The High End Of Low

[S.D.]

I feel perhaps a consolidated analysis of The High End Of Low might be interesting, the album has been discussed at length in other arenas, but it would be nice to have that opportunity here. There may be a few references that were not mine originally, so if I cannot recall who authored them, I apologise.

Firstly, the record title is evidently a continuation of the binary that exists in all of Manson's work. There have been several references to the 'high' and 'low' in lyrics before this record title.

The Dope Show:-
"There's lots of pretty, pretty ones, who want to get you high
But all the pretty, pretty ones, will leave you low, and blow your mind"

Heart-Shaped Glasses:-
"Little girl, little girl you should close your eyes,
That blue is getting me high, and making me low"

The Golden Age Of Grotesque:-
"We're the low art gloominati"

The combination of the two is interesting, because these prior lyrics suggest that they are still opposing features, whereas The High End Of Low seems to suggest a more symbiotic relationship between the two, which in light of some of the lyrics, and the general tone of the album, seems to be based in Manson's desire to embrace his more sinister side, rather than apologising for it, as has been the case on other records. I had previously mentioned that whether intentional or not, and not to suggest some sort of trilogy, The High End Of Low actually seems to work rather well as a bookend to EAT ME, DRINK ME, with The Golden Age Of Grotesque holding up the other side. The Golden Age Of Grotesque is still a fairly apologetic, though quite emotionally void album, much of its commentary is externalised, with concepts such as "Cocaingels", "Downloadable Suicide" and "Vodevil" taking the stance of Manson as part of a corrupt society, The Better Of Two Evils, as it were. The High End Of Low, on the other hand, internalises his role, and he positions himself as quite the opposite, the cause of ills, rather than a "poster boy" for it. There is a weakness there, the relinquishing of responsibility, as opposed to the recognition of others doing the same.

It's interesting that actual gravity seems to permeate the theme, as Manson utters the line "Remember when I took you up to the top of the hill, we had our knives drawn" [Running To The Edge Of The World]. This reminds me of the line "Drive me off the mountain", during If I Was Your Vampire, suggesting that when you ascend to the highest high, the only thing left is low, or perhaps to get to the top is to be at the high end of low. I'll add some more things in there, old and new, when I have the chance, but I wanted to reinstate the topic and see what people's thoughts are now we've all heard the record. Also, this imagery choice was pointed out at some point, I'm not sure by who:-

The second half of the image is from the Criterion DVD cover for the film High And Low, by director Akira Kurosawa. It has been cited as an influence on The High End Of Low, especially in correlation with the themes of money (Pretty As A $?) and kidnapping, which was mentioned in interviews by Manson leading up to the album's release. It is of course, a film, and The High End Of Low is described as being constructed to be like a movie. Anyway, these are all fairly obvious sentiments, I just wanted to start things somewhere, and see if anyone has anything to add to the topic. I will write some more later.

[Hate Sells]

So...I wanted to make a separate thread about the use/imagery of the swastika and the dollar sign, as it pertains to this era, as I think it is less broad of a topic than The High End of Low, but for now I will post this here, instead. I personally have found it to be very interesting, especially as the now-confirmed statement on facism comes into play. Anyway, I'll start my analysis off with something I just noticed recently (as I came across them on eBay); one of the posters from the Rape of the World tour, featuring George Bush, a dollar sign, and two swastikas (from February 10th, 2008, The pageant in St. Louis) in comparison to another ROTW concert poster; this one of Adolf Hitler with a swastika, and what appears to be the "stars" of the stars and stripes (from February 8th, 2008, Myth in St. Paul). I find it very inspiring how Manson seems to have had this idea of imagery in mind since the last tour; probably not since Smells Like Children (as he seems to have been mis-quoted on saying in the recent Spin interview); but certainlly for longer than we had expected.





(BTW, these are just the pictures from eBay...I searched for a while trying to find better images, but I couldn't find anything, and I don't have the time right now...but if anyone has some high-res pictures or anything, please feel free to post/link them.)

[Mexicanfiend]

Nice idea, S.D.

And I'm also glad to see I'm not the only one that saw The Dope Show lyrics connection. I've been thinking about it for some time, myself.

Also, I'd like to point one a Nietzsche connection: What ever doesn't kill you is going to make you stronger, which Manson adapted for the Leave a Scar chorus: What ever doesn't kill you is gonna leave a scar.

In running to the edge of the world, I remember I also made a connection towards The Last Day On Earth, because for me it seemed like he was somehow denying the previous feeling.

"We're running to the edge of the world, but I don't know if the world will end today"; when compared to "I know it's the last day on earth, we'll never say goodbye"; seems like an antagonist perspective. Today, love is not everlasting neither the world will end when the love fades away.

In I Want To Kill You Like They Do In The Movies, the line "I'm sick of Immortality", makes me think of the Reflecting God line "You'll understand when I'm dead".

