Yahoo! Music Album Review

Released on 25/05/09
Label: Interscope

Brian Hugh Warner has never been the type of person to look on the bright side of life. Naming his alter ego after a troubled American icon (Marilyn Monroe) as well as a murdering sociopath (Charles Manson) is just one such indicator of his intent to shock; his seven-album-strong back catalogue, resplendent with its lyrical controversy and caustic alternative metal backdrop, is yet another signifier to his mission to alienate and disgust the more conservative members of society.

True to form, and following on from 2007's "Eat Me, Drink Me" - a two fingered salute to the world prompted by his divorce from burlesque dancer Dita Von Teese - comes the acerbic critique of American life that is "High End Of Low", complete with all those trademark "Mansonisms", such as that unforgettable, expletive-filled, obnoxious delivery, focusing on just how terrible everything is.

But in order to fully appreciate a Marilyn Manson record one must wholeheartedly embrace the absurdity, melodrama and despairing miserabalism that seems to occupy all the musical thoughts and ideas contained with a pinch of humour; those ideas predictably centring on death ("Four Rusted Horses"), swastikas ("Pretty As A ($)"), the apocalypse and people he hates ("Blank And White") and the death of the American dream ("We're From America").

Sadly, it's on the latter theme that we're not so much laughing with Manson as at him. Just as Slipknot lecturing us that "People = Sh*t" was really nothing profoundly eye-opening, neither is Manson telling us that America has an over-inflated ego (much like himself). Perhaps the only interesting thing about Manson's latest record is the couple of anomalies hidden within.

"Four Rusted Horses" sees a move away from the archetypal sound that we've all come to associate him with (and which by and large infiltrates this offering, as exemplified by the anthemic and scandalously titled "Arma-Goddamn-Mutherf*ckin-Geddon"), the acoustic guitars, alt.country riffs and morose string arrangements making this quite a subtle achievement. Likewise the weepy "Running To The Edge Of The World", which although gripped by Manson's sandpaper vocal, sonically resembles something a little more fragile.

"What ever doesn't kill you is going to leave a scar", barks Manson on "Leave A Scar". And although one may come out of the "High End Of Low" in tact, it's a sufficiently traumatising experience to leave a permanent impression of misery on the rest of your life.

    by Ash Dosanjh