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Looking back on Holy Wood nearly seven years after it was first released, the album has lost none of its ruckus and angst fuelled sound, and it still sounds as fresh and as powerful as it did on the day of its release.
Everything from the impressive guitar driven opening sequence to the powerful anthems The Fight Song and Disposable Teens, to the melodic and slower paced Target Audience make this an excellent album - at a time when Marilyn Manson was under a lot of pressure from various government bodies and sensors because of his some what controversial message.
Despite its length, the album manages to stay interesting throughout with many heavier tracks such as the hit single The Nobodies , combining with the more melodic songs such as the brilliant In The Shadow Of The Valley Of Death to create a good degree of variance within the set of 19 tracks.
With so many 'anthems of hate' and highlights, the album stands up with well when compared to Marilyn's previous two efforts, and just like everything which has gone before, Holy Wood is a real monster of an album!
'Holy Wood (In the Shadow of the Valley of Death)' is the fourth full length studio album from Marilyn Manson, a nineteen track construction of music and one that has a run time of over an hour in length. It's really quite a powerful piece of music, a well put together album and one that features many excellent tracks. The album tackles subjects such as religion, fame, and gun crime also; the lyrical content of the album is strong and always Marilyn Manson here has plenty to say.
The album begins with 'Godeatgod', the first of many tracks to reference God in the title of the track alone. It's a decent way to start the album, not the best track on 'Holy Wood (In the Shadow of the Valley of Death)' but certainly a strong one nonetheless. The lyrical content of the track lays our clearly what you can expect from the rest of the album; the fickleness of fame is spoken about here, the 'plastic' nature of people and God and guns do of course also get a mention. The lyrical theme continues into the second track 'The Love Song' as Marilyn Manson shouts 'Do you love your guns, God, the government?' to a chant of 'Yeah' after each. It's another excellent piece of music powerfully put across by Marilyn Manson and his band. What I like most about this album is the strength of the lyrics, Marilyn Manson always has plenty to say throughout this album and the lyrics spoken always are intelligently put across. After the Columbine High School massacre in 1999 blame was put onto the music of such artists as Marilyn Manson and Rammstein; 'Holy Wood (In the Shadow of the Valley of Death)' was Marilyn Manson's first album after the massacre and hence the lyrical direction of the music.
'The Fight Song' is I feel one of the best tracks from this album, with its poignantly sung lyrics such as 'I'm not a slave to a God that doesn't exist, I'm not a slave to a world that doesn't give a s**t' it is an incredibly hard hitting piece of music. Throughout this album never does the music of Marilyn Manson disappoint, always the man has plenty to say and with every track the lyrics are incredibly well put across. As well as featuring strong lyrical content this track also displays some brilliant drumbeats, fantastic guitar work, and as ever the fine vocal style of one Marilyn Manson. 'Disposable Teens' follows on directly from this track on the album, once more the music of Marilyn Manson impresses hugely and the man has much to say. It's the driving guitar riff throughout this track that makes the music so effective I feel, it's an absolutely excellent piece of music and instrumentally the track is truly brilliant here.
'The Nobodies' is without doubt my favourite track from this album, it was the first I heard from this release and every time I listen to this one it makes me smile. The chorus is so hard hitting, the track is full of energy and always the vocal performance of Marilyn Manson is highly passionate. 'The Nobodies' just seems to have it all, it's an absolutely fantastic piece of music and one that I personally am an absolutely massive fan of. Both vocally and instrumentally also the music is excellent here; the track is three and a half minutes long and what a fine few minutes of music it is too. It's the tenth track on the album, a perfect centrepiece for the 'Holy Wood (In the Shadow of the Valley of Death)' release and my personal favourite from the album.
As well as featuring a 'Love Song' and a 'Fight Song', this album also includes 'The Death Song'; another powerful piece of music with plenty to offer. The drumbeats power through the track here, the vocals are extremely well put across by Marilyn Manson and not once does the music disappoint. The drumbeat is repetitive, hugely effective though and it certainly drives through the very heart of the music here and helps make this track the hard hitting piece of music that it is. 'Lamb of God' comes next on the album and this is yet another exceptional piece of music from Marilyn Manson. The pace is slowed down a little here, the track is still excellent however and as ever the lyrical content of the track is incredibly strong. The music is well put across by Marilyn Manson here; it's a moving musical piece and vocally/lyrically is where this one shines I feel.
'Valentine's Day' is yet another excellent track from this album, instrumentally the music is well put across by Marilyn Manson here and vocally also the performance is powerful. There's quite an eerie vibe about this one, the music is quite disjointed but the sound created is one that works terrifically well. 'In the Valley of the Shadow of Death' is spoken out many times by Marilyn Manson throughout this track, the music is well delivered and always highly impressive.