And I'm going to link a post I made today about this album as well, to give you a general idea of how I perceive this album as a whole:

I think I finally understood why people were comparing this album to Antichrist Superstar. Let's see:

The High End Of Low also tells a story, which for me is the opposite to Antichrist: is about him trying to become a "normal" person. The album begins from where it Eat Me, Drink ME ends: with Evan going out of Manson's life. He is in deep pain on such song because of someone he apparently loved so much being no more around, and suddenly he remembers who he is, that's why I love the musical explosion after the second chorus. Then tracks 2 to 6 are the usual Manson, talking about the world he views: sex, scars, protests... what is common to talk about when Manson is involved. In fact, Arma-Goddamn-Motherfuckin-Geddon can be the best critical song towards the world since... Kill King 33.

And then, we shall remember what the man said about it: Is like a movie of his life. So, from tracks 7-9 is like a catharsis: he is taking out all the pain by singing both the most romantic, recriminating and violent songs -lyrically, of course. The core of the album dwells here.

Then, with a strong nostalgic aura, he goes back and talks us about Wight Spiders and Unkillable monsters. Not unlike Toruniquet and the dreams he claims to have on his autobiography.

Then, some sort of interlude: We're from America. When I read that he wrote this song not in a political way, but as a justification -almost an excuse- towards his behavior, I appreciated this song more.

And then: the third act of misery: tracks 13, 14 & 15. The first one is like the final testament to a broken jar that can't be repaired. Into the fire: I admit that at first glance I wasn't impressed with it, unlike many of you. But if you picture it as the equivalent to a movie end, it breaks your heart. I love how he talks about hating her and what-not, while in the chorus I found the strongest phrase from the whole album: "I'm two heartbeats in hell, trying to break your fall". The most romantic Manson EVER. He won't want to talk to her anymore, but in the end he will always be worried about her, and if there's something he can do to save her, he will, no matter how fucked up and damned he is. I feel so identified with it.

And 15, the end credits. He survived, but not without being hurt along the way, something that undoubtely leaves unvaluable lessons. 15 is for me a final manifiesto of the new Manson, the one that was born during Devour: Now he will kill for what he believes in, and won't even hesitate about it.

What doesn't kill you is only gonna make you stronger... but with scars as well, indeed.

[The Empirical Guy]

I posted this on the 'phant a day or two before it went down, so will repost it here.

Manson has a bit of a thing with "et cetera" lately, quoting it in interviews, and going so far as to replace lines of lyrics with it in other songs live. It occurred to me, could this be a throwback to his old favourite, Willy Wonka and the Chocolate Factory? Says Wonka in the film:

Wrong, sir, wrong! Under Section Thirty-Seven B of
the contract signed by him it states quite clearly that all
offers shall become null and void if--and you can read it
for yourself in this photostatic copy: "I, the undersigned,
shall forfeit all rights, privileges, and licenses herein
and herein contained, et cetera, et cetera, . . . fax mentis
incendium gloria culpum, et cetera, et cetera . . . memo bis
punitor delicatum!" It's all there, black and white, clear
as crystal! You stole Fizzy Lifting Drinks. You bumped
into the ceiling which now has to be washed and sterilized,
so you get nothing! You lose! Good day, sir!

Not sure if this has any real significance, other than being interesting that after all these years he can still be linked to that one film from his youth.

[S.D.]

You stole Fizzy Lifting Drinks. You bumped
into the ceiling which now has to be washed and sterilized,
so you get nothing!

The High End Of Low?

[The Hand]

Re: Fiend, I think the paraphrasing of Nietzsche reflects the sentiment of the album of a whole, of being a bit knackered & winded by life. Consider that ACSS is an album built on this Nietzschean idea of will to power, whereas this one eschews that kind of sentiment

[The Empirical Guy]

You stole Fizzy Lifting Drinks. You bumped
into the ceiling which now has to be washed and sterilized,
so you get nothing!

The High End of Low?

Hmm, probably not his intention, I think, but an interesting find anyway.

[S.D.]

The use of "Et cetera" was something I noted previously, in relation to a tattoo Twiggy has. It was posted on the Goon Moon MySpace at some point, certainly before his reunion with Marilyn Manson:-

"I'm not an artist I'm a fucking work of art"

[Anima XI]

Ah, women. They make the highs higher and the lows more frequent.

- Friedrich Nietzsche

[Norsefire]

I find it very inspiring how Manson seems to have had this idea of imagery in mind since the last tour; probably not since Smells Like Children (as he seems to have been mis-quoted on saying in the recent Spin interview); but certainlly for longer than we had expected.

I posted this back on the 'phant as well, I think Print Mafia was behind all the designs of the posters. So I am not sure if Manson had anything to do with these, but the idea still fits in with what Manson was doing with this album.