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33 of 35 people found the following review helpful:
4.0 out of 5 stars
A worthy follow-up and a lost gem, October 6, 2005
The fall of 1998 saw the release of Marilyn Manson's third studio album "Mechanical Animals." The follow-up to "Antichrist Superstar" (1996), and proceeded by "Holywood" (2000), "Mechanical Animals" is the second album in Manson's grand industrial Goth-opera.
Although it debuted at number one on the charts and quickly went platinum, it was something of a commercial disappointment. Unfortunately, rather than gain fans and expand their fan base with the new release, Marilyn Manson lost ground. And while "Mechanical Animals" didn't torpedo the band's career, (i.e. "Van Halen 3," released the same year) it did throw a wrench in the band's momentum.
Nine Inch Nails mastermind Trent Reznor had been instrumental in the band's success and sound. Reznor had produced Manson's debut, "Portrait of an American Family" (1994) and the classic "Antichrist Superstar."
Wanting to get out of Reznor's shadow and not wanting to remake "Antichrist Superstar," Manson went for a new look and sound. With "Mechanical Animals," Manson chose to eschew a Goth-metal image in favor of a Bowie-like glam one. Billy Corgan (Smashing Pumpkins) and former Soundgarden producer Michael Beinhorn helped Manson in achieving his artistic vision. The cover of the album is indicative of its sound-clean, white, bright, and crisp.
Some have commented that "Mechanical Animals" isn't as "dark" as "Antichrist Superstar." I don't feel this is entirely accurate. While "Mechanical Animals" is certainly popier and more polished, it deals exclusively with dark themes.
The general theme of the album is a sci-fi epic, sometime in the not-so distant future. It describes a world of dehumanization and indifference. Narcissism, nihilism, and complacency are the prevailing ideas. It tells of a world in which people are doped into submission. Manson's (then) girlfriend Rose McGowan proved some inspiration as heartbreak and broken relationships was also an underlining theme. For his sci-fi concept album, Manson created the androgynous character "Omega" and his band of "Mechanical Animals." The title "Mechanical Animals" can also be seen as an analogy to human beings in this sci-fi world-mechanical and heartless.
Manson didn't completely abandon their sound on this new disc. They still sounded like Marilyn Manson, but the new sound was distinctly popier, glossier, and more polished. The industrial-metal was at times tinged with disco-like beats and female backup singers. The sound was noticeably cleaner, which I believe some to mistake for being lighter.
Although guitarist Zim Zum had left the group prior to the album's release, he played on a majority of the album. The band is rounded out by longtime Manson collaborator and bassist Twiggy Ramirez, Ginger Fish (drums), and M.W. Gacy (keyboards).
From the beginning chords of "Great Big White World" the tone is set for the album. This mid-tempo number stands in sharp contrast to "Superstar's" opener "Irresponsible Hate Anthem." The title of the song is self-explanatory of its theme. It's one of the album's strongest tracks and makes for a good opener.
The album's big hit "The Dope Show" can be best described as "industrial disco-metal."
The album's infectious title track "Mechanical Animals," show's Manson's more melodic side.
"Rock is Dead" is one of the more rocking and straight-forward songs on the album.
The album slows down for the next few songs. "Dissasssociative" is a beautifully morose plea which tells of wanting to be set free from this hellish world. The almost psychedelic "The Speed of Pain" sounds (as others have commented) akin to Pink Floyd.
The pace picks up a bit with the frantic "posthuman," which if reworked slightly, could have been used for "Superstar."
The hurried "I Want to Disappear" is a bratty, nihilistic submission into indifference.
"I don't like the drugs (but the drugs like me)" is both a highlight and low point for the album. This funky disco-tinged rocker is quite catchy-but the lyrics are a little clichéd. It's as though Manson were trying a little too hard on this one to be controversial, but was also too lazy to think up something more original. Still, the lyrics in the verse are quite clever and it's a good song none-the-less.
The hard-hitting "New Model No.15," has a lot of bite and although not a hit, is one of the album's strongest songs.
The mid-tempo "User Friendly" describes the self-centeredness and lack of caring or consideration in a relationship. This could have been used as a single, as it is one of the catchiest songs on the album.
"Fundamentally Loathsome" boarders on sounding like cabaret. Indeed, it sounds a bit like something The Dresden Dolls would pen.
"The Last Day on Earth" is probably the closet Manson will approach to composing a love song. It's probably my personal favorite on the album. It has a cool sci-fi introduction and tones, and is thoroughly infectious.
"Coma White" is the perfect way to conclude the album. This downbeat number is this album's "Man That You Fear," which was the closing epic on the "Superstar" album. "Coma White" wraps up the album hopeless and concluding that numbness through medication is what will be our fate.
While "Mechanical Animals" is an excellent album and a worthy follow-up to "Superstar," it will probably always be in the shadow of its predecessor. Some of Manson's fans were just unwilling to accept the new look and sound of the band.