'Count to 6 and Die' is the track that brings this album to an end, it's an atmospheric piece of music and features a breathy vocal performance from Marilyn Manson just as opener 'Godeatgod' does. The piano progression of the track is strong here, the lyrics spoken are excellent also and the vocal performance is an incredibly interesting one. 'Count to 6 and Die' brings the 'Holy Wood (In the Shadow of the Valley of Death)' album to an excellent end, the music certainly doesn't disappoint here and the track is in fact very well put together indeed. 'Count to 6 and Die' provides the album with a fantastic final three minutes of music; it ends the release well and has you wanting for more.
I would not say that 'Holy Wood (In the Shadow of the Valley of Death)' is a flawless album, there are a few tracks that are not so strong as the others but the lyrical content of the release most definitely always has plenty to offer. Lyrically this album is an incredibly intelligent construction, always the lyrics are extremely well put across in the music and the way that they are sung out by Marilyn Manson truly is absolutely excellent. Marilyn Manson was certainly a well chosen stage name by the man that was born Brian Hugh Warner, were it not for his make-up and strong stage name then I very much doubt he'd have sold so many records over the years as a plain faced Brian. 'Holy Wood (In the Shadow of the Valley of Death)' is most definitely an album that I'd strongly recommend investing in, the lyrical content is brilliant and instrumentally the music has much to offer also. Vocally the sound created here shines through strongly and throughout this album never is there a dull moment and always the Marilyn Manson music created here should impress.
I have to say this is an amazing album, if i was pushed for my favorite, then this would be it. Mazza shows so much dynamic rhythms. I would just recommend every track but, obviously no point, I really can't find any faults with such a strong album, there are no weak tracks or let downs simply nai perfect. I have all the CD's and this is the best, closely followed by Anit-Christ Superstar, but I feel this has the edge, as he seems to have raised his vocals to a new level of emotion. Literally the first time I heard this album I could remember most of the songs, which almost lends it's self to the likes of punk (in the way all the tracks are catchy and memorable), I recommend a particularly good analysis by one "icckle toad" who gives a very good opinion on Blink 182. Among my favorite tracks are Target Audience and The Love Song, and Burning Flag. I can't really say anything else about the CD. It suggests I should show a balanced point of view soooo, erm let me see, the fact that Marilyn shows a dislike for the government and especially the media, yet he plainly uses the media with shock tactics, this clearly is a very intelligent thing to do, if not slightly hypocritical. And is copied by people like Eminem, whom on stage brandishes a chainsaw, Mazza sacrifices pigs etc.onstage. Controversial lyrics? Plenty of those from Eminem etc. But Marilyn also debatably copied Alice Cooper, so it is very difficult to be completely original in this day and age when it comes to making money. All together if you are planning buying an album from Marilyn then I recommend this one, as it is the most "virgin" friendly. IF you do buy this album you will enjoy it.
...he who must be obeyed! This latest album from Marilyn Manson is by far his best yet, as is the live show that goes with it. Both musically and lyrically this album comes together nicely with some impossibly catchy tunes considering the genre in which it sits. I often wake up singing some of these tracks (but then I have always been strange!) To be fair, although I am greatly impressed with this album it does go slightly downhill in the final third, not to the point of being filled with tracks that shouldn't be released but it seems stretched to a point then finally drawn back into line with the final couple of tracks. But, hey, some people may disagree! To me this shows more obvious Alice Cooper/ Heavy rock/Metal influences than his previous albums which have concentrated on being more weird and "gothic" - however you want to define that. This album also displays the fact that Manson DOES NOT simply growl and sneer but he SINGS and whispers and gives mournful feeling to many of the outstanding tracks. So, "Holywood" kicks of with "GodEatGod" - slow, menacing and denouncing a non-existent God as ever. After this in quick succession follow three of his finest tracks - "The Love Song" - not what you think! He sings "Do you love your guns, god and government? F**k yeah!" - a big chunk of a track blasting you right in the face with its power. "The Fight Song" - my personal favourite on this album, follows in a similar vein, almost anthemic, "I'm not a slave to a god that doesn't exist, and I'm not a slave to a world that doesn't give a shit" - impossible not to sing along to I'm afraid! Following that the single "Disposable Teens", which even made it on to Top of the Pops! Another meaty, metal, anthemic beaty track with vocals to the fore and a catchy chorus line. From here I won't go on to analy
se every single track as there are 20 in all and I'd be tempted to quote from each so this review could go on for an awful long time. I shall pick out some notable highlights, including those that were unusually described by an online friend as "power ballads" but, thinking about it that seems like quite an apt description even though love songs they are not! For example, the current single "The Nobodies" is an absolute masterpiece combining slow menacing verses with a climatic singalong chorus whilst still not descending into pure pop or some such chart nonsense! On stage this also features his wonderful stilts act but I won't go into that here! The album also ends with an acoustic reprise of "The Nobodies" which is no less powerful, if not more so in some ways because it is so raw and stripped down with Manson's vocal to the fore. Well that tells you the beginning and end - what of the rest? Here are a few more highlights for you to chew over: "Cruci-Fiction in Space" is another stormer with a slow menacing backbeat - 'this is evolution, the monkey-man, then the gun' - with a screaming chorus, one of those track you just can't get out of your head. I think this may be one of those "power ballads" my friend was referring to! "A Place in the Dust" is another one of my personal favourites on this album with a wonderful vocal range displayed as it crashes into a fantastic gut-wrenching chorus - 'put me in the motorcade, put me in the death parade'. My final highlight would have to be "Burning Flag", a fantastic rock-your-ass-off number after a few relatively slow tracks which wakes you back up into Manson-land ? 'we#re all stars on your burning flag' - with his trademark growling and screaming this is displays his true colours! For me the title track "In the Shadow etc" is in fact a low point o
f this album, overly slow and light for Manson with no real hook to it, but it is one of the few real disappointments on this album. This album rightfully won the Kerrang! Rock Music award for best album of the year this year and I think it will be a hard one to beat on all fronts. And Marilyn Manson looked wonderful in his silver and black striped suit at the awards ceremony....
