish Manson can be, while 'Spade' makes up for it by speaking of abused love and trust. 'Vodevil' is a testament to the artist's highly publicized morally-degrading lifestyle: "This isn't a show, this is my f*cking life/I'm not ashamed, you're entertained". '(s)AINT' expresses feelings of no longer yearning to be accepted, merely wanting to exist without having to please anyone. Nevertheless, despite its foward attitude, the album still retains Manson's signature esoteric style and wordplay, especially in the title track, even more so than his previous albums it seems (for those of you who think his lyrics make no sense at all) and in a much more personal way. This is art at its very best, and Manson makes his epic search for innocence clearer and clearer as his work evolves.

Manson is still at the top of his game here, and no one can attest to that without being as closeminded as his opponents. The only reason I gave this album a 4/5 star rating was because it has one or two weak songs ('The Bright Young Things' and 'Better Of Two Evils') that really aren't that bad, but whose absence would have made the album perfect. Nevertheless, get it. My rating is pointless. It's a true work of hedonistic, depraved art. Needless to say, it's great music to have sex to, which is what good rock 'n roll is all about, isn't it?

It's very hard to find the right number of stars when rating Manson's fifth full length album, "The Golden Age of Grotesque." Am I somewhat disappointed with it? Yes. And do I enjoy listening to it? Well, yes, actually. This disc doesn't have the sharp impact that its predecessors had, mostly because the lyrics are a big disappointment. Manson regurgitates his same subject matter (religion, sex, profanity, and killing your parents, etc.), unfortunately many of these words come across sounding like Manson is trying too hard to live up to his infamous name. It's sort of surprising when he tells his fans, on the third track, to "Be obscene!" But halfway through the C.D., as when he shamelessly states "Hold the `S', `cuz I'm an ain't," he sounds a little too predictable. And when he proclaims "We're five middle fingers on one motherf-cking hand" on track 13, whatever shock value has worn off and he now sounds somewhat contrived.
In addition to puffing his chest, Manson takes one too many swipes at the media. The ironic laundry list of controversial terms ("babble babble, b-tch b-tch, rebel rebel, party party, sex sex sex, and don't forget the violence") on "This is the New Sh-t" is somewhat entertaining, but after that, the pop culture jabs grow tiresome.

Finally, lyrically but also musically, nothing new is brought to the table with "The Golden Age of Grotesque." I'm not expecting John 5 to rip off a great guitar solo, but the music on this album is simply recycled from past albums (the same Nine Inch Nails meets nu-metal riffs and drum beats).

But, those complaints aside, "TGAoG" is still a fairly enjoyable listen. The album's second single (and second track) "This is the New Sh-t" is a personal favorite. This song, which is very catchy, begins in a very Manson-esque way, with ominous techno sound effects and a vocal synthesizer. The chorus is the aforementioned "babble babble..." line, and it ends with a few eerie whispers. Track three, the lead single, "mOBSCENE," is even catchier than its predecessor and it might be one of the catchiest songs Manson has ever written. The beginning techno noises are flattened when the crunchy guitars kick in. The chorus, which is a shout-along with a group of female cheerleaders, should be popular in live shows. Next, "Use Your Fist and Not Your Mouth" has an almost Tool-esque riff (which changes to a bobbing riff in places), but this song is a highlight because of its very catchy chorus, in which the volume level jumps. This chorus seems tailor made for getting mosh pits swirling. Finally, "The Bright Young Things" has a wall of electronica over which a woman talks, then Manson whispers, then Manson utters a few spoken words. Some parts are heavy but this song is, more-or-less, a techno.

Most of the rest of the album is a mixed bag. Sometimes it's the overly evil lyrics that drag a song down. Such is the case with track seven, "sAINT." It's very catchy, but Manson keeps repeating lines that begin with "I am..." (i.e. "I am not an artist, I'm a work of art.") Plus, this song has a memorable, but ultimately rather lame sounding refrain: "I've got an `f' and a `c' and I got a `k', too; the only thing that's missing is a b-tch like you." The very next track, "Ka-Boom, Ka-Boom," has stop-start, humming guitars, but a song with the word "ka-boom" in the title should be explosive; and this song is not. Also, "Better of Two Evils" is equally as catchy, but it isn't anything new. Manson's vocals are the exact same on this song, and this song, like most others on here, follows the same soft-loud song structure. Plus, Manson declares here that he is "the better of two evils." That line might have been shocking and controversial... if this song was written eight-or-so years ago. Unfortunately, this song now blurs the line between being a bad ass and being a self parody.