Non-music related factors are also in play for "Mechanical Animals" taking the backseat to "Superstar." In 1996, Manson was a lighting rod for social critics and a daily subject on any TV talk show. In 1996 concerned parents and fanatical, right-wing, bible-thumping evangelicals were all up in arms over Manson, and "Superstar" serves as a token of that era. By the time "Mechanical Animals" was released, some of the frenzy had died down.
All of this is unfortunate because while "Mechanical Animals" isn't quite the masterpiece that "Superstar" is, it's still a great album and a worthy successor. Manson should be applauded for his willingness to reinvent himself and take some creative and artistic risks. It would have been a lot safer and easier for him to have just made another "Superstar."
In conclusion, although not fully appreciated upon its release, "Mechanical Animals" is a superb album that has stood the test of time. Hopefully, future generations will discover this lost gem and fans that rejected it the first time around will come back and give it another listen.
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19 of 19 people found the following review helpful:
5.0 out of 5 stars
A talented and incredibly thoughtful artist, October 8, 1999
By A Customer
Marilyn Manson is one who doesn't always receive the recognition that he deserves. Unfortunately, most people do not realize that Manson has this incredible talent for putting into words what other people are afraid to do or are unable to do. However, because of the disturbing things that he has to say about the world and about life in general, people turn away from him and dismiss him as another goth freak who somehow, miraculously, managed to be noticed in the ever changing world of pop culture. The fact that he is now one of the biggest stars is not surprising at all. In fact, this is what Manson deserves. He has worked long and hard to produce the kind of music that he does, and listening to him or watching his music videos is worth it. Recently, I have seen the video of one of my favorite songs on this album, Coma White. The interpretation of the song in the music video is incredible. The fact that he says so many true things about America and American culture is amazing...he is articulate, intelligent, and can pinpoint exactly what some people feel. (...) So overall, I have nothing but respect for this artist. He may be a rather scary figure, and at first, I was incredibly against him and all that he stands for, but then I realized that to hate someone, you have to try to understand them first. This is what I did, and it opened up my eyes to a new view of Manson and his music. Personally, I believe that this is what a lot of people are doing, blocking out everything that Manson has and only taking in his image. And before I sound like some goth freak raving about how much I love Manson, let me tell you that I am a 15 year old girl who happens to find some feeling in Manson's music, not in the teeny-bopping, (...) that is monopolizing the music industry these days. And before I get too serious and start going on and on about how those bands have no talent, no skill, no creativity, no originality, let me say that Manson's drummer is oh so hot in his video. =) So thank you if you took the time to read this, especially of you're anti-Manson.
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47 of 57 people found the following review helpful:
5.0 out of 5 stars
The Best Of Marilyn Manson, October 1, 2004
Before my first listen to "Mechanical Animals" I didn't really think much of Marilyn Manson. His previous albums seemed to chug along without much of a purpose aside from shocking his listeners (save for a few moments of "Antichrist Superstar") and the musicianship and lyrics left much to be desired. 1998's "Mechanical Animals" is Marilyn Manson, the man, the band, in top form. Probably their most shocking effort to date, mainly because it sounds absolutely nothing like what came before or afterwards. Loosely a concept album based around Manson's then love interest, actress Rose McGowan, this work is 80% tragic love story, 10% alienation, 10% isolation, with McGowan serving as the muse. Autobiographical tunes such as "I Don't Like The Drugs (But The Drugs Like Me)" and "The Dope Show" paint a picture of Marilyn Manson's high-speed lifestyle, the latter contains a line that pretty much sums up Manson and sets the tone for the rest of the album -- "I hate today/who will I wake up with tomorrow?" However, other tracks such as "Great Big White World" and "Mechanical Animals" expose a more emotional side while being the strongest and most sonically compelling anthems of Mansons's career. As you get deeper into the album, the lyrical content gets darker and the musical landscape is much more unqiue and abstract, best displayed on the moody and haunting "Speed Of Pain," a semi-acoustic song that sounds like vintage Pink Floyd. "Coma White," the album's closer is definitely the pinnacle, a passionate and tragic song that revolves around Manson & McGowan's unique relationship and contains the memorable chorus: "You were from a perfect world/A world that threw me away today." As a whole, "Mechanical Animals" is the strongest and most cohesive work the band has accomplished today. It is a genuine oddity and a downright shame that the standard set by this album hasn't been carried onto the following, less imaginative albums. Could it be a lack of inspiration? For by the time Manson recorded his next album, "Holy Wood," his relationship with McGowan had already tapered off. Could it be the self proclaimed God Of ____ found the one true love of his life? Who knows. All that is evident here is that there was an immense amount of inspiration and emotion poured into these 14 tracks. The one album by Marilyn Manson that I can personally put on and play the whole way through. You don't have to be a fan of industrial, gothic or metal music to appreciate "Mechanical Animals." If you are looking for a deep, personal and flat-out sad album, make this album next on your "To-buy" list.
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