Flourella And so it ends. My final Marilyn Manson review for the foreseeable future. In a sort of fittingly accidental fashion, I’m finishing at the end. Hollywood “In the shadow of the valley of death” (Cheery) is Manson’s current release, although as it was released in 2000 and he’s just finished touring, it may not be to long before another one finds it’s way into my friends CD collection and then eventually into my ears. As it stands though, this is Marilyn as up to date as he gets, indeed not to long ago this album won album of the year at the Kerrang! awards (Mumble mumble Sunna should have won mumble groan). So I guess it should be pretty good then. Although, when I think about it – Slipknot won best band, so maybe it won’t be very good… * Godeatgod * Opening with the sounds of locks, footsteps and um, a washing machine – this is rapidly replaced by atmospheric chorused guitars, chugging metal guitars and a tortured vocal performance from Manson. It’s only short but it’s very, very good. * The Love Song * One of several The (generic) Song on this album (Hell, it’s a Manson album – I’m surprised there’s not a The Fup Song). It’s a let down after the haunting masterpiece of Godeatgod. Lyrics aren’t to bad though, it’s a fairly blatant attack on American Gun laws but the chorus just seems to be a bit shouty for the sake of being a bit shouty. The rest of the song is a more structured, haunting affair. A good song let down by the chorus. * The Fight Song * Someone from Slipknot did a remix of this song! That should give you a clue that it’s a song in the “Irresponsible Hate Anthem” stylee. Turn the brain off entertaining metal time! Although the rather random goth-redneck guitar riff that starts the song off adds a slightly strange. There’s a
shouting “Fight” bit and there’s an atheist shout along bit. Should that be your sort of thing. Not bad. * Disposable Teens * A touch of glam on this one but not so much that it annoys me, just adds a nice extra dimension to the song. The songs your fairly typical glamish thrash that you get from Manson but it’s catchy (Assuming you like metal anyway). The only annoying bit is in the chorus where Manson’s voice randomly unbreaks for the trebley “teens” bit. Stop it! It’s ANNOYING! Apart from that though it’s not a bad song. * Target Audience (Narcissus Narcosis) * Opening with a gently wooshing (Flange for all you sound techy types out there) clean guitar arpeggio, Manson again reveals his seeming obsession with the death of President Kennedy (Odd man). Musically it’s a mixture of the intro with bits stuck on and a section in a similar style to Disposable Teens but it has a guitar solo. The only bit in the song I’m not keen on is the half chanted, slow paced “Valley of Death” bit. Otherwise not a bad song. * President Dead * Another Kennedy inspired song perhaps? The first weak song on the album really – the music’s a bit of a mess and the lyrics are to often screamed in an unintelligible fashion. Although things to come together a bit for the end you’ve lost interest by then. * In the Shadow of the Valley of Death * While Trent Reznor doesn’t seem to have been overly involved in this album other than owning the label the album was released on, I think his sample collection has been put to good use. There’s a constant sound of screaming going on at the start and throughout the song ala mid some mid career NIN stuff. Joining in the party is an acoustic guitar and a choir sample that would be at home on a VAST album get the song moving along nicely. By the time the songs
