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The Golden Age of Grotesque by Marilyn Manson (CD, 2003) Broken Case
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US $4,47 (ca. CHF 3,61) USPS Media MailTM.
Standort: Indianapolis, Indiana, USA
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Lieferung zwischen Mi, 26. Nov und Mo, 1. Dez nach 94104 bei heutigem Zahlungseingang
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eBay-Artikelnr.:336276418299
Artikelmerkmale
- Artikelzustand
- CD Grading
- Very Good (VG)
- Type
- Album
- Language
- English
- Era
- 2000s
- Case Type
- Jewel Case: Standard
- Style
- Heavy Metal
- UPC
- 0602498000380
Über dieses Produkt
Product Identifiers
Producer
Ben Grosse^Marilyn Manson^Tim Skold
Record Label
Nthg, Nothing
UPC
0602498000380
eBay Product ID (ePID)
7046068339
Product Key Features
Release Year
2003
Format
CD
Genre
Industrial/Gothic
Artist
Marilyn Manson
Release Title
The Golden Age of Grotesque
Dimensions
Item Height
0.40 in
Item Weight
0.22 lb
Item Length
5.60 in
Item Width
4.90 in
Additional Product Features
Number of Discs
1
Number of Tracks
15
Country/Region of Manufacture
United States
Tracks
Theater, This Is the New SH*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, Slutgarden, Spade, Para-Noir, The Bright Young Things, Better of Two Evils, Vodevil, Obsequy (The Death of Art)
Notes
Timing is everything in pop music, and Marilyn Manson hit a zeitgeist in the mid-'90s with Antichrist Superstar, riding the post-alternative wave to the top of the charts with his dark, arty, industrial metal. He was a proud shock artist and a great interview, one of the few rockers of his time who stood his own against his attackers by offering articulate, informed counterarguments to their blustering rage. Like any shock rocker, though, the novelty wears thin fast, and what was once scary turns into self-parody. Manson, no stranger to rock history, attempted to circumvent this by turning quickly to the left with the glam-soaked Mechanical Animals, but in doing so he lost huge portions of his audience, and by the time he returned to scary industrial metal form on Holy Wood in 2000, he seemed out of date and few critics or fans paid attention. Three years later, he unleashed his fifth album, the Golden Age of Grotesque, and he still seemed out of step with the times, but there was a difference - he sounded comfortable with that development. Also, by 2003, rock, particularly heavy metal, was in desperate need of artists with a grand vision and ambition, which Manson has in spades. After all, the Golden Age is designed to be a modern update of German art, vaudeville, and decadent Hollywood glamour of the '30s, all given a thudding metallic grind, of course. In an era when heavy rockers have no idea what happened in the '80s, much less the '30s, it's hard not to warm to this, even if his music isn't your own personal bag. Musically, Manson isn't departing from his basic sound - he's following through on the return to basics Holy Wood represented - but his first self-production has resulted in an album that feels light and nimble, even though it's drenched in distortion and screams. It feels as if Manson now feels liberated from not being consistently in the spotlight, and his music has opened up as well. With that new freedom, he gets silly on occasion - the gibberish on the ridiculously titled "This Is the New Sh*t," the appropriation of Faith No More's "Be Aggressive" for "mOBSCENE," the lyric "You are the church/I am the steeple/When we f*ck we are God's People" - but instead of knocking the record off track, they are part of the big picture on this oversized album. What matters here, as it always does on a Marilyn Manson album, is the overarching concept, and while the Golden Age of Grotesque has some kind of theme, it's particulars aren't discernible, but the overall feeling resonates strongly. This messy, unruly, noisy burlesque may fall on it's face, but it puts itself in the position where it can either stand or fall, and, unlike in the past, Manson isn't taking himself so seriously that he sounds stiff. It all adds up to a very good album - maybe not his best, and certainly not one that will attract the most attention, but it's a hell of a lot grander than what his peers are producing, and holds it's own with his previous records. It's also a bit more fun, too, and that counts for a lot.
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