Some songs really fall flat. "Para-noir" simply fails to detonate; whereas "Vodevil" does have an entertaining, fist-pumping chorus, but it ultimately sounds too similar to tracks two and five.

Since many of these songs get by on a big, mosh-worthy chorus, I think Manson might have written this album just so he could have a batch of fresh, exciting songs to take on tour. Or maybe he has simply run out of ideas. Whatever the case, I think he should have spent more time on this album. His devout fans will stay with him forever, but to hold everyone else's attention, M.M. needs to find a new way to shock the listener. This album proves that simply regurgitating past lyrics won't make the listener's jaws drop to the floor.

I recommend "TGAoG" to all of Manson's fans, and you should definitely check this album out if you're an industrial-metal fan. To me, however, "The Golden Age of Grotesque" is a mostly enjoyable listen, but I think it ultimately does not show Marilyn Manson in his prime (in his "golden age"). It just lacks the sharp impact, originality, and intelligent lyrics that its predecessors had.

I base this review on the evolution and creativity of Marilyn Manson and NOT in comparison to his past efforts. I thought, after hearing mOBSCENE, that TGAOG was going to be your typical boring commercialized album. But this album Shocked me the first time I listened to it, as Manson has successfully done for me with every other album he has released! If you are a Manson fan and you have an open mind about creativity and new directions, then this album is for you. Heavy-retro riffs mixed with a funky rhythmic hip hop feel is what gives this album individuality. Not to mention the explicit nature of Manson's lyrics staying strong and solid through this entire record!

This Is The New Sh** --> 10/10, that's right, I don't think anybody could do a song like this any better. Retro-like hip hop rhythms with a heavy industrial chorus. When you hear this you KNOW that Manson is serious about what direction he is taking this album. But I can see how this is a 50/50 song. Either you like it or you dont, and it could very well sum up your decision with the rest of the album.

mOBSCENE --> 7/10, this song screams SINGLE, as it should. But the heavy industrial feel and familiar Manson lyrics make up for the repetitiveness of this downright party-atmospheric song!

Dolla-Dagga Buzz-Buzz Ziggety-Zag --> 9/10, this song has great lyrics and catchy rhythms n riffs! It reminds me of old-school Manson (Portrait, Antichrist). It fits nicely with the rest of the album and it's as if Manson is glancing over his shoulder and honoring the great sound he had starting out!

Use Your Fist And Not Your Mouth --> 10/10, this song just sounds great everytime I listen to it. It's heavy, it's rhythmic, but the lyrics are what really stand out in this masterpiece. To me, this song shows off just how well these guys can put their ideas together and keep the industrial metal world alive.

The Golden Age of Grotesque --> 9/10, this song really brings the listener into the concept of Manson's art and admiration for expression in the early 1900's. I think this one will put a smile on the faces of true Manson fans.

(s)AINT --> 8/10, this could possibly be a single; it keeps the flow of the album with that retro-industrial feel, but I can't say any more than this song is a great Manson tune.

Ka Boom Ka Boom --> 8/10, at first this song gives you the impression that it's going to be repetitive and boring, but then it quickly switches into a nice smooth funky flow and leads up to a rockin' 'bling bling' chorus.

Slutgarden --> 10/10, this song is absolutely groovin' in every aspect - I think the evolution of Manson's music is really shown off here in this track. It kind of has a Mechanical Animals feel to it, but it's heavier.

Spade --> 11/10, there is nothing wrong with this song. This is definetely an evolved Manson sound - it's that song on the album that seeps with a dark industrial sound and is accented beautifully by the metallic industrial chorus. Manson wisely omits screaming in this song. I kind of have a feeling this song could go acoustic as well.

Para-noir --> 9/10, this song is the one that brings you into a swirling mass of dark rave-like sounds. It flows very nicely with Manson's voice, and the drums and distorted guitar are pieced in almost perfectly. Reminds me somewhat of older Nine Inch Nails material.