approaching the end though there’s all sorts of vaguely morbid stuff going on. Not bad, not great. * Cruci-fiction in Space * “This is evolution, the monkey, the man and then the gun”. Again America’s gun laws get a bashing, along with Texas. It’s a slow plodding bassy verse with a slow plodding and yet also dramatic metal chorus complete with a quiet but still present spooky synth. Again, not bad but not great. * A Place in the Dirt * A blithering synth, pouncing bass open the song up only for the whole song to consist of a cheap sounding (No doubt it cost a lot to get that effect) drum machine and a clean electric guitar. Manson again reveals his strange obsession in the more rocked up chorus as he asks to be “put in the motorcade”. * The Nobodies * This is a belter of a song though. A mournful harpsichord tune lifted from an old fashioned noir horror film of your choice, an electronic feeling drum beat and an ever mournful Marilyn Manson. The subtly of the intro/verse is a lost a bit in the roaring (guitars and vocals) and to be honest there’s a bit to much of the roaring and not enough of the subtle stuff on this song. Still pretty damn great though. * The Death Song * A fast paced bass led song about god wanting to commit suicide… Um, OK. Nihilism for the point of it really. The bass led bits makes a return after a rather forgettable roaring bit with a few extra bits tacked on but there’s to much “we sing the death song kids” roaring really. * Lamb of God * Another good one here – again we have some cheap sounding instruments, this time both guitar and drums. A distorted Marilyn joins in with a properly recorded acoustic guitar for a generally slow paced, moody song. A few moments of anger are thrown in to keep everything moving along. Perhaps not as good as The Nobodie
s or Godeatgod but still one of the better tracks on the album. * Born Again * Some crowd noise at the start but this isn’t live – it’s just a bit dull to be honest! Hey, reviewing a Manson album and it’s the first time I’ve used the D word! It’s like the more forgettable moments on Antichrist Superstar but with less white noise. * Burning Flag * Up crops the D word once again on this track that is like the more forgettable moments on Antichrist Superstar but with less less white noise. If that makes sense… Nothing else to say really. * Coma Black a) eden eye b) the apple of discord * Very much similar in style to Lamb of God, mixing sombre haunting moments with more angry moments. Also like Lamb of God it’s good but not one the album highlights. * Valentine’s Day * Also similar to Lamb of God but more dramatic, once again it’s… Oh, just read up OK! Suffice to say that this is the best of the Lamb o’ God trilogy :). * The Fall of Adam * Strummed rain and guitarfall… Strummed guitars and rainfall give a gentle start to the song which soon dissolves into Marilyn garbling away in a dictator preaching style along with ‘hey’ shouts and marching feet. It’s a bit like THAT song from Red Alert, if you’ve played the game. Quite effective stuff. * King Kill 33 * Opening with something that sounds like high speed talking and a sample from that ages old computer game “Starglider 2” it breaks into a quality bit of foot tapping metal after a false start. However the quality riff outstays it’s welcome as Manson yells in his special white noise style and then it’s over. Only two minutes and only the intro is good. * Count to Six and Die (the vaccuum of infinite space encompassing) * Not my spelling,
Americans. Bless ‘em. An evily growling synth and a slow, simple piano part slowly grows to a more complicated tune as the piano gains confidence and a couple of other synths join in with Marilyns whispered vocals. No way does it seem like it’s over five minutes long. Probably because it’s just under three and a half minutes. Good song though! * Bonus Track: The Nobodies (Acoustic) * What’s next – Marilyn Manson Unplugged? Anyway, this is just Manson and an acoustic guitar. Despite me really liking the original this seems to drag about without the morbid harpsichords et al. Still, nice to hear it stripped down a bit. Well, that’s not bad at all. A well deserved four stars, which puts it on an equal score with Mechanical Animals. Ooooooh, which ones better… Well, that’s a toughy. I’d say that the average quality of Hollywood is higher than Mechanical Animals but when Mechanical Animals is good, it’s better than when Hollywood is good. I’ll probably end up buying both, as all the Manson albums are going home soon. May even get Antichrist for when I’m in a mean, mean mood – assuming I see it dirt cheap that is.
One could sense a slight air of desperation emanating from the Marilyn Manson camp prior to the release of this album — the final installment of the shockmeister's self-described ""triptych"" that began with the industrial-flavored breakthrough of Antichrist Superstar back in 1996 and continued with '98's more melodic Mechanical Animals. Manson himself has seemed both defiant and apologetic when discussing the latter release, whose refined glam-rock irony pleased some of those previously allergic to his weltanschauung, but also alienated his core audience of neo-goth kids. In recent interviews, Manson's line re Holy Wood has thus been along the lines of, ""Don't worry, old fans, this new one'll sound like Antichrist."" Well — surprise — Holy Wood has more in common with the pop-flavored melodicism of Mechanical Animals than with the Trent Reznor-produced '96 landmark. Sure, the razor-edged industrial riffing of new single ""Disposable Teens"" (featuring the memorable Beatles-parodying couplet, ""You say you want a revolution/ Man, I say that you're full of sh*t"") might as well be labeled ""The Beautiful People Pt. 2"" in honor of ACSS's most famous track. Overall, though, Manson's heart doesn't seem to be in the industrial side of things any longer (if indeed it ever really was). Instead, he and his band concentrate on a concatenation of influences that range from the aforementioned Beatles (the aching ""Lamb of God"" chorus of ""Nothing's gonna change the world,"" echoing John Lennon's ""Across The Universe"") to Pink Floyd (The Wall's epic gloom colors the overall downbeat feel here — both musically and in Manson's pessimistic, existential lyrics) to David Bowie (previously the aesthetic raison d'etre for Mechanical Ani
mals). This pastiche reaches its apex on ""Target Audience"", a lament for the individual's loss of agency in the society of the electronic media-spectacle (""I am pitiful, anonymous""). It starts off musically evoking Alice Cooper's ""Desperado,"" morphs into some Black Sabbath riff-rock, and ends with a ""na-na-na-na"" singalong chorus that evokes The Beatles' ""Hey Jude."" So, while lyrically he's still the Jean-Paul Sartre of rock (though admittedly it's difficult to picture ol' JP in fishnets and black lipstick), Manson and band remain musically aligned with classic rock, in sharp contrast to their despised contemporaries in the ever-popular rap-rock and new-metal crowd (Limp Bizkit, Deftones). Nonetheless, while more ambitious than almost all of today's metal-flaked rock competition, the 19-track Holy Wood is not without its problems. On numbers such as ""President Dead"" and ""Cruci-Fiction in Space,"" both of which recall the angular goth electrofunk of ACSS, the band (including longtime cohorts Twiggy Ramirez on guitars and bass, Ginger Fish on drums and M.W. Gacy on keyboards) seems to be just rehashing old terrain. And, while The Wall may be a worthy role model, Manson and company don't quite have Pink Floyd's lyrical or musical range, adding to the rote feeling that troubles some of this overlong (60+ minutes) disc. Strange as it may seem, Marilyn Manson's heart now seems to be in the dramatic ballad form, best heard here on the aforementioned ""Lamb of God"" and ""Coma Black"" (which nevertheless goes on a bit too long for its own good). Next thing you know, we'll have a Brian Warner solo album of Jacques Brel covers to consider. Personally, I can't wait to hear him do ""If You Go Away."" ... <
Before i start i am going to have a little rant. What is everyones problem with Marilyn Manson?? is it the fact that he dresses up weirdly? the fact that his music is made to reach out to a different Audience? the fact that he wears makeup?? whatever people see wrong with him is stupid. Maybe the yshould look at themselves and see what is wrong before they go round slagging off others, and blaming the mfor all of societys ills. Because that is what people are doing. They are taking every wrong in F****ng society and blaming it on a rock star that is different. Not only that but a lot of people slag bands (and MM in particular) for making bad music that is "crap". It's like i say, just because you don't like a genre of music doesn't mean that you have to put it down..i mean sure everyone hs the right to freedom of speech but that shouldn't affect anything. Bands are there for THEIR fans and they shouldn't be put down because they are different. What i am saying is..if you don't like Marilyn Manson that is your choice but LEAVE HIM ALONE! many people wouldn't care for your veiws. There we go...now onto the newes installment of Marilyn Mansons apocalyptic saga (like it? i made it up myself!!) 'Holywood : in the shadow of the valley of death'. This is by far the best album by Twiggy Brian (Warner NOT Turner as i have previously stated) and the gang. The nearest contender is 'Mechanical Animals' and that isn't THAT near. This has the heaviest songs on it that i have heard from MM for a long while (that's what i think) and i can't get Enough of it. The first track on the album 'GodEatGod' shows classic MArilyn Manson purely because it is heavy as F**k. My favourite track on this album is 'The Nobodies' (which by the way is the next single to be released by the band). It starts with a heavy drum beat and the nthe guitars join in. The song oozes power and heavieness, and t
he lyrics are pretty simple to! Another great song on the album is 'Target Audience (N N)'. This is such a soft track that i couldn't believe it was MM when i first heard it. The only time the song bcomes remotely heavy is during the chorus, and that is pretty short!! Tracks that you may have heard on the album are 'Disposable Teens' and 'The Fight Song'. These were both released as singles and are very well known. The latter is backed up by later (or earlier) tracks 'The Love Song' and 'The Death Song'. The Accoustic of 'The Nobodies' sounds much rougher and less produced...like they recorded it then put it straight onto the album without anything being done to it. the fact that the yput an accoustic track on the album seems a bit uncoomon to me but it is exactly right because it is the opposite to the others and it works so well. This album is by far the best one yet and i would reccomend it to anyone who remotley likes Marilyn Manson (and in particular 'The Beautiful People', which most of the songs have the style to)...There you go...enjoy!!