The Bright Young Things --> 10/10, this song, lyric-wise, gives me the sense that it's a continuation of 'The Fight Song'. This is definetely another 'show off' song to show just how together Manson and the boys are with their composition. Killer guitars, solid rock drums and that good ol' background distortion make this track a favorite of mine. Definetely going to be a riot when they play this one live!

Better Of Two Evils --> 8/10, it's about time Manson came out with a song like this one! The lyrics shine the most, but not without the rockin' industrial music that successfully blends distorted guitars with a solid hiphop beat!

Vodevil --> 10/10, an automatic favorite. I couldn't think of a better closing track for this album. The band really comes together in this one, music-wise and lyric-wise. This is a great rhythmic song that explodes into an authentic heavy chorus. Very nice connection between bass and drums here. I find that when this song ends it just makes me want to skip to the very first song and listen to the whole album all over again!

Praise: Manson is a master of nihilistic and sardonic masterpieces and "The Golden Age Of Grotesque" is just that, a masterwork. Not since 1998's "Mechanical Animals" has Manson sounded this good. Tracks like "This Is The New S**t", "mOBSCENE", "Doll-Dagga Buzz-Buzz Ziggety-Zag", "Use Your Fist and Not Your Mouth", "The Golden Age Of Grotesque", "(s)AINT", "Ka-boom Ka-boom" and "Slutgarden" make a powerhouse assault of industrial pop hits. Manson, like Nine Inch Nails, knows how to make the right blend of alternative and pop--dark, menacing, heavy rock anthems. This cd is a great improvement over 2000's "Holywood" which lacked any memorable tracks.

Criticism: Like all Manson cds, there is some fodder such as "Spade", "Para-noir" and "The Bright Young Things" are sub-par in comparison to the other ten tracks, but this is only a minor glitch in an otherwise perfect cd. The dvd "Doppleherz", however, is a total waste. Manson espouses poetic irrelevance over a heavily edited, cut-and-paste job 26 minute film. Boring, contrived and self-indulgent to say the least (thankfully it was free).

Conclusion: Manson turns out a winner this time out, nearly ascending to the greatness of "Antichrist Superstar" and equalling "Mechanical Animals". The negative reviewers must not be true Manson fans because this is certainly one of his better cds.

After Mechanical Animals, Manson lost quite a few fans. Many weren't happy with his change in style from dark industrial goth rock to the glam rock sounds of MA. Holy Wood gained him back some of his fan base, but nothing could prepare us for the musical mosaic that is "Golden Age of Grotesque." Completely unlike anything we've heard previously, TGAOG manages to combine all the elements that make Manson great, from his creative music to his cynical yet surprisingly relevant lyrics, while at the same time taking a completely new direction. Songs like "This is the New Sh*t" and "Doll-Dagga Buzz Buzz Ziggety-Zag" I could almost imagine being played at dance clubs. Yet they still possess Manson's heavy lyrics and ear-pounding sound. This album is a MUST BUY for any Manson fan, and I think many people that have never cared for Manson before this will love this album as well. Its got something for everyone.

Marilyn Manson has come back with a vengeance on this album! While not as heavy in regards to subject matter as his last albums (very few religious references, if any), the music snarls and roars heavier than ever before. Seemingly a heavy collaboration between Manson and Tim Skold, the album definitely benefits from the new presence in the band. As surprising as it was when Manson let Twiggy go, it is hard to imagine this album sounding the way it does without the presence of Skold. There are heavy techno influences throughout, making the album similar but still unlike any of Manson's previous efforts. It just may be the thing that pushes Manson back in the public eye. After the criminally under-rated and poorly recieved masterpiece Holy Wood, it would be nice to see people realize that Manson is now better than ever.

The dvd that comes with the cd is a 26 minute film called "Doppelherz" that Manson directed. It is exactly what you would expect an independent film directed by Manson to be: dark, scary, and hypnotic. I don't know how many times I'll watch it, but it is definitely a nice addition to this album.

Every one who is calling mansons latest effort crap..pull your head outta your ass if you claim to have liked manson then why not now what has changed o big deal they got a new bassist who cares the changed there sound a bit? so you want the same stuff everytime?