After taking the moral-majority's blame for the Columbine Highschool Massacre - Mr Manson has come out fighting. I can't stop listening to this album. I'm a big Manson fan and own all their albums, but lyrically I think this is the best yet. The lyrics are powerful and hard hitting, and amazingly it's the most rebellious album Marilyn Manson have ever released. This album is more similar to 'Antichrist Superstar' than the last album, 'Mechanical Animals', and this is a good thing. The album dives in and tackles issues such as religion and being an outsider, issues which so many of us can identify with today. All in all it's a 'pissed-off' album and that is exactly where Manson should be. The guy is extremely intelligent and he has more to say in this record than most artists say in a career. The first half of the album is instantly likeable, the second half grows on you until it becomes just as likeable. 'The Fight Song' , 'Coma Black' , 'Burning Flag' , 'The Love Song' and 'Target Audience' are all superb tracks with excellent lyrics. But most of all - Manson is now being played on daytime Radio 1. This is a GOOD THING. The more people who hear this mans music, the better.
'Holywood(in the Shadow of the Valley of Death)' has its moments, but is still bizzare in many ways. - Advantages: mature lyrical content, classic rock structures, decent songs - Disadvantages: rather redundant, dumb rock songs , 'the Nobodies' is lame, lame, LAME
Holywood is Marilyn Manson's latest album and the last adding to the trilogy of albums which was released in Nov 2000. With this one he has gone back to the darker, rock sound compared to his previous album, Mechanical Animals which had a more glam rock inspired sound and visual look, and to some people his weakest album. This album is also quite different to the first album released from this trilogy, Antichrist Superstar, as it has a more of a controlled and better quality sound to the music and also the AS album had a more of an angry, emotionless feel. There are always different inspirational ways that the band like to use while creating the tracks, with this one they use Harry Hudini’s house to write some of the tracks as well as spending time in Death Valley which was mostly done under the influence of absinthe. The tracks in this album are grouped into four parts with each labelled a letter spelling out ADAM 'A' meaning Anatole, 'D' meaning Dysis, 'A' meaning Arktos and 'M' meaning Mesembria. The track listing is: A - In the shadow 1. Godeatgod 2. The love song 3. The fight song 4. Disposable teens D - The androgyne 5. Target audience (narcissus narscosis) 6. "President dead" 7. In the shadow of the valley of death 8. Cruci-fiction in space 9. A place in the dirt A - Of red earth 10. The nobodies 11. The death song 12. Lamb of god 13.Born again 14. Burning flag M - The fallen 15. Coma black 16. Valentine's day 17. The fall of Adam 18. King kill 33 19. Count to six and die Also in the special edition version of the album there is a bonus track which is an acoustic version of the nobodies. There has been two singles releases from this album which were ‘Disposable Teens’ and ‘Fight Song’, and ‘The
nobodies will be the next album which is released later this year. These singles are quite up tempo from some of the other tracks on this album and have been the most successful of the bands career in this country. Some of my favourite tracks on this album are ‘The Love Song’, ‘Valentines Day’ and ‘The Death Song. This is a brilliant album which seems to have more emotion in the lyrics and the overall sound of each track than ever before and the overall quality in the bands music has increased, with the sound more complete than in some of the previous albums.
Since the early 90's, controversial publicity stunt, and all round bad guy, Marilyn Manson, along with his band of mismatched Alice Cooper wannabe's, have been attempting to set the world on fire with their anti-christian screaming and in many ways succeeding. They have appealed to many fine young persons as their answer to the problems they face today. In adolescent years, teenagers are naturally rebellious, and so to fit in with them and gain their approval, it doesn't take a genius to work out that you simply have to act like them. Marilyn Manson and co. does it with style. Their previous album outings though, have proven to more worthy of spending those hard earned pennies on. Look at the album that threw them into the limelight, 'Antichrist Superstar' and you will see controversy yes, but also musical talent. And that is what you buy an album for. Listening to 'Mechanical Animals' you can hear how the band has progressed together musically and lyrically and have produced a beautiful album. Then, two years later you’re thrown this. An album which is clawing back, trying to be another 'Antichrist Superstar' and re-gain status as the most hated band in the world. It doesn't work. It comes off sounding like the band aren’t doing it to be controversial, what they set out to be, but they are doing it for the hell of it. They are doing it for the money. The well thought out lyrics have gone, as has the music and in place is what sounds like something they have put together in an afternoon because they need the money. Don't get me wrong, I myself have been almost addicted if you will, to their past albums and had great expectations for this. They were unfortunately not met. If you've heard Manson before and what he is capable of you will understand that this album is just trying to boost sales from the flagging 'Mechanical Animals.' If however you are enjoying the recent boo
m of angry music then you will love this. It has all the heavy guitars, the slow, the fast and the loud, and the soft and the added controversy that makes it Manson and if it had been made by someone else it would have been a masterpiece never to be forgotten, but in the hands of young Brian Warner it is simple laziness. If you’re looking to start listening to this genius, don’t begin here, but try one of his earlier efforts. Believe me, you will enjoy it much more.
With Manson being such an arch manipulator of the media, his music can often go over looked. Its a self made image that can perhaps work against him in some instances, myself only a recent convert after hearing "Antichrist Superstar", with people staying away from what they see as a style over substance. When looking at Manson you also have to take notes from the past and see how the great media whores (Bowie, The Manics, Morrissey, Sex Pistols etc.) actually had some amazing musical masterpieces to back up the furore surrounding them. After what was seen as a sell out within some circles with "Mechanical Animals" this album is seen as something of a return to form. Musically you could call its a cross between the glamerism's of "Mechanical Animals" with the industrial weight of "Antichrist Superstar". Although "Disposable Teens" is without dispute the most commercial track on this 20 song epic, texturally its a good indication of where Manson is at musically. Supposedly taking its influences from Gary Glitter, the truth is if you scrape the controversy away it could be from any band of the era. Follow up single "The Fight Song" takes its influence vocally from a more safer source with Manson sounding uncannily like Rod Stewart. With lines like "I'm not a slave to a world that doesn't give a shit" its hardly the makings of a hit single ala "Do You Think I'm Sexy?". With "The Nobodies" making two appearances you'd be right in thinking its one of the albums highlights. My personal favourite being the acoustic version which closes the album, purely because it has that same powerful strong song writing which made me see Nirvana in a completely different light after hearing the unplugged album. Again, ever the one to court controversy, its the closest song to detail the Columbine Killings which he became part and parcel of by the witch hunting
media. Its hard to believe that this album does not feature one bad song but for once please believe the hype. Perhaps the only criticism I could make is that he hasn't really touched on any new lyrical subjects but with no one seemingly touching him at the moment its only a small niggle. Whether its the acoustic flavoured "The Fall Of Adam", the piano ballad of "Count To 6 And Die" or the rockier moments of "The Love Song" or "Lamb Of God" this is without a doubt Mansons best work to date. With "Holywood" being the third in a trilogy our only hope is that he can move on lyrically to sustain the interest. Alex McCann
In 1996 Marilyn Manson started his journey on an historic trilogy which would cause uproar and ultimately make Marilyn Manson one of the most hated and most loved bands in the world. Some people believe he is the bring down of American society but many, including the man himself believes the bring down of American culture is the Government, God and Guns aswell as more outragously perhaps people's parents. Holywood (In the Shadow of the Valley of Death) is an album with everything a succesful album in the modern world of music needs. Pulsating rock riffs and sheer punishing lyrics make this album one of the best in the year 2000. Not only this the album has 20 songs, including one bonus track(the Nobodies acoustic version) of which are all brilliantly written songs. Such songs as Disposable Teens and The Fight Song(the first two singles) help maintain Marilyn Manson's stature as writers of hard, fast and incredibly catchy modern rock songs.Others title's such as Born Again,The Death Song, President Dead and Target Audience(Narcissus Narcosis) help to improve this stature they have achieved through songs from previous songs like the Beautiful people and The Dope Show. Manson himself says this album is relative to the White album by the The Beatles (not musically but in the impression and impact it had on society in their time)and in time I believe society will succome to this belief.
The year 2000 thought it was safe from various musicians attacking the establishment, with the advent of hard house and god only knows what other unadulterated crap masquerading as music. Not so as Manson unveiled the latest in his trilogy, the masterpiece that is Holy Wood. Taking a step away from the glamour of Mechanical Animals, Marilyn Manson get back to what they do best, attacking God and the government, and illustrating the inherent flaws in human nature that come to light in todays society. The whole album has a much darker feel than its predecessor, brought to the forefront with the dirgey outro track, Count To Six And Die. Holy Wood is also more of a 'complete album' than Mechanical Animals - that is to say that only a few tracks shine out (notably the first singles, Disposable Teens and The Fight Song). This detracts greatly from the album if you're the type to listen to an odd song here and there, but if you listen to it all then it becomes apparent that Manson has painted the story of his life with such chilling perfection as to be downright scary. Make no mistake, this is NOT music for the ignorant, this is music for the thinker in all of us. And make no mistake, this is NOT an album for the christians either, with Manson's usual trademark jabs at God spread throughout this album. Completing the trilogy of Antichrist Superstar (1996), Mechanical Animals (1998) and Holy Wood (2000), this is actually the prequel to the prior 2 albums, and as such makes you wonder if Manson had this planned right from the start. Did he know what he was letting himself in for back in 1996, when Antichrist Superstar shocked the world? My guess is that whether he knew or not, what he did know was that he was and always will be one of the most controversial figures in modern music. And some things will never change...
This is Marilyn Manson's latest album, following from the rather bizarre 'Mechanical Animals' opus that was released in 1998. 'Holy Wood' shows Marilyn Manson the band keeping the same line up as they've had since 97/98, with Manson himself still churning out the music and lyrics, along with talented guitar slinger Twiggy Ramirez and John 5 co-writing guitars with M.W Gacy, and Ginger Fish still bringing their thing to the band. This album is on release on Nothing/Interscope records. The format of this review will have me commenting on nearly every song in turn. First up is 'God eat God'. The opening track of the album is very gothic and haunting, with a low tempo most of the way through, with ambience laid on by Gacy to give the song a very dark metal feel. This is a nice way to start an album. 'The Love Song' seems to be more about the love of guns with a heavy chorus motoring through with a massive hook in the form of, 'Do you love your guns? Yeah!’ This song is Manson getting back to their middle finger to authority and society roots. This album still seems to be on track. 'Fight Song' is an excellent track that is crushing and shouty in equal doses. Stepping up again against the way society is. The lyrics do seem slightly samey after coming off the back of 'The love Song' 'Disposable Teens' is the first single released off of the album, and to be honest is good for one reason; it is a total rehash of 'The Beautiful People', the bands most famous song, from 1996's 'Antichrist Superstar' album. The song is again about how God doesn't appear to exist and about society again. The resemblance to 'The Beautiful People' is nearly down to the chord pattern that Ramirez churns out. Samey lyrics’ meaning a pattern is appearing. 'Target Audience' offers a very bizarre riff around the chorus, smothering the son
g with a great sound. The band really seems to be gelled in this track which just happens to be about the state of society again, (but of course). This song referring is different to what has gone before. This song really does sound great. 'President Dead' has a memorable hook throughout with Manson singing, 'Getting High on violence baby' in a very sleazy manner, which means that this song is about violence? As well as it's different forms in society clearly. The lyrics are getting wearing now. 'In The Shadow Of The valley of Death' is different because the lyrics are about death and what dying means and not about society! Woo-hoo! Get the marching band in! It is also like 'God Eat God' as Manson's dark metal influences come through again. This is a good song though that is haunting and essentially memorable. 'Cruci-fixation in space' is about evolution and not society. The lyrics are very bizarre indeed with one such line debating that if 'Jack was the Baptist, we'd drink from his head', which was nice obviously. The song holds up a grinding riff that threatens to blow up, but remains very much at the same tempo, offering much needed variety into a pot of thrash riff songs. Backing vocals are also gothic-esque giving this son a really great sound. One of the best of the album. 'A place in the dirt' carries on from the last song with a slower tempo, offering very downbeat rhythms. The guitar and drums chug along to produce a sound that could be described as harmonious to someone who likes gothic metal obviously. 'Nobodies' sounds straight out of Bram Stoker's, 'Dracula', with Manson playing the Electric Harpsichord to devastating effect. The song is about only being remembered in death, which is a nice thought to carry with you! The last three songs have been strange as the time where there is often a loll in the album, 'Holy Wood
' has come into it's own. 'Death song' contains lyrics about God, Guns and society. Quell surprise! It is musically impeccable as usual from Manson, but the lyrics just show it to be a rehash of songs such as 'Love song'. This says it all about the album. I will not talk of the other songs, as you know what they will sound like. Samey, and after the rest of the album boring after 40 minutes of the same lyrics, song structure and chord patterns. If Marilyn Manson himself wasn't so controversial, I can't see the band being held in such high esteem. He is the biggest enigma in the metal genre, with songs that range from sublime, such as 'The Love Song' and 'A place in the dirt' to utterly boring and listless rehashes of previous efforts such as 'Disposable Teens'. I have tried so hard to like this album, even listening to 'Antichrist Superstar' afterwards to see that I wasn't kidding myself in thinking that 'Holy Wood' was very similar, and to be honest, the albums seemed to blend in with each other. Ultimately disappointing. They say Manson re-invent themselves after every album. This is rubbish. 'Mechanical Animals' just makes it less obvious that 'Holy Wood' and 'Antichrist Superstar' are almost identical. This album is probably good to listen to because of a few great tracks, but in general, the album is not as good as I hoped.
Disc #1 Tracklisting
2 The Love Song
3 The Fight Song
4 Disposable Teens
5 Target Audience(Narcissus Narcosis)
6 President Dead
7 In The Shadow Of The Valley Of Dead
8 Cruci-Fiction In Space
9 A Place In The Dirt
10 The Nobodies
11 The Death Song
12 Lamb Of God
13 Born Again
14 Burning Flag
15 Coma Black
16 Valentine's Day
17 The Fall Of Adam
18 King Kill
19 Count To Six And Die
20 The Nobodies